塔瓦猜·汶杜沙瓦迪 Tawatchai Puntusawasdi｜从地球的影子到 “神星”的旅程 @新加坡艺博会 Art SG
新加坡艺博会现场 Installation shot at ART SG, 2023
塔瓦猜·汶杜沙瓦迪 Tawatchai Puntusawasdi
神星 Haumea 2016
铝板、铆钉 Aluminium plate, rivet
210 (h) x 120 (w) x 218 (l) cm
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首届新加坡艺博会
ART SG
Booth 展位 1C03
贵宾预览 VIP Preview2023.1.11 14:00-17:00 2023.1.12 11:00-12:00
开幕式 Vernissage2023.1.11 17:00-21:00
公众开放 Public Access2023.1.12 12:00-19:002023.1.13 12:00-19:002023.1.14 11:00-19:002023.1.15 11:00-17:00
新加坡滨海湾金沙会展中心
Marina Bay Sands Expo and Convention Centre, Singapore
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塔瓦猜·汶杜沙瓦迪的作品《神星》正在首届新加坡艺博会展出，大家可以在BANK的C103展位看到这件作品，如一颗出其不意的行星降落此地。这件装置来源于艺术家过去多年关于地球影子的猜想，并融入了他称之为冥想过程的数学计算。
Tawatchai Puntusawasdi‘s artwork Haumea is currently on view at Art SG in Singapore and can be seen at BANK's booth C103. You may find this piece look like an unexpected planet landing here. Haumea is derived from the artist's past years of speculation about the shadow of the earth and incorporates mathematical calculations that he calls a meditative process.
关于艺术家
About the Artist
塔瓦猜·汶杜沙瓦迪1971年出生于泰国曼谷，在清迈生活和工作。他在清迈大学（BFA）和泰国艺术大学（MFA）继续他的艺术教育。塔瓦猜·汶杜沙瓦迪因其精致和优雅的雕塑而闻名，主要使用硬木和金属，这些雕塑扭曲了可识别的形式，唤起了观众对他们居住空间的高度体验。
汶杜沙瓦迪曾在世界各地多个重要机构展出作品，包含泰国国家艺术馆，新加坡艺术科学博物馆，法国莫里索基金会，日本东京当代艺术馆，德国Artswitcher Kunstwerks，瑞典Edsvik Konst och Kultur等。此外，他还参加了2018年曼谷艺术双年展、2009年雅加达双年展、2006年悉尼双年展，以及第50届威尼斯双年展。他曾两次获得波洛克-克拉斯纳基金会的资助。
汶杜沙瓦迪的作品被多个重要机构及个人纳入收藏，包括清迈MAIIAM当代艺术博物馆；新加坡艺术博物馆；泰国文化部；泰国国家银行；泰国Silkaporn Art Center；泰国曼谷四季酒店；DC Collection；Lola Lenzi；Petch Osathanugrah等。
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Tawatchai Puntusawasdi was born in 1971 in Bangkok, Thailand, lives and works in Chiangmai. He pursued his art education at Chiangmai University (BFA), and then at Silpakorn University (MFA). Working predominantly with hardwood and metal, Tawatchai Puntusawasdi has come to be known for his refined and elegant sculptures that skew and distort recognizable forms, evoking in audiences a heightened experience of the spaces they inhabit.
Puntusawasdi's artworks have been exhibited in worldwide institutions and museums, including National Art Gallery in Thailand; the ArtScience Museum in Singapore; Morisot Foundation in France; Museum of Contemporary Art Tokyo in Japan; Artswitcher Kunstwerks in Germany; and Edsvik Konst och Kultur in Sweden, etc. In addition, he has participated in the Bangkok Art Biennale 2018, the Jakarta Biennale 2009, the Biennale of Sydney 2006, and the 50th Venice Biennale. He has twice been the recipient of the Pollock-Krasner Foundation Grant. His notable collections include MAIIAM Museum of Contemporary Art, Chiangmai; Singapore Art Museum; Ministry of Culture, Thailand; Thai National Bank; Silkaporn Art Center; Four Seasons Hotel, Bangkok; DC Collection; Lola Lenzi; Petch Osathanugrah, etc.
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从地球的影子到“神星”的旅程
Traveling from the Earth’s Shadow to ‘Haumea’
新加坡艺术科学博物馆展览现场
Installation view at ArtScience Museum, Singapore
这个系列的作品是根据我过去多年对艺术作品的持续想法而创作的，包括我在年初获得 Silpa Bhirasri "正投影雕塑"奖学金而创作的作品。
这件作品源于我对投影形状或影子的想象。我花了大部分时间去理解、研究以及求知若渴地获得几何学和数学的新知识，这些知识完全由过去所建立。
为了寻求创造形状的精确性和准确性，我花了几个月甚至几年的时间，在我的工作台上，眼睛盯着我的作品，忽略了外界，就像一个画家凝神于描绘自己所看到的事物，或者是建筑工人专注于将木材切割成相同的形状。
在工作过程中，有时会生出想象中的想法，从一个方面变成另一个方面，永不稳定，耗费时间，疲于追逐可变之物。我不否认艺术为情感服务这一定义，这个作品系列可能是我未来创作新思路的开始，无论我的作品如何影响观众的感受，都欢迎你来亲自体会。
塔瓦猜·汶杜沙瓦迪
2013年9月
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This artwork series was created based on continuous idea on my past artworks over years, including the one that I was created during the early of thisyear by awarding Silpa Bhirasri’s scholarship in “Sculpture from Orthographic Projection”. This artwork is from my imagination of projected shapes orshadow. I have spent most of my time understanding, researching and being excited with gaining new knowledge on geometry and mathematics, theseknowledge were completely built from the past.
To search for precision and accuracy in creating shapes, I had spent months to years, on my workingtable, with eyes focused on my artwork, ignoring the outside, which is just like a painter who paints in what he or she sees, or constructor who focused oncutting the wood into same old shape.
Sometimes imaginary thought come during working, changing from one way or another, never stable, time wastingand tired with chasing something changeable. I didn’t deny the definition that art serves emotion, this artwork series may be the beginning of new ideain my work in the future, whatever my artworks affect the audience’s feeling, you’re welcome for that.
Tawatchai Puntusawasdi
September 2013
神星 各角度 All angles of Haumea
Photo credit Krissada Suvichakornpong
塔瓦猜·汶杜沙瓦迪花了三年时间寻找地球影子的维度，专注于形状构建的原理和假设，以证明球体扭曲维度的理论。
参考2010年名为“下午3点的地球影子”的作品，塔瓦猜·汶杜沙瓦迪首先从世界是球形的事实出发，创造了地球影子的假设。然后，他提出了一个问题：如果地心被扭曲，地球会是什么形状？如果地球有它的影子，它会是什么样子？
他的好奇心促使他通过寻找球体在X轴和Y轴上的比例来寻找答案，这两个轴被扭曲变形。在比例的变化中，这成了一个令人兴奋的问题，塔瓦猜把数字的“不变性”和计算的规则作为寻找这个新球体的点、线和角度所在位置的行为方向。他不断改变和减少球体1:1的对称比例，直到在纸上画出新的、扭曲的球体草图。
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Tawatchai Puntusawasdi with three years spending on searching the dimension of earth’s shadow, focusing on rationale and assumption of shaping toprove theory of spherical in distorted dimension.
Refer to the artwork named “Earth’s Shadow at 3 p.m.” in 2010,that Tawatchai Puntusawasdi firstly created the assumption of earth’s shadow with ref-erence from the fact that the world is in sphere shape. He then raised the question that “If the earth’s core is distorted, what the earth shape will be? “Ifthe earth has its shadow, what it will be like?”
His curiosity leads to answer finding through searching for proportion of sphere in X and Y axes which were twisted into distortion. Inside the change inproportion, that becomes exciting problem, Tawatchai has taken “invariant” of the numbers and calculation’s rules as the direction for finding locationof points, lines and degrees of this new sphere. He keeps changing and reducing the proportion of symmetrys cale at 1:1 of the sphere until the sketchof new and distorted sphere was created on the paper.
塔瓦猜·汶杜沙瓦迪 Tawatchai Puntusawasdi
神星示意图 Diagram of Haumea 2016
复印纸面绘画 Drawing on xerox pape
80.5 x 188 cm
从他独特的想法中，塔瓦猜创造了地球“影子”的画面，这个画面合理地投影自地球，将地球的形状和地球的影子以二维的形式联系在一起。
塔瓦猜继续他的想象，我们从远处看到的投在月球或其他行星上的"影子"是平坦的黑影，它实际上根据行星的形状也有自己的尺寸、曲率和深度。这使得影子的形状，从他的“下午3点的地球影子”的草图变成了“神星”的三维形状，这是一个超过两米高的雕塑，由数千个不同形状的金属片组合而成。每块金属板的形状都是在几十张草图纸上精心设计而成。塔瓦猜对每块金属片进行了仔细而清晰的重新排序，提前确定了每块金属片的度数，以将数千块金属片完整而完美地组合成一个扭曲的 球形。
塔瓦猜的雕塑也许没有传递情感，但呈现了他对物体的状态、现实和基于计算的形状构建可能性的思考过程和观点。塔瓦猜一直在展示这样一个事实：即使是平面的物体，也可以通过把它的边或角完全拥抱在一起，变成更大维度的形态。以此，内部空间将充满空气，外部形态将由思维过程、设计和创意过程所塑造。
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From his unique idea, Tawatchai has created the picture of earth’s “shadow” that leans toward the earth logically, so it became the two-dimension thatwas linked the earth’s shape and earth’s shadow together.
Tawatchai continued his imagination that ‘shadow’, which casted on the moon or other planets we’ve seen from the long distance as the flat and darkshadow, is actually having its own dimension, curvature, and depth according to the planet’s shape as well. ‘Haumea’ is the sculpture with over 2 meters height, createdby combining thousands metal sheets with different shapes together. Tawatchai reordered each sheets carefully and clearly, defined the degrees of each metal piece in advance in order to place thousands them together asthe distorted sphere completely and perfectly.
Tawatchai’s sculpture might not convey emotion, but his thinking process and point of view over state of objects, reality and possibility of shaping basedon the calculation. What Tawatchai keeps presenting is the fact that even the object with flat dimension can be transformed into bigger dimension shapeby embracing its sides or corners together completely. Then, the inside space will filled with air and the outside shape will depend on the thinking pro-cess, design and creativity process.
神星 细节图 Haumea (Details)
Photo credit Wannaporn
塔瓦猜不仅对创造形状感兴趣，以他的艺术技艺、想象力和美学鉴赏力，他还把自己的艺术美学风格简单地置于雕塑的物理学中。然而，这显然影响了观众的视角，雕塑的角度是扭曲并且不稳定地放置在地面上，我们会想，它是会掉落还是稳定不动。这种好奇心或不确定性成为了这件作品品读的一部分。
尽管塔瓦猜不会用他的想象力来描述他的作品，但如果询问他关于作品细节的灵感，我们可以从很多方面找到一些有趣的参考，例如”神星“条纹表面的选择，来自于艺术家对几乎破碎的电脑屏幕的深刻印象。此外，条纹给人以绘画铅笔线条的联想。
钉子被固定在一起的位置排列就像“破折号”，它被定义为一个通用符号，表示物理学中二维基础上的三维形状的深度维度。这个破折号是形态的另一种真实存在，人们看不到它，只有研究它时才会发现。
艺术品上的圆环不仅是构建外形美观的元素，而且也增加了艺术品的趣味性。此外，它还反映了塔瓦猜的想象，即这个球体是他的雕塑所在星球的影子。当影子投射在表面时，就意味着这个星球真实存在。
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Tawatchai is not only interested in creating shapes, with his artistic ability, imagination and appreciation on beauty, but he also put his own style ofartistic aesthetics in sculpture’s physic simply. However, it affected the audience’s perspective clearly that the sculpture’s degree which is distorted andlocated on ground unstably that we were wondering if it will fall or stable. This curiosity or uncertainty is one of the tastes of artwork.
Even though Tawatchai won’t refer his imagination todescribe his artwork, but if questioning him on theinspiration of the artwork’s details, the interestingreferences were found in many sources, i.e. surface instripe of ‘Haumea’ that Tawatchai intends to choosethe material with stripe since he was impressed with itfrom the nearly-broken computer screen. In addition,the stripe gave the feeling of pencil line of drawing.
The position that the pins were secured together isjust like the ‘dash’ which was defined as the univer-sal symbol representing depth dimension of shapewhen describing physic of 3 dimension shape on 2dimension basis. This dash is another truth of shapethat people could not see, only once they study on it.
The circle hole on the artwork is not only the elementthat promotes the physical beauty, but also increasesthe interest in the artwork as well. Also, it reflectsTawatchai’s imagination that this sphere is the shad-ow of the planet which surrounds his sculpture. Whenthe shadow casts on the surface, it means the planetreally exists.
曼谷画廊 Numthong Gallery 展览现场
Installation view at Numthong Gallery, Bangkok, Thailand
Photo credit Wannaporn
从过去到现在，如果有人探究塔瓦猜的艺术作品，他们可能会有同样的感觉，塔瓦猜的雕塑始于他对自己想象力的开放和假设的挑战，直到他坐在桌边，全神贯注地用计算找寻答案。在那个时期，冥想是创造的重要驱动力。构成形状构建的计算结果充盈了他的内心。
这并不是结束，塔瓦猜的另一面是一个做梦的艺术家，他通过星星反映自己的思想，他寻找“影子”的空间，一个尚未被证实的神秘维度。塔瓦猜的好奇心就像燃料，总是驱动着他的创造力，去创造和找寻令人激动的新事物。
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From past to present, if anyone traces Tawatchai’sartwork, he or she may feel the same that his sculpture began with opening to imagination and assumption that challenging himself, until he sat down on histable, focused precisely on calculation to find the answer. Meditation that was created during that periodis the significant drive for creativity. Then, result ofcalculation that leads to shaping is what fulfills theemptiness in his heart.
That was not the end, another side of Tawatchai is dreaming artist, he reflectedhis thought over stars and searching of the space of‘shadow’ that is the mysterious dimension which hasnot been proved yet. The curiosity around Tawatchaiis just like the fuel that always drives his creativity forcreating and searching for new and exciting things.
首届新加坡艺术博览会展览现场，2023
Installation view at Art SG, Singapore, 2023
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