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昊美術(shù)館展覽 | 李漢威《只管去練》圖像的沉思之作

來(lái)源：家居百科時(shí)間：2024年04月08日 11:48

只管去練

一直以來(lái)，信息--作為文化的載體，其流動(dòng)與轉(zhuǎn)化的方式--是我持續(xù)感興趣并關(guān)注的主題。其中工具的實(shí)用性、技術(shù)的進(jìn)化、內(nèi)容的操控力都是我創(chuàng)作的靈感與出發(fā)點(diǎn)。三者互相關(guān)聯(lián)，又相互轉(zhuǎn)化。我多次試圖在現(xiàn)實(shí)世界的物質(zhì)性層面上展開(kāi)工作，但往往不能，因?yàn)樵谖铱磥?lái)這真的效率低下，而這種“低效率”讓我感到深深地不安。相比起來(lái)，我更喜歡對(duì)非物質(zhì)進(jìn)行操控，因?yàn)樗偸菍?shí)時(shí)且可逆的。感謝游戲制作與廣告特效的工具系統(tǒng)以及中國(guó)國(guó)內(nèi)全面的供應(yīng)鏈系統(tǒng)，讓我這樣的工作方式成為可能。

總體來(lái)講，本次展覽是我對(duì)圖像傳播思考后嘗試的結(jié)果。我的手機(jī)中儲(chǔ)存著大量圖像，不管是否是我自己拍攝的，是否與我有關(guān)。每天巨量的網(wǎng)絡(luò)使用時(shí)間讓我反而對(duì)從未見(jiàn)過(guò)的事物異常清晰:通過(guò)大數(shù)據(jù)的推送，信息總是會(huì)把過(guò)濾后的事實(shí)呈現(xiàn)在眼前;總會(huì)有一種引導(dǎo)，但我們知道這只是表層的現(xiàn)象.這促使我非常希望能夠描繪出圖像--信息原本的形象。

“練習(xí)”采用了展示虛擬世界的常見(jiàn)形式--屏幕與墻紙。其特殊的形式感，讓我得以將重心完全集中在虛擬空間。我會(huì)先用畫筆和手指在現(xiàn)實(shí)中進(jìn)行最基礎(chǔ)的涂抹筆觸，甚至直接從他人那里截取筆觸，然后將它們拍攝下來(lái)進(jìn)入cinema4D中繼續(xù)進(jìn)行創(chuàng)作。在這個(gè)過(guò)程中，我快速又無(wú)意識(shí)地完成每一張畫面，回退，修改，保存滿意的結(jié)果。我對(duì)繪畫方法論現(xiàn)有的框架--在這里，原本的繪畫的身體姿勢(shì)被僅有的手腕操控鼠標(biāo)的動(dòng)作所取代，又比如，通過(guò)在軟件中反復(fù)繪制貼圖的動(dòng)作進(jìn)行畫面內(nèi)容的演變，亦或利用“相機(jī)系統(tǒng)”呈現(xiàn)繪畫的空間感等等--和觀看的邏輯--3D軟件界面幫助我們克服了肉眼的觀看限制--進(jìn)行擴(kuò)展。

“目擊”同樣將3D打印機(jī)器本身的工具邏輯視作一種形式感來(lái)源，其尺寸的限制要求只能在有限立方體內(nèi)完成打印，這被迫產(chǎn)生了模塊化的效果。利用手機(jī)的深度攝像頭功能，我首先將圖像的每個(gè)像素點(diǎn)位移，擠壓出一個(gè)虛擬的厚度;確認(rèn)好模型之后，將其發(fā)送至3D打印農(nóng)場(chǎng)進(jìn)行批量化打印，此過(guò)程會(huì)產(chǎn)生一種地質(zhì)般的視覺(jué)效果，每一層記錄了圖像中的像素點(diǎn)的信息位置。整個(gè)過(guò)程中，我一直遠(yuǎn)程通過(guò)app實(shí)時(shí)傳輸記錄的數(shù)據(jù)信息，控制著打印的紋理、線條，甚至是偶然的缺陷也被保留下來(lái)。

Just Drill it

Throughout, information—as a carrier of culture, its flow and transformation has been my continuous interest and focus. The utility of tools, the evolution of technology, and the manipulative power of content are all inspiration and origin for my creations. These three elements are interrelated yet transformative. For a while, I’ve attempted multiple times to work on material level of the real world yet often found it inefficient, which has deeply distressed me. In comparison, I prefer to manipulate the immaterial for it is always real-time and reversible. Thanks to the instrument system of game production and advertisement after effects, as well as the comprehensive supply chain system in China, this manner of working has become possible for me.

Overall, this exhibition is the result of my attempt to reflect on image communication. My phone stores a large number of images, regardless of whether they are taken by myself or at any rate related to me. The massive amount of time spent on the internet every day makes me particularly clear about things I have never seen: through the push of big data, information has been always presenting filtered facts in front of me. There is always a guidance, though we know it's only superficial phenomenon, which makes me extremely eager to depict images—the original form of information.

Exercises series adopts common forms of showcasing the virtual world—screens and wallpaper. Its unique sense of form allows me to focus entirely on the virtual space. Usually, I start by making the most basic brush strokes with brushes and fingers in reality, even directly taking brush strokes from others, and photograph them to continue working in Cinema 4D. In this process, I finish each frame quickly and unconsciously, then retreat, modify, and save satisfactory results. I expand on existing frameworks of painting methodologies. 3D software interfaces have helped us overcome the limitations of visual perception while shifting the logic of viewing. Here, the physical posture of traditional painting is replaced by the action of controlling the mouse with only the wrist. For example, the evolution of the picture content by repeatedly drawing textures in the software, or using the "camera system" to present the spatial sense of painting, and so on.

Likewise, Witness series regards the instrumental logic of 3D as a source for sense of form. The size restrictions of the printer require printing to be completed within a limited cubic space, which forces a modular effect. Utilizing the depth-sensing functionality of the smartphone's camera, I firstly displace each pixel of the image, squeezing out a virtual thickness. Once the model is confirmed, it is sent to a 3D printing farm for batch printing, which produces a geological visual effect, with each layer recording the information position of the pixels in the image. Throughout the process, I have been remotely transmitting recorded data in real time through the app, controlling the texture, lines of the print, and even retaining accidental defects.

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