沙漏裡的綠洲—洪誼庭 個展
Oasis In-between The Hourglass—HONG Yi-Ting Solo Exhibition
這次個展「沙漏裡的綠洲」主要以「印刷品」為創作媒體，透過版印的方法和概念作為觀看時間的途徑。
用來記錄時間的日曆、月曆、年曆，其實是一面天空的地圖，是站在人類視角觀看天體運行的軌跡，並藉由數學語言來呈現一種變化的表現形式;所以把太陽、月亮與地球之間的關係作為時間，其實是詩意的表達，是與人類相比，更接近永恆的存在。
於是，我開始尋找各種趨近於永恆的東西，試圖呈現時間的其他可能性；但卻是以最講求速度、最稍縱即逝的印刷品來呈現，對我來說，印刷追求「大量複製」的特點，是永恆的另一種面向。
在向外尋找時間的過程中，我逐漸體會到人類觀看的侷限，轉而向內尋找屬於自己的時間感，這樣的追尋如同在沙漏裡尋找一片綠洲，在這或輕或重，或得或失，或明或暗之間，創造另一種經驗時間的方法，也許，那片綠洲只存在於我們的想像之中，仍希望在追尋的路上，你我都在。
In this solo exhibition: Oasis In-between The Hourglass, "print" is the main creative medium, and the concept and method of it act as the approaches to view time.
Calendars we use to record time are actually a map of the sky; it is a way to stand in human perspective to observe the trajectory of the celestial bodies and to present a form of changes through mathematical language. To see the relation between the sun, the moon and the earth as time, is actually a poetic expression. Comparing to human beings, they are closer to eternity.
Thus, Artist began to search for various things that are close to eternity in an attempt to demonstrate other possibilities of time, but they are presented in the most speed-conscious and fleeting way: print. To Yi-Ting, "mass reproduction" that print pursues is another aspect of eternity. In the process of looking outward for time, Yi-Ting realized the limitation of human observation gradually and turned inward to find her own sense of time.
Such a search is like searching for an oasis in the hourglass, creating another way to experience time, between the light and the heavy, the gain and the loss, and the bright and the dark. Perhaps, the oasis only exists in our imagination, but hope that we are all on the way to pursue.
沙、漏
Hourglass
2022
報紙、年曆 / 現地裝置
Newspaper, calendar / site-specific installation
Dimensions variable
一直在尋找更接近自己理解時間的樣貌，於是我把年曆上的日期割除，形成一面面網狀的結構，並且懸掛在空間中。網子上散落的灰石頭和白石頭，分別是每天發行的報紙和年曆上被割下的日期，它們被各自打成紙漿後，翻製成石頭的模樣。我試圖在這或輕或重的空間裡，創造另一種經驗時間的方法。
I have been looking for an appearance that is closer to my own understanding of time, so I cut off the date on the calendar to form a net-like structure and hang it in the space. What was caught by the net was a number of repeating grey stones and a group of white stones, which were the daily newspapers and the dates that were cut from the calendar. They were pulped and turned into stones. I try to create another way to experience time in this light and heavy space.
C
2022
石頭紙、數位印刷、精裝、木板、輪子
Stone paper ( Taiwan Lung Meng ), print, hardcover, board, wheels
297 × 210 × 80 mm
作品《C》是一本用石頭做成的紙印製而成的書，在印刷四色（CMYK）當中，撇除作為輔助色的黑色（K），青色“Cyan”是在日照後，最慢消失的顏色，因此“C”是最趨近於永恆的顏色。如同海的潮汐是受到月亮的牽引；印刷品的褪色是因為太陽的光照，在這些變化當中，也許正述說著關於時間的記憶。
The work "C" is a book printed on stone paper. Among the 4-colors printing (CMYK), excluding black (K) as an auxiliary color, "Cyan" is the color that disappears the slowest after sunlight exposure. Thus "C" is the color that is closest to eternity. Just as the tides of the sea are caused by the moon; the fading of prints is due to the light of the sun, in these change, perhaps it is telling the memory of time.
尋日字典
“Looking for the Sun” Dictionary
2022
字典、橡皮章、印台 / 現地裝置
Dictionary, rubber stamp, stamp pad / site-specific installation
300 × 175 × 20 mm、360 × 215 ×35 mm
在我們翻閱字典尋找時間的解釋時，需要先在部首區找到「日」才能找到「時」，也就是說：需要先看見太陽才能知道時間。於是我挑選了沒有在單詞裡解釋時間的字典，用蓋印的方式，將字典裡「日」以外的結構壓黑填滿，形成如同夜景一般的大樓窗景，我試圖在一片時間消失的字典裡尋找屬於自己的時間感。
When we look up “time” in the Chinese dictionary , we need to find the “日”（”day”） in the radical area before we can find the “時”（”hour”）. In other words, we need to see the sun before we can know the time. Thus, I picked Chinese dictionaries that did not explain time in words, using the method of stamping, filling in shape other than”日”. The Chinese dictionary turned into a night view. I tried to find my own sense of time in a dictionary where time has disappeared.