藝術家康雅筑個展《三分之一之外-棉花研究計畫第四章》 Beyond One-third -Cotton Research Project IV
時間 Date2020-10-22 ~ 2021-05-31
地點 Venue蕭壠文化園區A4-1館 A4-1 Gallery, Siao-Long Cultural Park
生於臺灣臺北，是一位複合媒材跨領域藝術家，她透過藝術實踐質疑人與自然環境的關係，以及社會課題。她的藝術研究是以紡織文化史和當代社會行為表象為基礎，探討藝術技能與體力勞動、生活狀態與遷徙的可能性，以及經濟貿易與社會結構之間的關係。現代性如何影響傳統、經濟制度和自然環境？她的旅行和駐地經歷潛移默化地影響她所認知的世界，主題往往反映在邊界、生命和過程之中，這促使她在每項計畫中同時探索自我意識和可持續性狀態的可能性。她目前正在多地進行紡織文化研究，著有《織物地圖 1、2、3 》，亦參與藝術教育和社區合作項目。
If we intend to create a story from this chapter, we shall start with the fact that most of us spend 1/3 of our lifetime being covered by cotton quilts. Then, we can begin to search for clues connected to quilts. As a noun, a cotton quilt, composed of multi-layered batting from cotton fibers that have been flicked fluff, can be soft fillings inside the thin cotton linen. As verbs, cover and suffer are connotations related to quilts. A textile is regarded as a global language which not only involves the development of material industry worldwide but also brings about a system behind social structure and capitalism.
The cotton quilt here arouses childhood memories of the artist and the connections with the last generation. The traditional skill of threading (Note 1) forms a net that is cross-generation and trans-dimension. If a cotton quilt is seen as an interface or a boundary, it may have respective expressions in terms of time, spaces, and dimensions when being divided into three, such as taking 8 hours from a day. In a timeline, there is past, present, and future. In historical facts, there are stages of foreign colonization, the Nationalist Government to Taiwan, and democratization. In terms of spaces, there is heaven, earth, and ocean. Even in abstract dimensions, there are partitions made by traversing nodes.
During her three-month residency in Siao-long Cultural Park, the artist has conducted field research and created artworks. Through the imagination and the interlaced historical facts and the present time/space, the artist connects Jiali, the former stronghold of textile manufacturing industry, Ling-zi-liao of Xuejia, which is well-known for its quilt production, the tradition of Japanese craftsmanship of tatami sewing, rise and fall of sugar industry in Taiwan, and the routes of people’s migrations as well as trading and logistics. Nature and culture of Taiwan are employed to compare with world history of cotton. Sugar, being a medium here, is used as seasoning and an adhesive in the process to incorporate issues like products, registered citizens, policies, and ecology together as tamping down (note 2) cotton batting and a lattice of thread into a quilt. Attempting to expand our ways of thinking and interpreting the world, the artist integrates various manufacturing procedures and elements of cotton industry and creates multimedia installations through painting, videos, textile, and sculptures.
Note 1: Threading means to pull and stretch yarns in crisscross pattern on a multi-layered cotton batting that has been flicked fluff just like layering a fiber mesh on it.
Note 2: Tamping means to gently press a wooden disk on cotton lining fully covered by a lattice of thread. After tamped down, the layer of batting can be evenly fixed to thread and attached to each other.