CHU Weibor Retrosprctive: Śūnyatā 朱為白回顧展－破空為白

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CHU Weibor Retrosprctive: Śūnyatā

朱為白回顧展－破空為白

Chu Weibor of the Eastern Art Association strives to seek and express the “Eastern spirit” as his most valuable motivation when creating artwork with any material or in any form. In comparison, Fontana, the founder of “Spatialism”, felt inclined to eradicate pre-existing Formalist ideas through acts of puncturing, slashing and digging, which are all static states; Chu Weibor’s “po” (rupture) is, on the other hand, subtle and natural, through methods of folding and creasing cloth, they convey an air of genuineness and authenticity through the interwoven lines. His methodical cutting technique slices open the picture delicately, allowing the multihued fabrics or papers filled in the back to pour out openly, freely yet subtly. The warmth in Chu Weibor’s work originates from his usage of the imagery of “circle” to unify “all things”—this is precisely a change that occurs as a result of constantly complying with a “repetitive” rhythm; “the formless as the essence” is both a spirit and realm of Zen embodied in his work and a method to transition from the expression of mock traditional Chinese landscape works to one that fuses the philosophies of both Taoism and Zen—the expression of “conformity” and Zen Buddhist ‘śūnyatā’ (emptiness)".

無論以何種媒材或形式創作，朱為白將「東方精神」的追尋與表達視為最重要的創作動機。「空間主義」創始人封答那傾向於破壞舊有的形式主義，戳破、割開、挖開的動作皆呈現靜止rﾀ態；朱為白的「破」則淡而自然，布面縱橫交錯中表現一種自然天真的氣息，或以井然有序的切割細緻地劃破畫面，，任其背後所摻墊的不同顏色的布或紙能順勢若隱若現地傾瀉而出。朱為白作品的溫婉也來自他以「圓」的意象統攝「萬物」的型態，這便是一切依循「反復」規律而變化的一種變化；而其作品所表現的一種「無相為體」的禪意和禪境，是為了使其作品由原本以模擬中國傳統書畫之山水畫型態的表現，過渡到一種融合了道、禪二者思維而形成的「道之『無方』與禪之『造空』」的藝術形式。

Projection 展場投影

Installation 展覽現場

Invitation 邀請函

Type Brochure / Exhibition

Client Asia Art Center

Year 2018

Artist Chu Wei-bor

Graphic Design Sung, Di-Yen

Design Concept: Light and Shadow, Sublimation, Destruction

In CHU Weibor's artworks, by layering or damaging the original media, the plane work became three-dimensional, and the changes of light and shadow came from them, allowing the viewer to observe the artwork from different perspectives.

When it comes to design, the bar vanished little by little, and the edge became rough. This idea was inspired by the effect of Mincho Font eroded by light on the illuminating backplane; the text was gradually destroyed from the periphery. It not only echoes the media and feature of CHU Weibor’s paintings but transforms the result of damage into an aesthetic expression.

設計概念光影、昇華、破損

在朱為白老師的作品中，透過疊加或破壞原本的媒材，將平面轉化為立體，光影的變化也從中而來，讓觀者可以從不同的視角與緯度觀看作品。
設計上，受到明體字在發光背板中被光線侵蝕的效果所啟發，將文字從外圍逐漸破壞，讓橫筆逐漸消逝，也讓邊緣產生毛邊的粗糙質地，除了呼應朱為白老師畫作中媒材與特色，更將損毀轉化為昇華。

Print 日動印刷

Paper 外襯用紙采億-日本MT晶采紙／內裏用紙恆成-維納斯雪莎紙

Processing 外襯-燙霧黑／內裏-印銀 Pantone 877U／雙面上消光