Substance & Motion: HARAGUCHI Noriyuki Taiwan Premiere Exhibition
“Substance and Motion” presents Haraguchi’s newest series that adheres to his overarching theme of repurpose. In his compositions, objects abandoned, neglected or forgotten by society are once again revitalized as media of recalling memories, or perhaps as exhibits of re-thinking history. The iron, wood, polyurethane materials eminent in his works though still retain their industrial materialistic qualities, their once glossy surfaces are already dulled and muted; nevertheless, after their presumed functions as “objects” are completed, each is then liberated to regain its nature of “matter”. Ultimately, how are Post-Mono-ha and Mono-ha distinguished in their comprehensions of “Mono”? In the nature-yearning and philosophical-focused Mono-ha group, Haraguchi is without a doubt an outlier with his modest age gap and fervent passion for industrial materials, as he has stated, “The slight difference between our ages has never disappeared, and we will forever live in parallel. Perhaps I constantly live in parallel with things, too.” This sense of distance described by Haraguchi not only is an indication of his idealistic idiosyncrasy, it also reveals his concern regarding the ever-changing interpretations of matter throughout civilized history, and how we as humans can truthfully engage with the current world through matter?
物，及其動勢—原口典之台灣首展
「物，及其動勢」承續原口典之對物的重義之主題，廢棄的累贅之物與被忽視的遺忘之物，經他之手成為重獲新生的回憶載體，又或是重審歷史的證物。作品中的鋼鐵、木板、PU物料雖仍保有濃烈的工業材料質地，其表面光澤卻已黯淡啞然，在分別完結自身屬於「物品」之功能性的使命後重拾「物」的本性。後物派與物派，對於「物」的讀法，有何差異？在嚮往自然與哲學的物派團體，年紀較輕且酷愛工業材料的原口典之無疑是其中的異數，如他所言：「我們之間些微的年齡差距不曾消逝，我們永遠活在兩條平行的軸線上，我與物也是如此。」原口描述的距離感，不僅揭露他在思想上的差異，也是他探究當「物」在歷史洪流中不斷演變的同時，人又該如何透過「物」反觀自身與時下世界的關聯？
Type Exhibition
Client Asia Art Center 亞洲藝術中心
Year 2019
Artist HARAGUCHI Noriyuki 原口典之
Design Sung, Di-yen 宋狄諺
原口典之 綠立方 2019 聚氨酯、紙蜂窩、壓克力 91x91x13.5cm
HARAGUCHI Noriyuki Green Square 2019 Polyurethane, paper honeycomb, acrylic paint 91x91x13.5cm
While creating the invitation of Haraguchi Noriyuki’s exhibition, I realized that if simply do some post-press on paper, like folding or coating, this way would not resonate the concept of “matter” in the exhibition. The idea of “matter” which Haraguchi Noriyuki emphasized is making “tactile sensation” and “visual appearance” to become a part of the object. Therefore, the design of the invitation not only had both sides of the paper, but taking the thickness in the three-dimensional space into the design plan, and without using the gray cardboard which commonly used in thick cards as the interlayer, I chose double wall corrugated board. It is the work of Haraguchi Noriyuki – “Gray Square” that inspired the designing attempt. By adding thickness space, the lateral side of work, which is challenging to present, can echo the similarity of the materials so that the connection between the invitation and the work increases.
在規劃本次邀請函時，很快就瞭解如果只是一如往常地將紙張透過折疊與加工的形式製作邀卡，將會難以呼應展覽中「物（matter）」的概念，而原口典之老師強調的「物」，是將「觸感」與「有形的視覺感」視作為物的一部份。因此，在邀卡設計上除了正反兩面的空間外，亦是將三維空間中的厚度也納入這次的設計中，不使用厚卡中常見的灰卡紙（3-5mm）作為夾層，而是用AB浪瓦愣紙版（8mm）作裱褙，這個做法也是受到原口典之的作品—灰立方 Gray Square 所啟發，讓原本難以將作品呈現的側面，也能藉由材質的相似性作為呼應，讓邀請函與作品的連結度增加。
