Duan Jianyu: A Treasure Left in the Earthly World No.2
段建宇:遗落在人间的珍宝 No.2,镜花园,⼴州,2022
Duan Jianyu: A Treasure Left in the Earthly World No.2, Mirrored Gardens, Guangzhou, 2022
段建宇
遗落在人间的珍宝 No.2
2014
素瓷,鸡蛋,玻璃钢底座
整体尺寸约为: 54.5 × 60 × 140 cm
Duan Jianyu
A Treasure Left in the Earthly World No.2
2014
Biscuit porcelain, eggs, fiberglass pedestal
Overall dimensions approximately: 54.5 × 60 × 140 cm
从表面形态来看,《遗失在人间的珍宝》中的人物造型是对亨利·摩尔雕塑富有幽默感的回应:斜倚的人形、简化的面部特征以及主体躯干上的孔洞是典型的摩尔的雕塑样式,这种造型的来源普遍被认为是摩尔在1920年代受到玛雅雕塑的启发发展而来的,呈现了现代主义造型和非西方艺术乃至原始艺术之间的复杂关系。
在段建宇的造型转换中,她将鸡蛋架——另一种孔洞结构——引入抽象的人形中,形成一种看似违和于摩尔雕塑和谐感的、有所突兀的经验,但当蛋架被使用,根据日常的需要摆上鸡蛋时,我们突然会意识到,正是日常行为本身在塑造雕塑的形态,而这恰恰是在我们习以为常的一种无意识的状态中发生的:由此,雕塑摆脱了“被看”的状态而回归到“人间”,它似乎伴随着人们的日常行为一起“活”着。
At first glance, the character modeling in “A Treasure Left in the Earthly World” appears to be a humorous response to Henry Moore’s sculptures: the slanting human form, simplified facial features, and holes in the main body are typical of Moore’s sculptural style. This modeling is commonly believed to have been developed by Moore in the 1920s, inspired by Maya sculptures, which reflects the complex relationship between modernist forms, non-Western art, and even primitive art.
In Duan Jianyu’s transformation of forms, she introduces egg racks—an alternative hole structure—into the abstract human shapes, creating a seemingly discordant and abrupt experience when compared to the harmony of Moore’s sculptures. However, when the egg rack is used and eggs are placed on it according to daily needs, we suddenly realize that it is the everyday actions themselves that shape the form of the sculpture, and this happens precisely in an unconscious state that we take for granted. As a result, the sculpture breaks free from being just an object to be observed and returns to everyday life, seemingly “alive” alongside people’s daily routines.