佛塔/Pagoda

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創作理念
我的創作佛像及佛塔是以回收資源為媒材，包含天然及人造材料，運用並列堆疊的方式，在作品中製造出字彙。我選擇了佛塔中正規的建築特色，以及佛教雕塑中階級主義來組成正式及非正式之材料，凸顯人類社會之消費主義，亦即經由消費、權勢與物質主義所包裝之文化與精神。作品媒材取自回收及廢棄材料，捨棄大量消費之概念，儘管建築及雕塑經常受制於環境及人為因素的介入，且物質資源扮演重要角色，但我更希望透過此作品探討價值觀的深度與一致性。過度鋪張的媒材有時會遭致批評，但也是讓觀眾考量其適合度及價值之良機。
 
佛塔為世界上最具象徵的建築之一，但同時也似乎被物質與各種程序吞沒，我運用回收資源之創作帶有寓言及比喻兩種目的，看似以傳統方法製作的佛塔，其材質是經不起時間考驗的，就像我們的人生一樣，有時外表看似亮麗，但內在卻脆弱不已。
 
Statement of Creative Concept
Golden Buddha and Pagoda are manufactured using recycled and sustainable methods of manufacture. I have collected both natural and man-made materials and used them in juxtaposition to generate a vocabulary within the works. I have chosen to use the formal aspects of the pagoda’s architectural qualities also the sculptural classicism of the Buddha to create within them a juxtaposition of formal and informal use of materials which references the conspicuous consumption of our societies. I intend the sculptures to identify notions of the classicism of consumption, ostentation and material value centred upon a cultural and spiritual identity. The sculptures will capture classical form made from the used and useless, discarded relics of mass consumption. My engagement with the environment is through witnessing how our buildings and other civic sculptures are subject to environmental changes and human intervention. The sculptures admit to the fascination of the material objects but they ask us to question the depth and consistency of values.
 
Materiality sometimes evokes censure, but it is sometimes a celebration, in other words, the use of material makes the viewer considers and re-aligns its suitability purpose and above all its actual worth. The sculpture admits to the fascination of the material objects but they ask us to question the depth and consistency of our values.
Pagoda is a work which directly references one of world’s most iconic buildings but at the same time appears to be engulfed by materials and processes beyond its classical control. My use of the recycled building materials is both allegorical and metaphorical, I intend the work to have hidden meanings and to look as though it is made from traditional methods of making held together with an ephemeral material, much as with our own lives, which are sometimes held by a thread and at others coated in sugar.