BAMBOO GROVE by Marvin Minto Fang
2016.12.23～2017.02.12
09:00 - 17:00
The existence and continuation of life have been not only a recurrent theme running through the field of arts but also an area of enquiry repeatedly touched upon by Marvin-Minto Fang’s artworks in which various media are experimented with. Featuring
bamboo groves,” this exhibition embodies the artist’s consistent nature-based observation on the environment and quotidian existence. Embedding a landscape bristling with bamboos in the Kuandu Museum of Fine Arts, the artist creates an ambiguous scene, ingeniously stretching the accepted definition of the relational quadrinity of people, time, location and objects. The work Bamboo Grove are made of laminated bamboo. Exercising his consummate carving skills, the artist restores these bamboo planks to their natural appearances and organizes their layout in a mesmerizing way. In other words, he aggregates individual planks into a bamboo grove thriving again in the gallery. This artificial bamboo grove is a product of deliberate and passive rearrangement. Specifically speaking, it is bestowed with an ecological balance attained by imitating the nature, and ergo vividly reflects the human desire for returning to Mother Nature. However, it is impossible to animate these processed materials; that is, to trigger their metamorphosis from res non naturales into res naturales. Such impossibility also symbolizes the barrier that has long been erected by our socio-economic system between the nature and modern life. Utilizing the exquisite craftsmanship, the artist imbues the materials with vital sparks. Nonetheless, whether the approach he employed is formal approximation or textural imitation, these sparks does not so much replace the primeval state of plants as signaling an alternative regularity and order in the continuation of life by virtue of their visual implications. In this way, the artist depicts the imagery of
stillness” and
infinity” in abstractions. The very ambiguity surrounding the gallery space not only inspires our imagination about the nature, but also suggests the possibility for natural elements and contemporary life to coexist and blend harmoniously.
bamboo groves,” this exhibition embodies the artist’s consistent nature-based observation on the environment and quotidian existence. Embedding a landscape bristling with bamboos in the Kuandu Museum of Fine Arts, the artist creates an ambiguous scene, ingeniously stretching the accepted definition of the relational quadrinity of people, time, location and objects. The work Bamboo Grove are made of laminated bamboo. Exercising his consummate carving skills, the artist restores these bamboo planks to their natural appearances and organizes their layout in a mesmerizing way. In other words, he aggregates individual planks into a bamboo grove thriving again in the gallery. This artificial bamboo grove is a product of deliberate and passive rearrangement. Specifically speaking, it is bestowed with an ecological balance attained by imitating the nature, and ergo vividly reflects the human desire for returning to Mother Nature. However, it is impossible to animate these processed materials; that is, to trigger their metamorphosis from res non naturales into res naturales. Such impossibility also symbolizes the barrier that has long been erected by our socio-economic system between the nature and modern life. Utilizing the exquisite craftsmanship, the artist imbues the materials with vital sparks. Nonetheless, whether the approach he employed is formal approximation or textural imitation, these sparks does not so much replace the primeval state of plants as signaling an alternative regularity and order in the continuation of life by virtue of their visual implications. In this way, the artist depicts the imagery of
stillness” and
infinity” in abstractions. The very ambiguity surrounding the gallery space not only inspires our imagination about the nature, but also suggests the possibility for natural elements and contemporary life to coexist and blend harmoniously.
The existence and continuation of life have been not only a recurrent theme running through the field of arts but also an area of enquiry repeatedly touched upon by Marvin-Minto Fang’s artworks in which various media are experimented with. Featuring
bamboo groves,” this exhibition embodies the artist’s consistent nature-based observation on the environment and quotidian existence. Embedding a landscape bristling with bamboos in the Kuandu Museum of Fine Arts, the artist creates an ambiguous scene, ingeniously stretching the accepted definition of the relational quadrinity of people, time, location and objects. The work Bamboo Grove are made of laminated bamboo. Exercising his consummate carving skills, the artist restores these bamboo planks to their natural appearances and organizes their layout in a mesmerizing way. In other words, he aggregates individual planks into a bamboo grove thriving again in the gallery. This artificial bamboo grove is a product of deliberate and passive rearrangement. Specifically speaking, it is bestowed with an ecological balance attained by imitating the nature, and ergo vividly reflects the human desire for returning to Mother Nature. However, it is impossible to animate these processed materials; that is, to trigger their metamorphosis from res non naturales into res naturales. Such impossibility also symbolizes the barrier that has long been erected by our socio-economic system between the nature and modern life. Utilizing the exquisite craftsmanship, the artist imbues the materials with vital sparks. Nonetheless, whether the approach he employed is formal approximation or textural imitation, these sparks does not so much replace the primeval state of plants as signaling an alternative regularity and order in the continuation of life by virtue of their visual implications. In this way, the artist depicts the imagery of
stillness” and
infinity” in abstractions. The very ambiguity surrounding the gallery space not only inspires our imagination about the nature, but also suggests the possibility for natural elements and contemporary life to coexist and blend harmoniously.
bamboo groves,” this exhibition embodies the artist’s consistent nature-based observation on the environment and quotidian existence. Embedding a landscape bristling with bamboos in the Kuandu Museum of Fine Arts, the artist creates an ambiguous scene, ingeniously stretching the accepted definition of the relational quadrinity of people, time, location and objects. The work Bamboo Grove are made of laminated bamboo. Exercising his consummate carving skills, the artist restores these bamboo planks to their natural appearances and organizes their layout in a mesmerizing way. In other words, he aggregates individual planks into a bamboo grove thriving again in the gallery. This artificial bamboo grove is a product of deliberate and passive rearrangement. Specifically speaking, it is bestowed with an ecological balance attained by imitating the nature, and ergo vividly reflects the human desire for returning to Mother Nature. However, it is impossible to animate these processed materials; that is, to trigger their metamorphosis from res non naturales into res naturales. Such impossibility also symbolizes the barrier that has long been erected by our socio-economic system between the nature and modern life. Utilizing the exquisite craftsmanship, the artist imbues the materials with vital sparks. Nonetheless, whether the approach he employed is formal approximation or textural imitation, these sparks does not so much replace the primeval state of plants as signaling an alternative regularity and order in the continuation of life by virtue of their visual implications. In this way, the artist depicts the imagery of
stillness” and
infinity” in abstractions. The very ambiguity surrounding the gallery space not only inspires our imagination about the nature, but also suggests the possibility for natural elements and contemporary life to coexist and blend harmoniously.
Works
