紅化/紅畫
在星際無限延伸的那端有個現象叫做紅化
星際物質內的塵埃粒子
散射藍光的效率比紅光高
當星光通過後,藍光逐漸消逝
使得星光散暈偏紅
一個於紅的印象
於黑當中
漸緩流洩
一個小小的力量
在黑當中
堅持著
商品展示日期 : 11/01 ~
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手工銀飾/Lang Chen
Lang Chen就像是一位工藝詩人
每一個銀飾在時間的粹煉背後
都經由他的雙手,暖蘊的呈現而出
這一次我們與他合作釦飾的企劃
將那細膩精緻,如畫作
鑲縫在蓬鬆柔軟的圍裹商品之上
於紅化系列中所展示的紅畫
每個純銀釦飾微妙的溫感色藝
替商品注入了雋永回味的靈魂
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紅畫/鄭雋立
靜靜地
一個在時空中流竄
瘋狂找尋那條紅色悸動的男孩
筆尖
流洩而出的非定性
找尋著.有時回憶著..
但清晰明白的不追隨著
一位安靜的男孩
有著獨特的靈魂
由指尖
與你/妳分享
紅畫
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Interstellar Reddening / Red Painting
In astronomy, interstellar reddening is a phenomenon.
Reddening occurs due to the light scattering off dust and other matter in the interstellar medium.
Reddening preferentially removes shorter wavelength photons from a radiated spectrum while leaving behind the longer wavelength photons
(in the optical, light that is redder), leaving the spectroscopic lines unchanged.
A red image in the black, flowing.
A little strength in the black, fighting.
Handmade Silver / Lang Chen
Lang Chen is like a craft poet for me.
Every piece of silver is presented warmly by him.
We sew his delicated silver buttons on our soft shawls,
The red painting in Interstellar Reddenging collection.
The delicacy of every silver button brings out a meaningful soul.
Red Painting/Ashura Zheng
Silently,
A boy wandering in spacetime, trying hard to search for the fancy of red.
Uncertainty flows out of the penpoint.
Seeking, sometimes recalling, but not following.
Ashura Zheng,
a quiet boy that has a unique soul,
shares the red painting from his fingertips with you.
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2011/10/26
2011/10/02
旅途的刻痕-銅版畫展:Carving of Journey - Copper Carving Pictures Exhibition
旅途的刻痕-銅版畫展
10月4日 至 11月2日
Carving of Journey - Copper Carving Pictures Exhibition
October 4th to November 2th
旅途中
巴黎男孩在玻璃杯中敲打著夢想
細膩刻畫微妙的人性與錯綜複雜的情感
旅途中
墨爾本少女背著風箏 與風飄行
尖銳自在的線條與之迴旋 濃淡階調
On his journey,
Paris boy hammers his dream in the glass,
humanity and emotions are carved, deeply, exquisitely.
On her journey,
Melbourne girl flies with the wind on the kite,
whirling with sharp lines, lightly, heavily.
artist :
Jupiter Chingwen Cheng/景
Melbourne, Australia
銅版畫
Copper Carving Picture
在選好的版材上以腐蝕或鐫刻的方式製作圖形,
使油墨滲入凹陷部分,並將未雕刻部分所殘留下來的油墨擦拭乾淨,
再將紙張覆蓋在版上壓印。
印製時需對紙張施壓,紙張才能完全陷入凹槽中。
通常,深的凹痕附著的油墨會較淺的凹痕多,
因此,同一個版面上各個深淺不一的凹痕便造就了由高至低的種種效果。
凹版技法善於刻繪細小的線條,因此帶給人們纖細又敏銳的感受。
早期的凹版製作多以銅版為版材,故凹版畫常被俗稱為銅版畫。
現今,世界各國的紙鈔絕大部分是以凹版印刷,
因銅版除能展現精細線條、技法精巧、版材耐磨而且容易存放,是他種版材所不及。
由於銅版畫需要較特殊的工具及機具,版料來源取得不易,
以至於目前台灣從事版畫創作的工作室或藝術家僅有少數願意投入推廣。

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