2010-08-20

F l o v" e r 2010 _live preformance vision


HUANG, Po-Chih used a large number of authentic scanning images to produce frame-like freeze images. In the video, the changes of flower’s growth seemed to tell some sort of story to the audiences. The images and sound were piled up like the style of drawing. At the same time, it created the tension of sensation and meanwhile accumulated the emotion from the audiences. The sound was picked up from daily source; therefore, the performer used this kind of way to tell the life experiences. He attempted to use the vibration of sound waves to interact with audiences and then they will have resonance.

黃博志利用大量的實物掃描圖檔,製造出定格動畫般的影像,影片中,花朵狀態的轉變,彷彿在對觀眾訴說某些故事的情節,影像與聲音如同繪畫的筆觸,一層一層 堆疊,營造感官的張力,也累積著聽眾的情緒。聲音擷取日常生活中的素材,創作者用此方式與聆聽者傾訴生命的經驗,企圖透過聲波的震動,以更直接的方式接觸 觀眾,並與之產生共鳴。

for more info
失聲祭 Lacking Sound Festival Listen 38

2009-03-10

Self-Portrait No.2( RED )


Title:Self-Portrait No.2( RED )
Length:7’ 17”
Format :Single-channel video/sound installation ( 4:3 vertical projection )
Material:Digital Image
Year:2007



在緊緊貼近掃描機玻璃時,我想著玻璃和我之間的距離究竟為何?

這段距離裡似乎充滿了無數無法填滿的縫隙,而縫隙裡是否充滿我所無法查覺的表象?我也相信表皮的外在樣貌與內在心理存在著的第二道縫隙,是不是也有些什麼?掃描機所呈現出種種不完美的缺陷,與這樣的真實細節對峙讓我害怕,一種對自我皮層認知「缺席」的恐慌以及印象「錯位」的焦慮。我想像「缺席」、「錯位」與現實間的落差所產生的縫隙裡的我,會是什麼樣貌,而或許掃描機的光穿透縫隙,可以映射出我的樣子。我並不試圖要縮小或是填滿縫隙,我揉合著如血、如肉般的紅色顏料融入其中,去遮蓋、溶解我所害怕的真實細節,融入那可能是一種扁平的劇場式隔離場景裡。



As my body clinched to the glass of the scanner, I could not help but ponder upon the meaning of distance. “What is the implication of the fleshly distance between the glass and I in spite of our closeness?” “Does any imagery that is beyond senses exist in this obscure space?” Something exists betwixt the skin and the self, I believe.






I was frightened by the detailed imperfections which surfaced by means of the scanner. They engendered my panic toward the absence of my fleshly senses; my anxiety was aroused by the notion of displacement as well. I could not visualize the reflection of my figure produced by the radiation of the scanner, nor could I envision the image of a self that was given to birth by absence, displacement, and the fall from reality. However, I did not minimize or plaster the fissures produced by the distance between the glass and I. Instead, I integrated myself into the fissures by applying materials which are crimson and tangible in order to establish the effect of alienation. Such effect soothed my panic and anxiety toward the detailed imperfections.











demo vision


















2006-08-24

Sweet Dream
























Title:Sweet Dream
Dimension:4’00
Material:Digital Image
Format :Single-channel video/sound installation ( 4:3 vertical projection )
Year:2006








利用掃瞄機,以掃描的方式產生的動態影像。


在掃描的過程中,或是刻意拖拉身體各部位,形成拖影、殘影、立體感的影像,或是移動掃描機,造成影像的錯置。原本熟悉的身體形態,無論凝眉、閉眼、蜷曲、擠壓或肢體的伸展,都在數千萬張畫面連續交融的快或慢速流動裡,形成一個動態的框架。

掃描器的高解析度可呈現如微觀攝影般的細膩畫質,所以在掃描前,我先抓傷我的皮膚,如同繪畫的基底處裡,使毛孔放大、破皮、結痂……等。而依據傷害的程度不同,也形成不同的質感,有別於正常皮膚。








''Sweet Dream'' creates fluid images with the help of a scanner. During scanning, the body parts are intentionally dragged or pulled, so to produce residual, lengthened, or 3D images. Moving the scanner also creates overlapping or misplaced effect. The familiar shapes of the body, whether it frowns, closes eyes, curls, stretches or is squeezed, thus forms dynamic frame in the fast or slow flow composed by the tens of thousands consecutive images.

The high resolution of the scanner helps present a microcosmic photography-like quality. I scratched my skin before scanning so that my enlarged pores, grazed and scabbing skin are all shown in different quality than the normal skin. After the processing like the base of painting, the scanned images consist of multi-layers effects.



















F l o v" e r


Flower

=F l o w e r

=F l o v v e r

=F l o v" e r

=F l o w + l o v e + l o v e r





Title:F l o v" e r
Length:5’ 44”
Format :Single-channel video/sound installation ( 4:3 vertical projection )
Material:Digital Image
Year:2006
Equipment :Projector ( 3000 ANSI,Support Resoultion 1024x768),Speaker, amplifier ,PC)


Flower=F l o w e r=F l o v v e r=F l o v" e r=Flow + love + lover
我利用掃描機製作了一萬多張的靜態圖檔,每一張掃描出的影像都是玫瑰花在真實世界所存在的時間切片抽樣,每個切片都是通過感官和經驗作用下的感覺單元,我希望透過取得時間切片來保存不停流逝的感覺,並且收集這些斷裂、不連貫的切片,試圖藉由手藝去再造玫瑰花的運動狀態,去重新塑造那不停流逝的感覺。矛盾的是,龐大的不連貫抽樣切片所連貫出的景象,其實只是個破碎的風景,因為過去也永遠不復存在,而存在的只是片刻的感覺。
More than 10,000 images were produced through scanner; each is the microsection of time that extracted from reality. All of the microsections are made by the processing of experience or come from my sense data. With an attempt to keep the sensations that ceaselessly pass by, artist tried to re-create the variation of transitive flower through both artistic skill as well as corporal awareness. However, the huge broken microsections could only fake a broken scene. For the past would never return, only the ephemeral sensations exist.



黃博志過去的創作都是以繪畫或街頭塗鴉(Graffiti)的方式,他非常鍾情於這種街頭塗鴉的方式,除了這是一種自由的宣洩外,更是需要通過 身體的實踐,這種手藝及身體感的作品首次以數位流動影像的方式表達。 作品【湧流】(Flov"er, 2006),依照藝術家對於作品英文名稱的解釋:「Flower=F l o w e r=F l o v v e r=F l o v" e r=Flow + love + lover 」,他以英文「花」及「愛」的字母自創一個新的字,意為一種不斷流動的愛。
如果從工具論來看,他的影像嚴格來說不是錄像作品,因為他並未使用錄像的工具,它較像是動畫,以掃描的方式產生動態的影像;他不厭其煩的使用掃描機掃描一朵朵鮮豔的玫瑰花至電腦中,掃描的過程中,同時移動玫瑰花的位置,於是造成一種拖影、殘影、立體感、如微觀攝影般的細膩畫質,這龐雜的製作過程經過 4個月的時間,一萬多張的掃描圖檔, 然後在修圖軟體中一一修圖,最後再將這些龐大的圖檔放入剪接軟體中剪接完成。我們驚訝於其影像的「陌生的細膩質感」,一方面是由於作者偏離工具的正常、快速的使用軌道,另一方面作品中埋藏的繁瑣重復的長時痕,隱隱地從作品中散發出巨大的力量。(文/ 袁廣鳴,譯者/朱嘉曦)
Past works of Huang Po-chih have been executed in either the painting format or in graffiti. Graffiti is free of restrictions and is a natural means for release. It requires the cooperation of the physical body in order to bring it into existence. The art form that relies so heavily on both artistic skill as well as corporal awareness is, for the first, being manifested through a digitalized video installation.



"Flov"er" is derived from the following formula:Flower=F l o w e r= F l o v v e r=F l o v" e r=Flow + love + loverIt is a play on the letters in the two words "flower" and "love", the meaning being a love that never ceases to flow. Technically, his digital work is not considered a video because he didn't use recording equipment. It can more closely be described as animation and movement is created through scanning procedures. Huang tenaciously scans every single rose, dripping with color, into the computer. During the process, he shifts the position of the rose so that a sense of a shadow, of the residual, of three-dimensionality appears. The level of resolution rivals that of the images produced by microscopic photography. Such a tedious creative project occupied four months' time and more than 10,000 scanned image files. With photo-editing software, every scanned photo was retouched and modified, with the final step being the consolidation of all these edited pictures into one single series. What surprises us is the images' 'unfamiliarly fine texture'. The artist steered away from the typical, speedy, convenient modes of creation. Consequently, hidden within his works are traces and hints of extended sessions of time spent on their making which in turn subtly imparts a tremendous amount of power and persuasion to the images. (Writer: YUAN Goang-Ming, Translator: Denise CHOU)



使用掃描機花了4個多月掃出1萬多張的花朵,在掃描過程中拖曳、移動花的姿態,使其產生手藝質感,挑圖連續播放,就是黃博志的作品《湧流》。「長時間的投入讓我的身體與作品同步」,黃博志喜歡長時間的創作,聽起來就像是將生命的時間等比轉化至作品中,在醞釀、回憶之後的回饋,是這段時間的感受濃縮,4個月內的故事甚或是生命中的體驗,就在影像流動中不斷的在「靈光」(aura)中乍現。

「你覺得你的作品最有情感的地方在哪?」「我想是影像中,聲音的每次停頓、以及停頓之後的開始」。在看作品的時候,有時會感受到黃博志說代表自身的花,是描述事實,而聲音,才是事實中的感受。「影像中的停、快、慢的,反映出身體的律動」,雖然黃博志自覺聲音的部分還有些牽強、勉強、不自然,不過現階段年輕的生命,就是這樣的狀態。

不管26歲的生命正經歷了人生1/4的危機、還是愛情的困頓,也不管觀看的人到底從作品中投射到自己生命的那部分,藝術家的右腦、寫作者的右腦與觀者的右腦之間的訊息傳遞,永遠是個謎。想擺脫24小時的限制,卻又不時的被時間制約,黃博志說,這個世代會被科技媒材的應用方式吸引,但科技的使用方式,應該還是可以表達情感與誠實,一張張如花似錦的圖,黃博志將顏色調到如同古典繪畫般的色彩質感,往後,藝術家馴服自己的過程才正要開始。(文/ 陳詩晴)


Title:F l o v" e r 2009
Length:12'04"
Format :Three-channel video/sound installation ( 4:3 vertical projection )
Media:Digital Image
Year:2009

黃博志簡歷 / HUANG Po-Chih's Biography



My experience in learning art started with painting, and it progressed into using digital media as my creative sources. My creative career consisted of several turns along the way, from classical painting to street graffiti, and from street graffiti to digital art. In my college years, I decided to turn to street art due to some unsuccessful learning experiences in classical painting. Because I couldn’t manage the basic skills and presentational styles of classical painting, and also couldn’t develop my personal touch for this genre, the experiences from this learning process guided me to another art genre that was different from classical painting. I was drawn to a creative style that was more unrestricted, and this was how I began with street graffiti. An art form that required being physically involved and active had great attraction to me, because of its characteristics of being direct, physical, and visually enticing. For someone that didn’t have a sense of direction creatively, this active participation released many of my creative or daily anxieties. The endorphin released during the highly active labor certainly gave me a piece of mind, and it was spiritual exuberating at the same time. During my time of graffiti, the creative contents reflected the actual states and emotions I had when creating, and it also evolved my personal religious belief, where I’ve transformed myself into the Buddhist sacred figures, Sakyamuni and Guan Yin, in hope to transcend and enter into the state of Nirvana.

After finishing my master’s degree at the Taipei National University of the Arts’ Graduate School of Art and Technology, I attempted in the possibility of combining painting with technological media. The decision to use the scanner came about unexpectedly in an experiment.

Frankly, the scanner was not really a new technological medium. In the beginning, I was approaching it from the perspective of classical painting, where I tried to represent the delicacy of flowers with a technological medium to even trying to capture their realistic textures. At that time, I was quite insistent and even a bit frantic in my pursuit to discover all the possible ways the resolution could be presented. This kind of insistency to chase after the resolution’s potential could be connected to my 0.5 nearsightedness in real life. From the beginning of my myopia till it gradually getting worse, I’ve always disliked wearing eyeglasses. Even till this day, being over a decade, I’ve never worn glasses. Therefore, in my daily life, I am always in a constant state of haziness, and through time, I’ve grown accustomed to this state. To me, having to wear glasses is actually quite uncomfortable, as it causes me to fear what is real in life. This uncomfortable situation and the fear of deciphering what is real have then become one of the focuses of my creative work. I hope that through my own hands to be able to recreate the truth that I believe in, and through the scanner and my own gestures of processing real objects, to me, I could gain in return more realistic feelings and security. Additionally, the pursuit of high realistic resolution might also be a way to make-up for the senses of lost from my school days, where I could never learn how to paint realistically.

Although I’ve been on a constant pursuit to discover the possibilities in resolution presentation, in the beginning, I was not able to find a medium that could portray the delicate textures of flowers, and instinctively, I gave the scanner a try. After the attempt, I discovered that the delicacies, textures, and colors of flowers were all able to be depicted realistically. In the process of scanning, I held a flower in hand and waved it on a flat-bed scanner, and I realized that the process had some similarities to drawing with similar physical motions. I was then drawn to using the scanner as my creative medium, and began experimenting with the various possibilities of the scanner.

My first work done with a scanner is titled, Sweet Dream; this work has the greatest connection with my past experiences in drawing. Sweet Dream originates from portrait painting, and in particular to the classical portraiture of the upper torso. Artists spend a long time observing and drawing and compressing all the information on a piece of canvas, and I’ve transformed this into a non-linear presentational style with multiple points and time frames, where I’ve documented different parts of myself at that particular moment. In order to document the various portions of the body, I had to twist myself into different postures to accommodate the flat-bed scanner. Between the scanner and the images, the scanner had become a medium that awakens the body, because this kind of laborious state could easily revive the body’s experiences and memories from the past. To me, the experiences and memories that I recalled were particularly about the changes of the body’s outer skin. I’ve always remembered that as a kid growing up I felt anxieties and fears as my once smooth skin began to have hairs growing on it, and the pores that were enlarged by the hair growth led to my gradually apparent sexual indications. My body transformed from the sexless form into the masculine being, and the process was frightening to me. I even tried to suppress this change, but it was of no use.

In creating Sweet Dream, the panicking memories from the past about the changes in the body were brought back to me. Through the scanner, I was facing every detail once again, and the anxieties remained because the pores were even more enlarged, and there were more hairs, and more scars.
Flov”er reflects the dependence and helplessness about the constantly passing sentiments in my life, but the work itself is a form of remembrance, to commemorate the past emotions. In creating this piece, I’d ended a relationship and lost a closed family member, and I simply wanted to represent again those beautiful memories through flowers. Although the past was no longer with me, but at that moment, this was a very good self therapy. Now, I am no longer sad, but am able to keep those memories.

Self-Portrait No.2( RED ) is a contemplation on Sweet Dream, and is about the doubts of the body’s details presented by the scanner, and how the mind set is full of denial and irony; also about the distrust in what we see is the so-called truth. I thought about when I am tightly pressed against the scanner, and how regardless of how tightly or closely I get, there must still be many gaps and spaces, and these crevices are only penetrable by light. I tried to use red paint to fill-up those crevices and spaces and to cover-up and dissolve the surface skin that I am fearful of. This way, the space and my flesh will be connected, and light could permeate through. I contemplate about this kind of situation, and how the light of the scanner perhaps could reflect my true self.



Although memories continue to fade, and truth remains fearful; the scanned images still look so refined and so real, but in actuality, through the manipulation of my gestures, the images are no longer real. However, the placing of the body and memories under the scanner light, to me, is a therapeutic ceremony that acts to recall to past memories. My naivety also leads me to think that through the actions of the scanning, memories are able to be recreated, adjusted, and even repaired and patched up the fears in my personal life.

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I was Born in Taoyuan,Taiwan,1980 . I'm currently studying for an MFA in the Graduate school of the Arts and Technology, Taipei National University of Arts. My past works are mainly paintings and graffiti. Now are sound/video works that shows the delicate quality of handiwork despite employing digital technology as the chief medium.
e-mail:bogeahuang@yahoo.com.tw


Education
2000   NTCTC,Department of Fine Art and Crafts Education
2004   The Annual Residential Artist for the STOCK 20 in Taichung
2005   TNUA,Graduate School of Art and Technology


Group Exhibitions and Screening


2002   Taiwan Tempora, Taichung City Cultural Affairs Bureau, Taichung, Taiwan

2003   The Image of NTCTC, Taichung City Cultural Affairs Bureau, Taichung, Taiwan

2004   Art Kook, Taichung City Cultural Affairs Bureau,Taichung,Taiwan

           Thin Air, STOCK 20,Taichung,Taiwan

           Migration and Regress, STOCK 20,Taichung.Art Site of Chia-Yi Railway Warehouse,Chiayi,Taiwan

2005   "Drawing"-Selected Exhibition of Sketch, STOCK 20,Taichung,Taiwan

           A Theather of Taiwanese Common Culture, Kaohsiung Museum of Fine Arts,Kaohsiung

2005   FREE ART EXHIBITION, Taipei Artist Village,Taipei

           WU XING WU XING-Earthly and Distinctive Flowers and Grass, Kuandu Museum of Fine Arts,Taipei.Taiwan

2006   SlowTech, Museum of Contemporary Art Taipei,Taipei,Taiwan

           decode, TADA Center,Taichung. Art Center TNNUA,Tainan,Taiwan

           neMaF 2006 6th New Media Festival in Seoul, Seoul,Korea

           III INTERNATIONAL FESTIVAL OF ELECTRONIC ART 404, Rosario, Argentina

           Open-Contemporary X Post document, Huashan Culture Park, Taipei, Taiwan

2007   URBAN NOMAD FILM FEST 2007, Taipei Artist Village, Nanhai Gallery, Capone's and Mei's 
           Tea Bar ,Taipei,Taiwan FEIGNING MOVEMENT 2, Huashan Culture Park, Taipei,Taiwan

           Traversing Fantasy: International New Media Arts Festival 2007, Kuandu Museum of Fine Arts, Taipei, Taiwan

           URBAN NOMAD Project, Scope Basel, Basel, Swiss

           Very Fun Park 2, No.12,Songshou Rd. ,Taipei,Taiwan

           The Paradox of Simplicity and Complexity, National Taiwan Museum of Fine Arts ,Taichung ,Taiwan

           Breathing Deeply, Soka Art Center, Taipei , Taiwan

           Transformation in perception, MODERN ART GALLERY, Taichung, Taiwan

           URBAN NOMAD Project ,Scope Miami, Miami, America

2008   Breathing Deeply, Soka Art Center, Bijing, China

2007   [11th] Japan Media Arts Festival, National Art Center, Japan

           Penumbra: Contemporary Art from Taiwan, Anne & Gordon Samstag Museum of Art, Australia

           SECOND VISION, National Taiwan Museum of Fine Arts,Taichung, Taiwan

           SELECTIONS FROM PENUMBRA: CONTEMPORARY ART FROM TAIWAN, Centre for   
           Contemporary Photography, Australia

           FEIGNING MOVEMENT 3, Galerie Grand Siecle ,Taipei, Taiwan

           NEW VISION, Expol-Sources Art Space, Bijing, China

           Collaboration-Anticipating The Art of Future, Kuandu Museum of Fine Arts, Taipei, Taiwan

           ShContemporary 08-Best of Discovery, Shanghai Exhibition Center, Shanghai, China

           SWEETIES: Celebrating 20 Years of IT Park, IT Park, Taipei, Taiwan

2009   Room 19, Kuandu Museum of Fine Arts, Taipei, Taiwan

           The Organic Flux, National Taiwan Museum of Fine Arts, Taichung, Taiwan

           Unsealed Files: The 3rd Anniversary of VT Artsalon, VT Artsalon, Taipei, Taiwan

           S-HOMO, K’s Art, Tainain

           REALITY FANTASY, MODERN ART GALLERY, Taichung, Taiwan

           Dream in a Contemporary Secret Garden, Chelsea Art Museum, New York, U.S.A.

           SOFT Revolt, VT Artsalon, Taipei, Taiwan

Honor


2004   The Annual Residential Artist for the STOCK 20 in Taichung , Taiwan

2005 〈LUCY and SUNNY Have a Drug〉 collected by National Taiwan Museum of Fine Arts, Taichung, Taiwan

2006   The 11th Da Dun Fine Arts Exhibition, Digital Art, First Prize .

2007 〈Flov”er〉collected by National Taiwan Museum of Fine Arts, Taichung, Taiwan

2008   The Digital Art Awards Taipei 2008-Digital audio-visual, First Prize .