CUTOUTS 剪紙系脈絡 > Paper 剪紙

「脆弱的種種美好」部份展出作品,雲門劇場

Cut-outs and Alive — JAM WU Site-specific in Cloud Gate Theater, 2016.

 

字典Ⅲ, 繁體字典+ 泰維克, 110 x 450 CM, 2016.

DICTIONARY Ⅲ, DICTIONARY OF TRADITIONAL CHINESE ON TYVEK, 110 x 450 CM, 2016.

 

剪紙-身體動力NO.7,No.9, 丙烯顏料上色於法國水彩紙+宣影布輸出, 75 x 100 CM, 2016.

APER CUT-OUTS – PHYSICAL POWER NO.7,No.9, ARCRYLIC ON FRANCE CANSON PAPER + P-Tex PRINT, 75 x 100 CM, 2016.

 

 

Paper Cut-Outs - Physical Power No.1 - No.5 剪紙 - 身體動力,壓克力顏料、宣影布 Arcrylic and cutting on P-Tex,120x90cm(1 Piece, 1+1AP), 90x65cm(2 Piece, 3+1AP), 60x45cm(2 Piece, 3+1AP), 2015.

 

 

一千零一夜One Thousand And One Nights, 尺寸依場地變化Dimensions Variable, 紅色棉紙Red cotton paper, 2015.

One Thousand and One Nights

It is an ongoing project. One thousand and one paper cut-outs – I have never dealt with so many pieces of art in one single project. 1001 might be a number without significance. It might be a scene extracted from our life or the fragment of language. I try to follow the pace and the persistence of how I keep a diary or jogging, forcing myself to produce until I reach the quantity. I am not an artist. I am more like an art-producing machine.
I exchange one edition for someone else’s written text. A paper cut-out is mailed and delivered to a participator. After the participator receives the paper cut-out, he or she will write down a paragraph based on imagination as an exchange. In the Arabic classic One Thousand and One Nights, the oral stories are repetitively adapted and narrated. As for me, I hope that the legend-like words are the only thing left in the project after the continuous exchange.

「一千零一夜」

這是一個還在進行中的計畫。一千零一張剪紙,是我第一次創作如次數量龐大的一件作品。一千零一,可能只是一個沒有意義的數字,如同生命場景裡的某些片段,語言的碎片。我嘗試用寫日記或是慢跑式的節奏來規範自己,用數量來壓迫自己生產。我不是一個藝術家,我比較像是一部藝術生產機器。
我將其中一版作品用來與人交換文字,一張剪紙透過實體郵寄,交遞於一位參與者的手上,參與者在接到剪紙後,書寫一段想像文字與我交換。阿拉伯世界的民間經典「一千零一夜」藉由口述,流傳著不斷被改編的故事。我則希望整件作品,經由不斷交換,最後只留下傳說般的文字。

 

黑剪紙 - 畫布系列 Black Paper Cut-Outs No.1 -No.5 - Canvas Collection, 壓克力顏料、畫布拼貼、畫布 Arcrylic and canvas cut-outs on canvas, 220x85cm厚度3.5cm, 2015.

 

影像剪紙系列─裸妝之靡 Photo-Cutting Collection-The Nude Makeup in Decadence, 100x180cm, 宣影布輸出 Print on P-Tex, 2015. 影像剪紙系列─金色雪印 Photo-Cutting Collection-A Golden Trace of Snow, 100x180cm, 宣影布輸出 Print on P-Tex, 2015.

Photo-cutting Collection – Night” It follows my previous practice to adopt “photos” as the materials for paper cutting, while the photos were taken during the artist’s trips or residence in four different countries. Every piece includes an original photo and the written text. Between “photo” and “paper cutting,” I hope to explore the space of imagination while the two media disturbing one another.

「影像剪紙系列 – 夜」 延續以「影像」作為剪紙素材,影像內容是我在駐村或旅行不同城市,所拍攝的影像,每一張作品搭配一份原始攝影圖像與文字文件,希望在「攝影」與「剪紙」之間,閱讀兩相介質互相干擾之下所產生的另一種想像空間。

 

字典Ⅱ 一片黃昏, 金箔、中文繁體字典、畫布板, 180x90cm(5件一組), 2015. Dictionary Ⅱ- An Evening, Gold leaf, dictionary of traditional Chinese on canvas panels, 180x90cm(5 piece for a set), 2015.

An Evening – Dictionary of Traditional Chinese” By deconstructing an old dictionary, I use letterpress printing as the materials to cut and to collage. In an age where we witness the gradual death of “paper books and traditional Chinese,” I capture the classic memory of my childhood when I learned to read.

「 一片黃昏 – 中文繁體字典」 藉由拆解一本本老字典,以鉛印紙張作為剪紙素材,重新剪裁拼貼。在「紙書本與繁體字」逐漸消逝的年代,重溫我童年學習文字的古典記憶。

 


「FRENCH-CHINESE DICTIONARY」JamWu Works for -THE PENINSULA PARIS, 2014
MATERIAL:1970~80'S FRENCH-CHINESE DICTIONARY
SIZE:74 x 126.5 cm x 6piece , 74 x 245cm x3piece

『繁體漢法字典 』吳耿禎 ,2014
作品材料:1970~80'S繁體漢法字典
74 x 126.5 cm x 6組件 , 74 x 245cm x3組件

375 Percent Rent Limitation. Sale of Public Land. Land-to-the-Tiller. Joint Commission on Rural Reconstruction. Banana Empire. General Agreement on Tariffs and This is a series of site-specific artworks created for Paris, with the sense of time searched for in the spaces of reconstructed old buildings. An attempt is made to link together Taiwanese and French cultures from old letterpress dictionaries. I searched in used bookstores all around Taiwan for about a year and finally ended up taking apart seven old dictionaries, resulting in eight thousand pages printed with traditional Chinese and French. The pages were then glued together with acid-free adhesive and transformed into a creative medium.

This is a rather challenging medium to work with, and because the installation is placed in a glass display case with both sides showing, the paper-cutting structure must be intricately detailed like a web-like lace. The overall composition is a simplified contour of the “classic Chinese architecture”, which is interlaced with “vegetations and landscapes”, and the central subject of the space is comprised of “Chinese opera characters”.

The paper-cutting shows negative and positive hollowed structures and engages in dialogues with the light. The paper reflects the decay prompted by time, with the countless words from the dictionaries transcribed into another form of cultural vessel, with translation made obsolete.

這是一組為巴黎所做的限地作品,在古老建物改建的空間裡,尋找時光的嗅覺,我試圖在老字典的鉛印文字中,連結台灣與法國的文化,繁體中文—法文,我在全台灣的舊書店裡找尋的一年之久,最後拆解了七本老字典,八千頁的紙張,一一用無酸膠黏貼成為創作素材。

這是一個有挑戰性的材料,將裝置於兩面皆可觀看的玻璃櫃中,所以剪紙的結構必須如綿密的網狀蕾絲。剪紙的大構圖以「古典中國建物」為簡化輪廓,再以「花草山水」貫穿,空間的中心軸則以「戲曲人物」為主角。

剪紙的陰陽鏤空與光線對話,紙張反應著時間的鏽蝕,將字典裡無數的文字,轉譯成另一種文化載體,無須翻譯。

 

 

 


Photo-cutting Collection - Looking at winter light 影像剪紙系列 - 仰望冬日, work size:100(W)x180(L)cm (4 Piece), print on P-Tex宣影布彩色墨水輸出+保護噴膠 , 2012

Look up and there is light, with the twig-like nest a half-knitted sweater partially wrapping the body. If you encounter the light then let your own darkness bloom. There will always be a mailbox waiting in the far distance, with each greeting and message wishing you well. Walking on the snow-laden street in solidarity and passing through the vast plain of white, you look toward the direction of the ocean with no waves in sight. Branches blowing against the wind, with shadows cast by the sun dragged out like ink in the white sky. Standing under the umbrella, snowflakes are turned into water droplets, with a river stream of time formed by the water passing through the unknown urban sewer to arrive here. As the street is agitated by the sounds and the cones paved throughout the streets rattling, music is being composed just for me. / By the River Thames, London

抬頭你就望見光,那樹枝狀的巢,是織成一半的毛衣,包裹不完整的身體,如果你遇見光,就綻放自己的黑暗,總有一個遠方的信箱在等待著,你的投遞,你的訊息,你在彼端好嗎,獨獨穿過那條覆雪的街,穿過一片白色草原,你看向海的方向,並沒有看見海浪,背風的樹枝,隨著日昝投影,筆墨的水拖曳在白色天空,你站在傘下,雪正滴成水,水正流成時間,流向不知名的城市下水道,抵達此端,擾動街聲,搖動滿街聲響的球果,那是我的音樂。 / 倫敦,泰晤士河畔。

 

 

 

Singing In The Rain, Black Paper, 2012
Double Map, Black Paper, 2012

Singing In The Rain
噗通噗通的撲空,
每一個乾的水池中。
梅雨季荒涼,
傘倒立著。
花開著,
沒有沒有著。
身體丟進雨中,
倒影有一種蛋花湯的輕輕如霧。
前奏還未開始,
風景被水波碎破。

Double Map
決定了那陰影,
誰來讓我漆。
一隻獸,半個宇宙,
吃飯,卸下,梳洗,瀝乾。
剩下的清醒晾著,
午後空無一人的港灣加工廠區大門敞開如你。
唯有裸體,
我們才能在同一個尺度裡相遇。
汗水泌出身體,影子泌出地球,
黑色的鐘擺漸漸拉長直至消失。

 

 

 


/ The town and country under Black Lamps,3D Paper Cut-outs, 2012.
(農用) 黑皮書 - 黑燈管下的城鄉 , 剪紙, 2012.

 

 

 

Colors Killers, 160(W)x100(L) cm, Acrylic on Canvas, 2011.

月光穿透掌心,雲霧蛇行於林間。

你追逐那頭野山豬的下午,媽媽在山下的溫泉鄉裡為遊客刺繡花。你在城市擔任一名企劃職員,固定雙手合十去教堂作禮拜,但是你知道你的租靈信仰於那片山林,那片大海,那灣流水,那一顆顆小小的閃耀的石頭。不管是原住民,先住民,後住民,先移民,新移民,你只知道每個人那一顆小小的火熱的心。血滴滲入土,長成一片樹蔭,飄落滿天的花雪。

風來了,她就來了,風走了,她也走了。

致每個時代曾經用心用力在這片土地上活著的人們,他們篳路襤褸,開啓山林,他們信仰天地,為後人留下美好的啓示。每一個”曾經“都是鮮明而不可抹滅的,每一朵色彩鮮艷的剪影,是”曾經“的我們。我們一個疊著一個,像沙灘上的痕跡,交織出一片燦爛,如阿嬤手上那塊古老又新鮮的布。

 

 

 

For Republic of China (Taiwan) Centenary,Cutting on Polypropylene Computer Output , 「為此起彼落的100這數字而做」影像剪紙系列, PP相紙輸出加霧膜 , 110x220cm x2pic, 2010.

此作品完成於2010在巴黎CITE DES ARTS,靈感來自我的第一次中國陝西旅行,人民幣紙鈔,既是生活中常用的紙,也是物品間價值的交換體。2010年12月31日,我在巴黎感受著台灣建國一百年的沸騰煙火慶典,卻也確確實實感受著護照上寫著“Republic of China ,Taiwan”的政治性感受種種於歐陸生活中。人民幣100圓與新台幣100圓,都恰恰好與我常用的”紅“紙有了某種巧合,破碎以往的政治人物影像在此刻時空中,與民間剪紙(紙鈔)有了多面解讀空間。

 

 

 

Water Sunshine,150(w)x300(h) cm, Inkjet print on fabric and cut, Urban Utopia, Deutsche Bank Collection(in-situ), HK, 2011.
影像剪紙系列-水光, 德意志銀行收藏(限地製作), 宣影布輸出+糨糊水裱於玻璃, 香港, 2011.

 

 

 

Art Residency works (Paper Cut-outs) in Cité Internationale des Arts , Paris, France, 2011.

 

 

 

Art Residency works (Paper Cut-outs) in JuMing Museum, 2007.