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《置 物与边界》| 玻璃纤维、神龛、落石水面、蜡与圆

GENE弥金 Gene弥金 2021-09-26

《被搭建的白色团块》

周子正
玻璃纤维
50(L)x50(W)x30(H)
2020 

玻璃纤维
将原来用于建筑防火材料的玻璃纤维布进炉一体烧制,温度提高到玻璃纤维布无法抵抗的程度。不断的加温,想知道材料抵抗力的边界。突破有时候是一瞬间的,在常规和超越之间存在某个熵变的结点。而突破这个点之后,材料变得有些奇妙,原来的玻璃纤维布开始呈现出果冻一般的柔软质感,半固态半液态,杂质在烈火中全部消失殆尽。至臻至纯的硅酸盐被留下。然后是退火,高温下瞬时的不稳定形态经过漫长的冷却,在与时间的纠缠中沉淀出独特的品质。玻璃还是玻璃,它的显形中却包含了非玻璃的品质。

神龛
在角落里放置着悬空的三根圆管,取材自建筑工地常见的搭建材料。聚酯纤维捆扎带随意的悬挂在圆管之间,又或捆束在圆管之上,使人联想到某种带有宗教意味的纽结。线的缠绕在实体意味上牵引了观者的视线,暗示着物与物之间可能存在某种主观的联系。两种不同的玻璃纤维团块被放置在地面上,因其外貌的不相仿丰富了观者的想象:直立的团块宛如神龛立碑,焦色的团块仿佛山间落石。物的共性和差异性在并置的对照中更为强烈的显现。而最终我们发现它们不过是玻璃,而已。
会有禅意吗?不过是误入深山后恍惚遇到一座神龛,尚未如梦初醒,而神明已至。 

落石水面
用作窗户的玻璃,本意是在物理空间内设置一道不遮挡视线的阻隔,它干净,无杂质,少颜色,最大限度的隐藏自己的存在。在两层窗玻璃中夹入火山石,软化后再退火,石子被阻隔在了两块板子之间。说不清是因为玻璃包裹石子产生了弯曲,还是因为石子的介入使本来平整的玻璃有了凸起,总之平面有了曲度。
仍旧将玻璃抬高到一般窗户的视平高度供人观看,视线停留在因弯曲产生的凹凸面上,仿佛看到落石击中水面。光的投射发生弯曲,火山石附近产生彩虹色的光。
再透过窗户看向远方,世界可能会不一样。

《蓝环与陨石水面》局部
周子正
浮法玻璃,火山石,霓虹灯
130(L)x10(W)x180(H) 
2020

蜡有温度。
或者更确切地说,蜡的形态会随着温度发生变化。而无论如何,在面对蜡时,人们都不可避免的联想到它融化的状态。悬挂在墙上的蜡环和地面上的蜡池形成一圆一方的对照:圆环因为经受重力,每日比前一日更为下坠;蜡池蓄水,水给予池子以压力,蜡池承受压力而微微形变。但相比蜡环,蜡池的改变更为缓慢且隐秘,需要观者以敏锐的觉察力和观察才能发现。
重力和压力经过蜡这一物质得以显现自身,说不清奇妙的是规律本身,还是被规律作用的物质本身。

圆形
有三个圆形是可以清晰的看到的:蓝色玻璃板内的正圆,蜡环形变后的圆,还有霓虹灯管的椭圆。三个圆分别代表了初始、行进和可能的终点。
经过特殊处理之后的蓝色玻璃板内被挖去了一个标准的直径75厘米的圆形,一个初始的正圆,一个不是故意为之而偶得的理想中的圆形。它在视线上与环境中所有的物产生了空间上的透叠,又因为角度的变换使观者产生“移步换景”的感觉。蜡环是在变化的圆,虽然起初它同样也是直径75厘米的圆形,但它始终在行进中,时间、温度和重力共同塑造了它的形态。一个椭圆形的霓虹灯圈,可能是蜡环最终的形态,是一个可能的终点,它散发着幽蓝色的不自然的光线。
无论角度如何变化,圆本身却出奇的没有起点也没有终点。圆形以自身的圆满来回应这个不圆满的世界。

《池型与蜡环》
周子正
蜡,钢架,玻璃纤维,水,水生植物
池子:92(L)x71(W)x116(H) & 蜡环直径75cm
2020

Glass Fiber
The glass fiber cloth used for building fire-resistant materials is fired into the furnace, the temperature is raised to the degree that the glass fiber cloth cannot resist. Through constant heating, the artist wants to know the boundaries of the material's resistance. The breakthrough is sometimes instantaneous, and there is some point of entropy between the norm and the transcendence. After breaking through this point, the material became a little strange, the original glass fiber cloth began to take on the soft texture like jelly, half solid half liquid. Impurities vanish in the fire. The pure silicate is left behind. Then there is annealing, where transient unstable forms at high temperatures undergo lengthy cooling to precipitate unique qualities in entanglement with time. Glass is still glass, but its manifestation contains non-glass qualities.

Shrine
In the corner are three dangling tubes, drawn from common construction materials. Polyester bands hang randomly between tubes or are bundled above them, suggesting a religious knot. The entanglement of the line in the substance means that it draws the viewer's attention, suggesting that there may be some subjective connection between things. Two different fiberglass clumps are placed on the ground, and the difference in appearance enlivenes the viewer's imagination: the upright lump looks like a monument in a shrine, and the scorched lump looks like a rock falling from a mountain. The commonness and difference of things are more obvious in juxtaposed contrast. And it turns out they're just glass.
Is it zen? Perhaps God has appeared before man is aware of it.

《不定性的三方圆管与团块》

周子正

玻璃纤维,钢管,聚酯纤维绑扎带

170(L)x110(W)x210(H)

2020


Falling Rock Surface
The glass used as the window is intended to set a barrier that does not block the sight in the physical space. It is clean, free of impurities, and has few colors to hide its existence to the maximum extent. Volcanic stone is sandwiched in two layers of window glass, softened and then annealed, so that the stone is cut off between two boards. It is not clear whether the bending of the glass around the stone or the stone's intervention caused the original flat glass convex. Anyway, the plane of the glass is curved.
Still raising the glass to the level of a normal window, the jagged glass plane looks like water hit by falling rocks. The projection of light is bent, producing rainbow-colored light near the volcanic rocks.
The world may not be the same if you look out the window again.

《不定性的放置》&《陨石水面》
周子正
玻璃纤维,木架,聚酯纤维绑扎带 & 浮法玻璃,火山石
133(L)x110(W)x100(H) & 60x60
2020

Wax

Wax has a temperature.

Or, more precisely, the form of wax varies with temperature. In any case, the presence of wax is inevitably associated with its melting state. The ring of wax hanging on the wall contrasts with the pool of wax on the floor in a circular way: the ring falls more each day than the day before because of gravity; The wax pond stores water, the water gives pressure to the pond, and the wax pond bears pressure and slightly deforms. However, compared with the wax ring, the change of the wax pool is more slow and secret, which needs the keen perception and observation of the viewer to discover.

Gravity and pressure manifest themselves through the wax, and it is impossible to say whether it is the law itself, or the matter itself, which is acted upon by the law.


《规制宇宙》&《不定性的大三棱柱》
周子正
玻璃钢,木板,蓝晒显影,聚酯纤维绑扎带&玻璃纤维,木架
240(L)x140(W)x210(H) & 90(L)x60(W)x30(H)
2020 
Circle
Three circles can be clearly seen: the perfect circle inside the blue glass panel, the changed circle of wax, and the oval of the neon tube. The three circles represent the beginning, the march, and the possible end.
After special treatment, a circle 75 cm in diameter was removed from the blue glass plate, an initial perfect circle, an occasional ideal circle not intended for this purpose. In the line of sight, it creates a spatial overlapping with all the objects in the environment, and the change of Angle makes the viewer have the feeling of "moving to change the scene". The wax ring is a changing circle. Although it was also a circle with a diameter of 75 centimeters at the beginning, it was always moving, shaped by time, temperature, and gravity. An oval neon ring, possibly the final shape of the wax ring, is a possible endpoint, emitting an unnatural light of faint blue.
No matter how the Angle changes, the circle itself has no beginning and no end. The circle responds to the imperfect world with its own completeness.

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展览预告 | 周子正《置 物与边界》



展览预告 | 商思敏 《一日之计在于晨》




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