席時斌專訪 Interview with Hsi Shih-Pin
(The English version is below)
A：談到生命力，多數人會想到活力或是年輕朝氣的部分。但完整的生命力包含著衰退、老化甚至死亡的部分，如此的想像才是一個完整生命的運作。所謂的城市的生命力也是相同。很少人會說：讓我們來呈現一座城市老化/衰敗的生命力吧 ! 一旦能理解這個觀念後，我們會發現到世界上最有魅力的城市，往往是包含著生老病死的各種面向。這是我作為藝術家的觀察，反映在作品上，我的雕塑有很多描寫骨骼..等內在結構的美感。這與其他著重於肉體感的雕塑家是有不同的，也是我叛逆的部分，我捨了肉體，細分出了骨骼，血管，內臟，皮膚來彰顯更多的可能性，這應該就是我個人表現生命力的方式。
Hsi Shih-Pin, who we know or don't know
How do you feel when you live in a city that is both familiar and unfamiliar? When you stay in a corner of the city, watching the faces of each other fluttering and floating, calm down, a moment of pause and thinking, perhaps more important than the minutes and seconds of sliding the phone? Furnishing (construction) and dismantling (destruction), time (past and present) and space (civilization and ancient) are all bits and pieces in our life experience. Imagining the present and future expectations, perhaps one of the most important and important topics in everyone's life. Hsi Shih-Pin has the geometric thinking of the architect, but without the cold character of the engineer, the image of the horse in his works represents the heroic atmosphere of an era. Staying and thinking are the two most important things in his life. Through different materials such as stainless steel, wood, etc., combined with different thinking directions, it shows the depth of different levels of work.
Views on creation
Q: We all know that you have been working hard to break through the traditional forms of creation in the past few years. Can you talk to us about your creative ideas?
A: I like traditional things and believe that creation is based on personal culture. The adoption of new technical methods is not only a breakthrough, but also inherits, records, reorganizes, and constructs more states. Of course, I also dare to give up some in the process. I once held a large solo exhibition "The Palace of Memory" at the Taipei Museum of Contemporary Art, taken from the work of the British historian Shi Jingqian, "The Palace of Memory of Matteo Ricci". The concept is that everyone can build their own spiritual palace independently. Construction requires "reality" as a material. People will find that it is very difficult to distinguish between real and fictional binary methods, or linear time views of the past, present and future. In short, my method of creation is to constantly let myself through a variety of memory palaces beyond imagination.
Give birth to the flesh... describe the beauty of the inner structure
Q: What kind of form do you think the vitality of a city is expressed in a work of art? Have you tried this type of performance in the past?
A: When it comes to vitality, most people think of vitality or youthfulness. But the complete vitality contains the part of recession, aging and even death. Such imagination is the operation of a complete life. The so-called vitality of the city is the same. Few people will say: Let us present the vitality of a city's aging/declining! Once we understand this concept, we will find that the most attractive cities in the world often contain various aspects of life and death. This is my observation as an artist, reflected in the works, my sculpture has many depictions of bones.. The aesthetics of the inner structure. This is different from other sculptors who focus on the physical sense. It is also my rebellious part. I gave up the body and subdivided the bones, blood vessels, internal organs and skin to show more possibilities. This should be my personal performance. The way of life.
Q: Why do you have a special interest in horse's creative theme or carrier? What does horse mean to you in your life? Where is the main link to your creation?
A: First, because it is big enough, the size is bigger than the theme of the people is a necessary proposition for sculpture. It’s hard to forget about it again, I always remember it, but I don’t remember it has any meaning in my life. This is the so-called mystery, including the level of destiny or love. Of course, the horse itself has a very rich cultural meaning and plays many roles in the history of mankind, but this is another writing aspect.
Taiwan's artistic environment
Q: Based on your experience, what is the most insufficiency of the current artistic environment in China? Who should take the responsibility of this big environment? How should the government and the people work together to create a quality art environment and atmosphere?
A: The problem of the root cause of Taiwan's artistic environment is the lack of participants. The vernacular says: The biggest problem is that there are not enough artists. Artists are the core and most productive place in the art ecology, so there are many artists who may have a complete artistic ecology. However, if a city wants to raise a lot of artists, it must be a society where culture is deeply cultivated. Therefore, everyone can hold a sowing mentality when participating in art, and there will be rich harvests in the future.
When encountering a bottleneck
Q: Can you share how you broke through when your creations encountered bottlenecks in the past? Can you give some practical advice to the new generation of artists who are struggling now?
A: The crisis is a turning point! It is like having to go through the process of making a very good thing. I believe that there will be a strong force in the accumulation.
Future plans and dreams
Q: What special plans do you have for your artistic work in the next 5 years? Can you share it with us? Are there any new exhibition plans at home and abroad?
A: There is no special plan at the moment. The exhibitions at home and abroad are arranged by the agency gallery. I live the days of focusing on new works every day, but I plan to make great and mature works at the age of 50. This is already foreseeable. I also wanted to create a building facade, but no one asked me to do it. (laugh)
The content of the above interviews was approved by Xi Shibin Studio in the fan page of LIVART. If you need to reprint, please indicate the source, thank you.