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Added Interpolation Points—Beyond the Re-simulation of Sculpture
2014
BY
CHANG Nai-Wen
A.I.P.--P
2014
80x27x33cm
A.I.P.--P
2014
80x27x33cm
A.I.P.--P
2014
80x27x33cm
A.I.P.--P
2014
80x27x33cm
A.I.P.--P
2014
80x27x33cm
A.I.P.--P
2014
80x27x33cm
A.I.P.--P
2014
80x27x33cm
A.I.P.--P
2014
80x27x33cm
A.I.P.--P
2014
80x27x33cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PA
2014
160x35x52cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--PF
2014
160x50x36cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--I
2014
96x35x15cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
A.I.P.--IN
2014
180x50x28cm
Sublimation
2014
,
80x40x30cm
Sublimation
2014
,
80x40x30cm
Sublimation
2014
,
80x40x30cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
A.I.P--A
2014
55x35x55cm
01 / 10

Interpolation is a method that increases the number of the pixels to enlarge the size of a digital image. The purpose of interpolation is to de-mosaic image. When looking at an image that has been processed by an interpolation, we thought that we are looking at original image. However, in fact, we are actually facing a rescaled and enlarged image.
This retouched and simulational image became the standard image for representation. Thus, it means that, visually, we don’t care the independence of the materiality of an object. When trying to transcend the dichotomy of the form and content of arts by using an object as the medium between art and society, Theodor Ludwig Wiesengrund Adorno noted the priority of the object of arts. From my point of view, Adorno,s theory accidently noted the unique exist of the sculptures.
I created my AIP series in response to the enlarge technologies in sculpture. The enlarged sculptures were considered as the extension of the prototype without any hesitation. The varieties in enlarged sculptures were misunderstood as the notes of the original text. In the process of enlarging my designs by employing stone sculpture, the objects were enlarged and distorted. To the sculptor, me, the processes were not making the piece by original intention but the re-stimulation of the intention. I were actually facing different sculptures, the more details brought up by larger objects, and the new decisions for the new coming borders. Then, they ultimately became the independent objects after the enlarge processes. They exist without artist’s original intentions. When the concept of interpolation involved, in fact, these stone sculptures are not enlarged objects but the existed emotional relics of sculptor. The chisel marks, textures and the cross-sections became emotional relics in my sculptures. Therefore, the existence in real world of a sculpture should become the internality of thinking a sculpture and continually challenge the induction method of the concepts. Under this concept, when employing different materials, sculpture becomes a dynamic concept which could exist independently.
For long, sculpture created an object by using materials. Sculpture represents visual and tactile perceptions. Ideologies have become the central concepts in a sculpture. This trend confines the possibilities of a sculpture that could be a medium between concepts and reality. It accompanies by the self-absorption of the sculpture and the conflictions between arts. The Sublimation employs the phenomenon of sublimation as a metonym. It paradoxically ridicules the confusion between the concept of reality and art. The stone tongue and the bone made of camphor that kept sublimating challenge the linguistic interpretation structure. It reflects the cultural conditioning in the real world. This work not only satisfied the disappeared and permanent exist of the materialism, but also be questioned in the image/language linking logic. If the image simulated reference and the phenomenon response the immediate experiences, sculpture as a production of image will become the battle field of forms and contents.

ARTISTS
34 artworks / 67 exhibition
Sculpture
My art creation is concerning about the related position that derives from the choroid of Sculpture, and the possibility of getting involve in contemporary art. The object of sculpture doesn’t operate as research tool or method for contemporary ar ...
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KEYWORDS
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture
CHANG Nai-Wen, , Sculpture