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[藝術作品] 設計師的藝術作品

設計師我創作的初心在於呈現物質的神性,在探索過程中,除了建築設計本業與金工飾品外,同時也有進行藝術創作,並且定期參與聯展。因為本身性格偏好與古蹟再利用的專業背景的影響,我的雕塑或繪畫風多少都帶點古風,而且每件作品創作的同時都會有個擺設地點的設定。 雕塑是相當適合思考、探索形體美感的媒介,但是與繪畫相較,一件雕塑品的製作時間與耗費精力與販賣收益相對不成比例,怎樣的不成比例呢? 以上圖這件銅雕為例,這件作品的製作可分為三個階段: 1. 土塑: 彎折硬質骨架成形後,附上陶土捏塑人體,這期間會聘請十二期(一期製作時間3小時)人體模特兒,十二期結束後便是最重要的部分;依照自己個感悟修改作品的神韻,如果作品的神態、動作無法呈現單純、強烈的精神質感便只能淪為失敗品,無法作為個人代表作展出或販售。正因如此,這件作品單單臉部就重塑了三次,才達到理想神韻。 2. 翻模(FRP): 陶塑完成後的作品在進銅廠前會以玻璃纖維(FRP)翻製,過程中會先以原始土模製作可拆卸的外殼,再以這個外殼製作新的FRP模型。翻製過程中作品會喪失3~12%的細節(視外殼材料的經費而定),因此翻製完畢後,會有漫長的細部打模與整修工作。最終的完成品質輕且稍具彈性與強度,適合存放或交由工廠鑄銅。
3. 翻銅: 最燒錢的一個步驟,翻製方式分為"翻砂"與昂貴的"脫蠟鑄"造兩種(網頁內的銀飾便是脫蠟鑄造製作),最常被採用的翻砂適合一定尺寸以上的雕塑品,過程中銅廠會視脫模方式將你的作品切成寄個部分個別翻製再焊接打磨,這過程會失去約5%以上的雕塑細節,大多時候可以把這視為柔化的效果,但是有時拿到作品還得視情況稍微整修。最後,作品以化學藥劑將外表氧化成預期的顏色後,簽上大名遂大功告成。 這真瑣碎又傷本程序,然而成果值得,雕塑品所產生的那種細膩渾厚氣息是繪畫難以取代的。相襯的雕塑品若與空間共同規劃,能夠發散出相當具感染力的氛圍,以有形的物體將人只引至某種無形的、心靈上的焦點。 製作雕塑其實還有個長遠目標;成為建築/室內設計與藝術品統整者的設計人角色,畢竟自己對色彩與形體的悟性比較適合處理這類型的設計案(例如以藝術品為要角進行建築/室內設計,或與藝術家合作),能力是有了,但卻找不到合適的施力點,畢業後在建築界走衝的這段時間,慢慢察覺想以建築界作為起點,要走到這一部相當艱苦,根本是天方夜譚。經歷一些失敗的嘗試後,才開始增加創作的時間,以參加比賽作為生涯規劃的優先考量。