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何宇森
南方雪
2018-2024

我的創作從自然界的植物形態出發,探索物質與精神的交互作用,以及形體與意象之間的轉換過程。以《垂墜-偶然》這件作品為例,它源於植物形態的有機線條,經過轉化後成為抽象雕塑語言的過程,呈現出一種介於具象與抽象之間的模糊性。作品不僅是對自然形象的摹擬,而是對於形式本質的探索,以“道法自然”、“無為而治”為主體的美學核心價值所進行的視覺表達。

在創作的過程中,我創造一個環境,讓材料的流動性與不可預測性決定作品的最終形態,「模糊」是作品間的重要核心語言。以植物的形體為基礎,透過不鏽鋼框架的焊接,構建出類似植物莖葉的線性結構,這些有機的曲線隨後被石膏的體量所包覆。在方法上,我研發雕塑材料噴塗技法,透過上百層噴塗,在過程中材料隨重力流動,支架形體逐漸膨脹,形成模糊的形態。

其中,石膏混水後由粉狀轉為液體,再到固體的過程,或是鋼鐵熔化後呈現的流動性,都是我創作中的重要考量。這種「塑形」方式,加上多道的汽車清漆包覆,使得作品在光影之間呈現出散光的質感效果。正是為了凸顯作品因流動性而產生的模糊特質。

我對於「模糊性」有著特別的關注。這種模糊性並非只指形體的模糊不清,更是一種意象的模糊,一種符號意義逐漸解構的過程。例如《南方雪》的創作靈感來自台灣常見的路邊野花——白花鬼針草,我將這種本土植物的記憶以雕塑的形式重現,並在形態上模糊其具象輪廓,使其從單純的自然象徵轉化為更抽象的視覺經驗。作品的外形逐漸模糊,也反映了我對文化身份、個人記憶與地方感知的探索。

此外,作品也回應我個人的文化記憶與地理經驗。身為來自台灣南部的雕塑創作者,搬遷到北京後,面對不同的氣候與文化環境,不得不重新思考雕塑材料的選擇與形式的呈現。這種環境的變遷促使我反思文化與自然之間的關係,也成為我創作中的一項重要驅動力。因此,作品中的植物形象不僅代表個人的故鄉記憶,更象徵著文化身份在跨地域的變遷中所產生的複雜性與多樣性。

My creations originate from the forms of plants in nature, exploring the interplay between material and spirit, as well as the transformation process between form and imagery. Taking Falling - Serendipity as an example, the work is inspired by the organic lines of plant forms, which are transformed into an abstract sculptural language, presenting a certain ambiguity between the figurative and the abstract. The work is not merely a mimicry of natural images but rather an exploration of the essence of form, visually expressing the core aesthetic values rooted in the philosophy of "following nature's way" and "governing without interference."

During the creative process, I create an environment where the fluidity and unpredictability of the materials determine the final shape of the work. “Ambiguity” is a central language across my pieces. Based on plant forms, I construct linear structures resembling plant stems and leaves by welding stainless steel frameworks. These organic curves are then enveloped in plaster volumes. Technically, I developed a spraying technique for sculptural materials, applying hundreds of layers. Through this process, as the materials flow under the influence of gravity, the supporting structures gradually expand, resulting in blurred forms.

The transformation of plaster from powder to liquid and then to solid, or the fluidity exhibited by molten metal, are critical considerations in my work. This approach to "shaping," combined with multiple layers of automotive clear coat, creates a diffuse texture in the interplay of light and shadow, emphasizing the ambiguous characteristics produced by the materials' fluidity.

I have a particular focus on “ambiguity.” This ambiguity goes beyond the indistinctness of form; it also encompasses an ambiguity of imagery—a process where symbolic meanings are gradually deconstructed. For example, in Snow in the South, the inspiration comes from Bidens alba, a roadside wildflower commonly seen in Taiwan. I reimagined the memory of this native plant in sculptural form, blurring its figurative contours and transforming it from a simple natural symbol into a more abstract visual experience. The increasingly ambiguous shape of the work reflects my exploration of cultural identity, personal memory, and a sense of place.

Furthermore, my works respond to my personal cultural memory and geographic experiences. As a sculptor from southern Taiwan who relocated to Beijing, I have been compelled to rethink my choice of materials and the presentation of form in the face of differing climates and cultural environments. This environmental transition has led me to reflect on the relationship between culture and nature, which has become a vital driving force in my creative process. Hence, the plant imagery in my works not only represents personal memories of my homeland but also symbolizes the complexity and diversity of cultural identity amid transregional transitions.

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©2019  by He yu-sen 何宇森.

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