Terrarium @2018 Taichung World Flora Exposition, 2018
Dracaena sanderiana, pot, stone, pear tree stem, glass tank, ultraviolet light bulb, pump, water, albino snail, Methylene blue
Dimensions variable



The relationship between human beings and nature has never been a constant state. Before human beings thought that they could control nature, nature was a gift and also a horror. Later, when modern society was formed, human beings were gradually separated from nature. Humans redefined nature and even changed nature. Finally, we even created nature. The artist takes “terrarium” as the work’s title, suggesting that the entire space is a huge man-made space.

The entire floor is covered with pear branches, which are the “wastes” produced during the grifting process. Usually, they would be discarded. However, we purchase the branches from farmers, collecting and reusing them. Grafting is also a technique which is used for intervening in nature, and these pear branches laid on the ground are reminiscent of the bark that is commonly used in gardening landscapes for protecting soil, preventing weeds, and decoration. Grafting waste these natural beings that have been taken away by humans are now becoming part of the "artificial nature."

Pineapple-shaped bonsais, made of lucky bamboo, are put on the pear-branch floor. From dragon blood tree to lucky bamboo to pineapple (Ong-Lai), human beings keep placing their preference, connotation and imagination on nature through the entitled names, breeding and shaping. The glass tanks, also placed on the ground, contain methylene blue solution (usually added to the aquarium for sterilization and treatment of aquarium diseases). The aquarium is also a form of terrarium, a "simulated nature" created by mankind to preserve nature. An ultraviolet bulb is hung above each aquarium, faintly illuminating the white shiny snail shell in the blue solution.

*This project participates: The Land in Between—plant and human’s dream of sustainability, which is the special exhibition program of 2018 Taichung World Flora Expo.
Organizer: Hao Jhe Liao Studio

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《飼養箱》 @2018台中花博
開運竹、陶盆、石頭、梨枝、玻璃缸、紫外線燈泡、馬達、水、白化蝸牛、亞甲基藍
尺寸依空間而定


人類與自然的關係從來就不是一個恆定不變的狀態。在人類自以為可以掌控自然之前,自然是恩惠也同時令人敬畏。後來當現代社會成形,人類逐漸的與祂區隔開來。人類重新定義自然,甚至改變了自然,最後,我們甚至創造了自然。以飼養箱為題,暗示這整個空間便是一個巨大的人造空間。

涵蓋整個空間地面的是鋪滿地面的梨枝。這些梨枝是嫁接過程中所產 生的「廢料」,通常的作法只是丟棄。我們向當地農民收購這些梨枝,將 他們收集起來再次使用。嫁接同樣是人類干預自然的一種技術,而這些 鋪在地面的梨枝也讓人聯想到庭園造景中常見的樹皮,鋪於土表作為 保護土壤、防止雜草、美觀裝飾之用。梨枝嫁接廢料——這些被人類取 捨掉的自然又重新回到「人工自然」的一部分。

點狀散佈在梨枝之上的是以開運竹做成的鳳梨盆景。從龍血樹到開運竹再到鳳梨(旺來)。人類不斷透賦予名字、配種、改變形狀,將偏好、意義與想像加諸在自然之中。 同樣置於地面的玻璃缸裡面裝的是藍色的亞甲基藍水溶液(通常加入水族缸中,作為滅菌與治療水族疾病)。水族缸(aquarium)也是飼養箱的一種形式,是人類為了保存自然而創造的「模擬自然」。每個魚缸上方懸吊著紫外線燈泡,隱隱約約照亮藍色的溶液中白色發亮的蝸牛殼。


*作品屬於2018台中花博特展中的一部分:《山海之間-植物與人類永續的夢》
策劃:廖浩哲工作室







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