阡陌毯 CRISSCROSS CARPET

品牌

ARCHIVE Factory


年份

2015


Brand

ARCHIVE Factory


Year

2015

上世纪中希腊建筑师迪米特里.匹克奥尼斯(Dimitri Pikionis)在雅典卫城附近做了一系列的青石板景观铺地。建筑师在现场对不规则材料的灵活运用让我感动。偶然的机会,我得到了一块黑色如青石板的原始牛皮,我保留它原有的形状和质感,按照匹克奥尼斯(Pikionis)的工作记录,感受他的感受,转译他的审美,对皮子处理、设计、裁剪、拼接、缝制。尝试换材后,重现当时的情境,制作出我脚下的阡陌“土地”。


不规则的缝隙形成了土地上的阡陌景象。我也在制作的过程当中逐步看到了这是一幅细致入微、多愁善感的情境,皮子如青石板一样包裹着阡陌大地。然而我获得了更多的生命材料对忧愁的安慰,它温度温暖了我的脚...这种转译的奇异感提醒着我们对于材料的再认识,提示着视觉与触觉等多维感觉的关联性,努力消除对于固有材料和单维感受的成见与歧视。


生物总是在失去生命后消逝、分解,所谓尘归尘、土归土,皮子在手里,烧掉它已经没有意义,让它像石板一样静静贴服在地面上,也许也是一种回归。设计、制版、裁剪、缝制...总共用去静静夜晚中的53小时26分钟,剪裁它的声音已经记录在音频中,播放出来,就听到了生命分解、回归土地缝隙的声音。


视觉、触觉、听觉...虽不是匹克奥尼斯(Pikionis)当年的真实情境,但于不完美中尝试某种细腻、微妙的特性,进行着行为和观念的温柔试探,结果就像金色的枝苗与火花从石板间的土壤中繁茂起来。这种转译,真是奇妙。



In the middle of the last century, Dimitri Pikionis, a Greek architect, made a series of bluestone pavements near the Acropolis of Athens. The flexible use of temporary irregular materials on site by the architect inspired me. By chance, I got a piece of black raw cowhide like bluestone and kept its original shape and texture. According to the work records of Pikionis, I felt his feelings, translated his aesthetic, treated, designed, cut, spliced and sewed the leather. After trying to change the materials, I recreated the situation at that time and made a crisscross "land" under my feet.


Irregular gaps form the crisscross scene of the “land”. Also, in the process of production, I felt that it frames a meticulous and sentimental scene, with the skin wrapped around the land like bluestone. However, I gained more comfort from life-giving materials, which warmed my feet... This strange sense of translation reminds us of the recognition of materials, the relevance of multi-dimensional senses such as vision and touch, and the efforts to eliminate prejudice and discrimination against the inherent materials and single-dimensional feelings.

 

As creatures always tend to disappear and decompose after losing their lives, the so-called "dust to dust, earth to earth" means that burning it has no meaning if we hold this piece of leather, instead, making it stick to the ground like a slate can be seen as a kind of return. Design, plate making, cutting, sewing... It all took 53 hours and 26 minutes in the quiet night. With the cutting sound recorded, you can hear the sound of decomposition of living things and then returning to the land crevice as it plays out.  


Vision, touch, hearing... Though this might not be like the real situation of Pikionis, I attempted to figure out some subtle but delicate characteristics in the imperfection, and conduct the gentle exploration of behavior and perception, resulting in golden shoots and sparks flourished from the soil between stone slabs. What an incredible translation!  

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