Art / Lab - 郭工 - 切问
Du/Laboratory是一个综合性的试验平台，涉及的创作媒介跨越当代艺术的各个层面，对四处空降的国际化当代艺术潮流保持一种警惕性，同时致力于艺术家自身系统的充分、深入挖掘，持续关注徘徊在艺术和非艺术边缘“中间状态”的实践。
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郭工
Guo Gong
｜
Through the rotary-cut into the trunk of a pine, I get an inner condition of the heart which is linked to both the mechanical process and the new side of the trunk.
一棵松 No.2/ Pine No.2
树木等综合材料 Trees and mixed media
500 x 200 x 120 cm ( 延展部分根据场地而定 )2013
The speaker is transmitting the scripture of heart, and the voice is totally cut off by the glass shield. The auditory sense and visual sense have been converted.
心经 / The Scripture of Heart
,综合材料 / Mixed media50 x 50 x 130 cm x 6,2011
心经 / The Scripture of Heart
综合材料 / Mixed media
50 x 50 x 130 cm x 6,2011
Basins filled with water are exposed on white stands. With the screens on their bottoms, clouds in the sky can be seen...
天下 / Under the Sky 综合媒介 / Mixed media
55 x 55 x 60 cm,2012
First of all, the “rebar” is made of wood, presenting the deep connection of form, perception, and material. Secondly, the distorted shape of the rebar is from the abnormality of building projects and qualities sadly found in China, representing a kind of “unnatural” force in the reality. At the mean time, under the control of the artist, the line and rhythm in the form of the portrait goes along with the Chinese understanding of “natural” and “empty”. This contradiction between “natural” and “unnatural” questions our way of seeing the present and the world. The essences of reality, ideal, and material are all here in.
Only a slice of light comes out of the black bulb, changing the visible and mental spaces.
白光 / White Light
80 x 80 x 160 cm，2010
The original meaning of the so-called time was rhythm. Everything between heaven and earth are going with their own rhythms, which made it necessary for us to introduce the concept of time. Why do we talk about time? This topic led us to endless thinking and terrible meditation full of contradictions. The image of Countdown came from sandglass, which is my intuitive mind to record and deconstruct such a spiritual experience.
倒计时 / Counting Down
综合材料 / Mixed media
82 x 53 x 45 cm ; 86 x 53 x 45 cm，2009
二分之一木梁1/2 of Wooden Beams
^
虽然手工性和制作感不是我当下阶段最为迷恋的工作，但在制作这件《二分之一木梁》 的过程中，手工性和制作 感成 为我对这一截自然形态的木梁语言重塑的必要手段， 将天然与雕饰的互相转换，生长与衰老的生命历程的感悟都消融在被重塑的物的形态 中。木梁原本的功能性在时间和物理环境的催化下，被塑造为具有观看意义的新的生 命体。木梁的生命就此得到了延伸?还是就此被终结?我对生命的思考和感悟，通过 木梁形态转化变的可触、可观、可体验。
Half of the beam has been made by hand into a leaf. This natural shape of a withered leaf contains the whole process from new born to death. The life of a beam has thus been changed.
二分之一木梁 / 1/2 of Wooden Beams
木梁 / Wooden Beams
250 x 35 x 55 cm，2012-2013
木板 - 听风Wood - In The Wind
^
“木板 - 听风”则变成了一种基于实践及其本质的创作。郭工顺着树木内部的纹理， 通过手工的缓慢切割，让树干内部每一根年轮的生长轨迹都纵向——而不是以通常所 见的横截面的方式——呈现出来。“顺应”看似比“破坏”容易，但顺应某种“真理” 或者接近“真理”的规律，比一般意义上的“破坏”似乎更简单，却需要更多的精准 和审慎，并付出更多努力。艺术本身也是如此。那些可能存在的“真理”，都蕴藏在 来之不易却又微不足道的事物当中，并始终保持着高贵的沉默。
The making of “Boards”, is a practice that depends on and follows the objects themselves and their essences. Through the slow manual incision into the trunk along the internal texture, Guo Gong unveils the longitudinal trajectory of growth for each annual ring, and such a way of presentation is very different from the conventional presentation of transverse sections. Seemingly “following or compliance” appear to be easier than “destruction”, that is, adapting to certain “truth” or approaching the rules of the “truth” may seem simpler than the “destruction” in common sense, such adaptations actually requires higher levels of precision, caution and efforts. The same is true with art itself where the potential “truth”, hidden in hard- earned but insignificant trivia, maintains its consistent and noble silence.
木板 - 听风 / Wood-In the Wind
旧木梁 / Wooden beams
26 x 26 x 293 cm 26 x 26 x 293 cm,2016
木板 - 听风 / Wood-In the Wind
旧木梁 / Wooden beams,
26 x 26 x 293 cm , 22 x 22 x 299 cm , 22 x 22 x 303 cm , 21 x 21 x 321 cm , 21 x21 x 341 cm , 22.5 x 22.5 x 372cm , 22 x 22x 347 cm , 22 x 22 x 320 cm , 22 x 22 x 305 cm ,2016
木板 - 随风 / Wood-With the Wind
旧木梁 / Wooden beams
300 x 40 x 108 cm,2016
拂尘Whisking Off
^
《拂尘》采用玻璃内雕技术雕刻出三角或波状图案，其秩序是由盲文内容自然生发的。 作者通过对许多先天盲人进行采访，从而获取一系列与视觉，想象，以及现实有关的信息， 构成了盲文内容。但是，对盲人群体而言，由于纹理在玻璃内部，所以无法通过触觉获 知信息;对普通人而言，同样无法通过视觉对纹理进行阅读。这件作品与《心经》相似， 都是以感知通道的阻隔来指向新通道的开启。
Whisking Off utilized the inter-carven techniques inside the glass to make triangle and waving patterns, which are generated organically from the Braille. The artist had done numerous interviews with the visually-impaired since the birth, from which he extracted the content of this art piece: about the vision, the imagination as well as the reality. To the visually-impaired, they could not acquire any information without being able to touch the carvings; to the general audience, they are not able to gain any information visually either. This work leads to The Scripture of Heart, to the new perception by blocking the channels of our natural sensory abilities.
拂尘 / Blow the Dust 玻璃镜 / Glass mirror
30 x 30 cm x 2, 30 x 60 cm x 4,
30 x 90 cm x 1,2016
切问 - 不锈钢
Qie - Wen - Stainless Steel
^
The sculpture is the overlay of pieces of stainless steel cut to the mechanism of a hill-stone, one side of which was polished to the mirror. It posses the luster and the texture of being invited to the civilization and the epoch; meanwhile manifests the aesthetic value of the original material and the humanity heritage.
切问 - 不锈钢 A-1 / Qie-Wen-Stainless Steel A-1
不锈钢 / Stainless Steel123 x 140 x 188 cm,2015-2017
切问 - 不锈钢 B-6 B-7 / Qie-Wen-Stainless Steel B-6 B-7不锈钢 / Stainless Steel
60 x 11 x 40 cm , 70 x 21 x 40 cm,2017-2018
切问 - 不锈钢 B-2 B-2 / Qie-Wen-Stainless Steel B-2 B-2不锈钢 / Stainless Steel
60 x 18 x 39 cm,2016
切问 - 不锈钢 B-1 / Qie-Wen-Stainless Steel B-1
不锈钢 / Stainless Steel
149 x 95 x 45 cm,2017-2018
切问 - 不锈钢 B-5 / Qie-Wen-Stainless Steel B-5
不锈钢 / Stainless Steel
149 x 95 x 45 cm,2017-2018
切问 - 不锈钢 C-3 / Qie-Wen-Stainless Steel C-3
不锈钢 / Stainless Steel
118 x 118 x 3 cm,2017-2018
切问 - 不锈钢 C-2-1 C-2-2 / Qie-Wen-Stainless Steel C-2-1 C-2-2
不锈钢 / Stainless Steel
118 x 118 x 122 cm,2017-2018
切问 - 不锈钢 C-1 / Qie-Wen-Stainless Steel C-1
不锈钢 / Stainless Steel
240 x 122x 122 cm,2017-2018
A floor screen doesn’t really separate a space. It provides only a sensation. The existence of a floor screen means that the space respect the emotions and feelings of people. However, public spaces today, real spaces or online, often ignore the feelings and even the dignities of humanity, pursuing only mechanic or digital efficiencies. This burned floor screen is a representation of those destroyed spaces.
道具 / Settings
木头 / Wood
43 x 3.5 x 205 cm x 4,2020
The pressure inside the black airpillow is raised by a square rock. The panel of the barometer has been replaced by that of a thermometer, displaying a fake temperature which is close to that of a human body. This ghostly common point makes the pressure inside the airpillow a temporary sign of the “soul”, which is obviously not there, but also striking in front of the pressures from experiences and concepts.
零界点 /Common point
综合材料 / Mixed media
238 x 200 x 50 cm x 4,2020
This series has the same methodology as the “Granite” series. However, sizes matter even for the rules of the universe, for example a mammal can’t be too small and the Planck length means the degree of “smallness” can’t be infinite. Small stones and the retractable structures inside make the stones capable of “responding” to those who hold them in hands. According to the ancient wise men and women in China, people communicate to the nature through the process of “calling” and “responding”. Now the stones have new ways to respond to the audience. Is it necessary? Why not call them first?
切问 - 玉原石 No.1 No.2 /Qie-wen - Raw jades No.1 No.2玉原石 / Raw jades
10 x 9 x 9 cm ，17x 13 x 10 cm,2020
The basic methodology of this series is to carve a retractable structure into a whole piece of granite or to install a spin axis using the same material. This process doesn’t destroy the stone, it instead introduces a trace of mind into the stone through a carved track. Constellations are the same kind of trace introduced into the sky, and energy fields are the trace introduced into the micro-cosmos. This kind of trace doesn’t necessarily obey the rules of science, instead it represents the intimacy between human mind and the nature.
切问 - 花岗岩 A-3 A-4 /Qie-wen - Granite A-3 A-4
花岗岩 / Granite
70 x 43 x 40 cm ，62 x 41 x 38 cm,2020
This is a conversation with the stone, instead of any expression using the stone. The stone here is neither symbolic, nor a cultural image of any kind. It is a simply a creature of the nature, which may open the mind through the process of being opened.
石头肖像(采石现场 )
The Portrait of stone(Quarry site)
石头肖像(桐庐现场 )
The Portrait of stone (Tonglu，Zhejiang，working site)
2019.12 - 2020.4
石头肖像 /The Portrait of stone
大理石 /Marble
365 x 183 x 238 cm,2021
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