協和藝廊推出張力山裝置藝術展 框框相連到彼端

Exhibition : Frame to The Other End - The Queens Gazette

Exhibition Date: Dec15 2005-Jan 8, 2006
Artist: Lishan Chang
Location: Crystal Art Gallery

This exciting multi-media artist, Lishan Chang, invites the viewer to experience a transcendence linking one world to another, via the metaphor window frames linking life events in 2005, and morphing into the realm of the New Year 2006.

Whether a real or imagined frame that defines our culture, we live within a framework in our daily lives, ever changing like the cellular structure in our bodies changes very minute. While a frame limits one’s view of the world, I strive to create an infinity frame of the mind, where the concepts are framed in borderless scenarios, where the possibilities are endless. In a culture where people work diligently to excel in performing within a regimented structure, my goal is to deconstruct the frame, opening one’s imagination to a higher plane of thought where the artistic images within the frame conceptually convey a moment in one’s life.

Lishan Chang is inspired by the Crystal windows and door portfolio, as these products relate to visual frames and entrance pathways between personal spaces and public worlds. Like a movie scene, each advancing frame tells a piece of the story and helps define our perception of the moment, ignite our imagination, and fuel our emotions. This multi-media exhibition combines computer-synthesized music, and visual effects to expand your imagination outside the frame you see before you.

The artist vision is to manipulate common everyday materials, such as plastic wrap, in new ways, to expand our interpretation of objects, and ultimately morph our sense of the moment.

Beginning from year 2003, he applied plastic wrap as a basic medium in his creation. For example, his “shipping to Taiwan”, striated linear tension lines of plastic wrap, to convey the passage of time associated with shipping. Also in 2003, Storage, he locks objects within a protective cocoon like skin, offering viewers a metaphor of internal organs of society, wrapped in a skin of plastic reality.

In 2004, Lishan Chang started to utilize plastic wrap in his photography. He created a womb like environments, where reclining nude human forms appear to be suspended in a weightless reality, where a moment in life is expressed by gravity defying stretched plastic wrap.

Another landscape installation, @ Stacie’s yard, the visual metaphor of viewing nature through a barrier, stretched plastic wrap, that represents the man made structure of one’s life, one is presented with a unique compilation of two images married together. One, the image of nature, and one the reflection back of the viewer and of light, which evokes self-reflection of one’s relationship with nature.

Lishan Chang views himself as part installation artist, and part illusionist. His multi-dimensional installations invite the viewer to experience frameworks as portals to new planes of though with respect to nature and life. His stretched plastic wrap and hard frame structures are infused with ethereal vocals, and electronically illuminated color palettes, touching upon a wide array of the viewers’ senses.

The exhibition, Frame to the Other End, is sponsored by the Crystal Foundation Art Gallery located at 31-10 Whitestone Expressway, Flushing, NY 11354 Tel 718 961 7300 x3233.

協和藝廊推出張力山裝置藝術展

張力山與作曲家賴嘉玲合影

【大紀元12月17日訊】（大紀元記者史靜紐約報導）協和基金會藝廊自17日起隆重推出藝術家張力山的『框框連到彼端』裝置藝術展。開幕酒會在17日下午2點舉行，歡迎各界人士參加。

　　張力山在昨天(15日)的記者會上表示，「我的動機、想法很簡單，要在協和基金會藝廊作展覽，想做一個裝置作品，考慮其空間的合適性及相關性，自然想到運用協和所生產行銷的主要產品之一「門與窗」。於是，我計劃用門框作為裝置作品的基礎架構。」

　　張力山說，『框框連到彼端』，就字上看，短程裡，有一步一步邁向2006年的意思。長途呢﹐則暗寓走向人生的另一個境界。框框相連好比是一個個的影格，串成一幕幕情節，再連成一部電影。藉由影格，無盡轉換人們平日習慣觀看事物的角度，進而延伸至「框」外，無限擴展人類想像之宇宙。

　　張力山表示：「這是一件結合聲音、影像及複合媒材的裝置作品。影像的音樂，由作曲家賴嘉玲所創作。她先在錄音室裡，錄製由不同器樂演奏家，依她指示所即興演奏的音樂片段，再將這些演奏片段，一一輸入電腦，剪輯篩選出合適的部份，全曲用電腦編輯而成。我將她這首電腦音樂，視為現成物，運用在這次展覽中。」

　　藝術家的創作手法，經常運用生活現成物，然後把現成物提升、轉化而成為自己一種特殊的語彙。除了門框，張力山還使用了「膠膜」。張力山解釋說：「自 2003年起，我開始運用膠膜在藝術創作中，並予以膠膜不同之含意。例如，2003年的「Shipping to Taiwan」，我企圖用膠膜刻畫時間的速度感，比擬一波波的海浪。同在2003年，一件戶外雕塑Storage，膠膜除了原本其保護及保存的實質意義外，我賦予了它另一層意義，好比是身體內的隔膜。到了2004年，我大量地運用膠膜在攝影創作上，我預先將工作室以膠膜裝置一片大幕，透過光線投影，使拍攝的對象物，如似在水中、在霧裡，或在母體的子宮內，巧妙營造出一種無時間性的失重狀態。同在2004年，我還將膠膜運用到地景裝置上，在Stacie'sYard這件作品中，膠膜本身的實用意義完全被抽離，我企圖讓膠膜本身對光線反應的特性與質感，得以全面伸展，融入當下時空，與大自然形成一種特殊的光影對話。

　　協和基金會藝廊，地址為31-10WhitestoneExpwyFlushing,NY11354，協和基金會藝廊，洽詢電話1-718-961-7300轉分機3233。