Critical Vacancy 姿態

Critical Vacancy, 2006~23

Remnants of previous artwork, digital printings on photopaper, acrylic panel, plastic bowls, garbage bags, plywood, wooden battens, F-clamps and mixed media

Dimension variable

Personal projections are compounded by the entrusted social meaning and the basic characteristics of material existence. 

Amid current delusion and numbness, information, memory, and history show that they can be meaningless. 

The structure and framework present outlines of various contents that have been emptied. 

It’s like a luxurious mansion that has been vacated. 

Or do we just hide these familiar things with other things? Or do we not want to see them again?

Disused furniture is more sculptural than any object carved from stone or wood. 

Their sudden stillness can suffocate omens, freeze the air, and at the same time reveal the face of utter death. 

Will distant latecomers meet and explore them with familiar or lively eyes?

The day is probably not far off.

Either they then exist only in ruins. 

Or change with the decades. 

All have no choice but to adapt. 

While waiting for the future, there are still many in desolation. 

Don’t let the glamorous party end, and don’t let the silence thereafter loom large.

個人的投射複合於被寄予的社會意函與物質存在的基本特性。

在虚妄與麻木的當下，資訊、記憶、歷史突顯了它們無關痛癢的一面。

結構及框架空蕩蕩地展現各種抽空掉內容的輪廓。

像遷出所有家當的碩大華麗的宅邸。

抑或我們不過以東西遮擋這些熟悉的物事乍看不見？還是不願再見？

不再被運用的家具，比刻石鑿木成的立體更像雕塑。

它們突如其來的靜止可以憋住先兆，能凝住空氣，同時霎眼露出全然死透的面相。

遙遠的後來者會以熟悉不過或活潑的眼光遇見並探索它們？

大概日子也不遠。

要麽它們接下來只存在被毀壞的形式宛如湮滅。

要麽時代更迭僅僅數十回朝露。

所有人別無選擇轉化為後來的。

在等待後來時，荒涼裡依然人影重重。

不讓碩大華麗的派對完結；不讓狂歡後的靜默真正彰顯。