Spring Feature / Spring Special

[Spring Special] POLYSH X 质 霁 :: Spring, play in the mud (below)

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Executive Editor & Producer/ Alice Chan Art Director/ Manchi Cheng Photography & Film/ Manchi Cheng Model/ Sophie Liu Music/ Hsu Chia Wei Assistant/ Chien Chuan Wang Poem Courtesy of Si Fangtian Ken Yan; Poetry Translation / Chen Yunyuan from Taipei Poetry Festival Special Thanks/ Si Fang Tian Yan Yan & Taipei Poetry Festival Those we picked flowers and plants we are not in the water bottle, we do not soak the herbal tea, we use the new veins and the upcoming withered to write a poem dedicated to the spring tail of the muddy moisture spring begins At the end of the game, from the thinning to the luxuriance, the vitality of the plants gradually climbed through every corner of the city. Taiwan's spring tones are not particularly bright, and the faint gray is covered with rainy glue, which penetrates into the soil and dissolves into a loach. In the next spring of 2016 [Spring Special], we and the literary and artistic paintings of Li Wei, together with the Japanese poet Si Fangtian's poem "The Cow Dung", turned the words into pictures, picked up the spring mud and the shavings, and covered the body. --- Like a ritual, the filled, suffocating senses get some kind of spiritual liberation---seeking spring in poetry and poetry in spring. Please put my body on the top of the cow dung also...

[Spring Special] POLYSH X 质 霁 :: Spring, play in the mud

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Those we picked up the flowers and plants we are not in the water bottle, we do not soak the herbal tea, we use the new veins and the soon totem to write a poem dedicated to the muddy moisture of the spring tail. In 2016, Polysh first tried a special plan to invite artists/ The way the creators work together to create together. From the beginning to the end of spring, from the thinning to the luxuriant, the vitality of the plant gradually climbed through every corner of the city, and it was just around the corner. This time, we invited Li Wei, who is a singer of quality, to use poetry as an inspiration, to find spring in poetry, and to discover poetry in spring. [Spring Special] In the first part, I walked into the photographic and painting studio and talked with Li Wei about his feelings about plants and the process of thinking about this work for Polysh. Photography/Manchi. The first visit to Li Wei's studio, in addition to the expected flowers and plants, the eyes immediately attracted by the driftwood on the work table and a huge hive, mixed with a touch of earthy fragrance. Moved along the wooden floor to the living room, I heard the slippers slamming on the debris of the leaves scattered on the ground, the warm sunlight sprinkled from the skylight, and the two cats lazily stretched out - these extremely The daily picture is guided by the senses and becomes the aura of life, waiting to be picked up. After sitting down, I saw a magazine on the living room low cabinet. The cover was a photo I had just visited Jean-François Lepage, a French experimental photographer. Li Xiaoxiao said that although this is a Japanese magazine, but because I like the cover, I bought it back. I will smile at the bottom of my heart. Yes, some avant-garde, some rebellious, and some unexpected. This is the one I know through my work. Photography/ Manchi. Photography/ Manchi. Photography/ Manchi. Li Yu’s physique paintings are never just aesthetics and romance. Floral creations with plants are far more than space decoration; materials taken from nature, leaves, seeds, Petals... Combine metal, plastic, ore and other materials to collide with the huge text or topic behind the work. In addition to vision, Li Wei also uses his works to trigger the sense of smell, touch, and sense of hearing. He is more inclined to experiment with the possibility of overlapping plants and spaces than to assemble and place flowers beautifully, or to use the same materials and methods to express beauty. Showing organicity in the inorganic, let the audience experience it on a wider scale--the emotions we live with in the living, from now on, from the healing of the small to the more dimensional narrative thinking. Photography/ Manchi. Photography/ Manchi. Photography/ Manchi. From the building into the floral creation, the seemingly different fields are logical for Li Wei. With the construction of a space environment as the scripture, the vitality of plants is the latitude, which is the vocabulary of his expression of the world. "I am a very sensory person, and plants provide me with a chance to experience the occurrence of various environments. In addition to posture, its smell, texture, touch, and interaction with the surrounding environment are all It constitutes my impression of the plant; by this state, I find myself connected with the environment and space." Perhaps because of this, in the lyrics written in flowers and plants, he can still see the clarity of his spatial construction logic. The context, but the mind has the sensibility of the soul. Photography/ Manchi. Photography/ Manchi. Photography/ Manchi. I have always avoided discussing only the creation of floral art. I am more inclined to my feelings about plants and the environment, because it is accumulated from everyday life, after passing through my own After digestion, it is transformed into a work. Talking about the stage that he attaches most importance to in the creative process, Li Xiaoxiao said that from the elaboration of his accompanying works, he can probably see the clue. "What I care about is that when a work is presented to the audience, does it have other ways to trigger other images or imaginations in the minds of the audience and turn into another kind of moisturization. Therefore, the creation process of one work is the most for me. The first thought is to draw the most of the ink. If this process of thinking is missing, I will be very embarrassed and I am full of doubts about this work." It is quite time-consuming and painstaking to think about the accumulation of life in daily life. Even if he considers himself to be a person who is more inclined to absorb visual images, Li Wei feels that he is very dependent on the text. Photography/ Manchi. Photography/ Manchi. "I didn't even have reading habits before the university. When I was in college, when I was studying art history and creating concepts, I suddenly found myself as a stone that was reverberating and empty. It was very empty." Since then, he has cultivated reading habits, collected a large amount of browsing, and unexpectedly cultivated a high degree of sensitivity to the text. When a work begins from nothing, there are many pictures in this process. He explores the picture along the way, searches and reads huge materials, constructs the background story of the work, and then names the work. The text combs the thoughts and finally presents the work with the writing. Most of these words have been reinterpreted for the works, occasionally sensuous, interspersed with philosophical speculation, allowing the audience to have a path to extend the imagination - the text pulls out a trajectory, which is another angle of view of the work, but also a kind of imagination beyond the visual impact of the work. The blank of space; the audience understands that it is a kind of tacit understanding, resonance, incomprehension or misunderstanding, and it is also the interest of logic and thinking games. Photography/ Manchi. Photography/ Manchi. Photography/ Manchi. If I am a poet, plants and flowers are my words. This time with Polysh...