2.5D Cube
(2015)
5D Cube
Concept & Performer: Yi-Jou Chuang
Costume: Isa Wiethölter
live performance 15-30 min
Concept & Performer: Yi-Jou Chuang
Costume: Isa Wiethölter
live performance 15-30 min
立方體（Cube）是一個我過去作品常出現的畫面元素，是因為我喜歡他簡單的外在但又多層次豐富的意涵。在平面空間上繪製一個立方體時，會發現他是由一個中間的Ｙ字型和外框的六邊形組合起來的。在這個作品中，我在牆角的繪出了部分的立方體線條，而用我的身體表現出另外一部份的線條，利用各自的特性，使這個立方體的線條有了兩一個部分，一是牆上不可變動的線，另一種是由我身體從延伸的可變性的線條。透過身體緩慢的移動而使身體線條與牆面線條形成不同的造型，同時在這兩者之間的空間也逐漸的不停地產生變化。由於線條與不可見的空間變成了活體雕塑一般，充滿生命力的轉變著。也如同可動性線條與不可動性線條之間的對話。觀眾在觀看時能從不同的角度觀看，有些角度觀眾的眼睛能看到最接近完整的立方體空間，其他位置會看到不一樣的造型效果。表演者在整個過程之中，轉化成為個物件或是只是一條線。
The cube is a motif I used frequently in past paintings. I like its simple form, which also embodies multilayered meanings. In theater, actors use different sized cubes to organize various scenes and props during the rehearsal. It is how a play begins. In Taiwan, drawing a cube with a pencil on paper is the basic practice–that is how we start the classical drawing training. The cube in my life is not just a simple geometric shape, but full of possibilities for interpretation. When you draw a cube on a surface, you will find that it is a combination of a Y-shape and a framed hexagon. In this work, I painted parts of the lines of a cube in the corner of the room and used my body to show the rest. With their own characteristics, the line of this cube has two parts: on the wall, the lines of immutability; extending from my body, the lines of variability. Through movements of the body, the lines became different shapes and created new spaces in-between. Through the process, the performer transformed into an object. Lines and the altered spaces became a living sculpture, full of vitality. There was a dialogue between the moveable and immovable lines. The audiences see different things from different perspectives: at some point, the almost complete cubic space was visible, and at other points, other forms were present.
The cube is a motif I used frequently in past paintings. I like its simple form, which also embodies multilayered meanings. In theater, actors use different sized cubes to organize various scenes and props during the rehearsal. It is how a play begins. In Taiwan, drawing a cube with a pencil on paper is the basic practice–that is how we start the classical drawing training. The cube in my life is not just a simple geometric shape, but full of possibilities for interpretation. When you draw a cube on a surface, you will find that it is a combination of a Y-shape and a framed hexagon. In this work, I painted parts of the lines of a cube in the corner of the room and used my body to show the rest. With their own characteristics, the line of this cube has two parts: on the wall, the lines of immutability; extending from my body, the lines of variability. Through movements of the body, the lines became different shapes and created new spaces in-between. Through the process, the performer transformed into an object. Lines and the altered spaces became a living sculpture, full of vitality. There was a dialogue between the moveable and immovable lines. The audiences see different things from different perspectives: at some point, the almost complete cubic space was visible, and at other points, other forms were present.