Wedge
The existence of the box is to protect the objects inside it; or, it is born to protect the world outside the box.
Ten years ago, the artist drafted an art project - Three: A Collecting Project about City, Deformation, and Wandering - with a cycle of every ten years. The original chapters were BOX-OLOGY, Wandering Fragments of CITY, and Fragments. These three chapters served as a starting point to expand the project outwards; however, the artist did not give a direction to the expansion. Like someone continuously and erratically threw something into the darkness, it was waiting for any possible responses.
Yet, there was always an inspiration deep inside the artist’s heart. Neither a prospect nor a blueprint, even not an unpleasant mental model, it was nothing more than a simple spark. The artist reified the inspiration by successive labors, continuous nonsenses, and unanticipated explorations. These actions were an intertwined journey that could turn over a new leaf.
BOX-OLOGY 3.0 is an intermediate point for a long-term art project. In other words, this is a collection of different thoughts about collecting several concepts in the past ten years. Various information and objects are arranged in the exhibition hall. Each box or the things inside/outside the box are like pieces of unearthed objects. It can even be described as the current archeology from the future. These fake cement remains represent a relic of cement and industrial world. Not only ready-made objects like tiles and hardware but also counterfeit products such as cement gears and fake plastic bricks are inside this relic. Hence, a narrative that combines real objects and fakes is therefore transformed into a piece of fable.
The artist treats the ground of the exhibition space as a conceptual foundation on earth. Life and death continuously cycle in an indefinite time above this foundation. In terms of the components of the works, the box system, scaffolds, remodeling kits, simulated machines and tools are a display of the “unknown” performance. By placing the symbols among the details and parts of the exhibition, the artist aims at the visual experiences of audiences to appeal for rationality and aesthetics. Through the refraction of light and a certain fixed angle at a short time, the exhibition implies a poetic algorithm of objects.
A single box provides a micro-narrative dimension. Speaking of micro, it is the positioning of the roles regarding the box system rather than the origin of a plain imagination, which is the differences in size. On the other hand, the box system also implies a macro one. At the same time, the audiences are welcome to express their independent interpretations, which could be exchanged repeatedly inside each single box.
As for the scaffold, although its shape is the occupation of a divided space, it is more than a vacant state of “emptiness.” The transparent and overlapping grids of the scaffold are waiting to be filled and inserted, even waiting for the elimination of emptiness. The scaffold is an unhappened panorama to the displayed works.
BOX-OLOGY 3.0-wedge/chapter: Pascal Box is an exhibition that is produced by the concepts of different boxes, including the separate boxes and objects, square objects, objects with boxes and so on. It also expresses the behavioral ideas of collection, organization, and coding. The artist does not intend to discuss the new objects but repeatedly sort out what has been said in the past. It is hoped that the audiences could use their own life experiences to write their unique poems by collaborating with the works in this exhibition.