雪兒是珍珠：洪誼庭個展 Shell will be Pearly - HONG Yi-Ting Solo Exhibition, 2024
也許，不只有作為時間的日月星辰，以過去的模樣關照我們；過去的總總，也如同此刻的星空，在遙遠而有時差的錯位中，閃爍著生活的縫隙。
這次個展《雪兒是珍珠》（2024）主要以上次個展《沙漏裡的綠洲》（2022）為母版，延續「以時間做時間」的方法，透過「引用」的概念，將「大量複製作為永恆的另一種面向」持續再製，並藉由兩次個展，在不同時空中的相互對位，呈現「不重複的循環」。
我選擇以「印刷品」為創作媒體，也將「攝影」視作版印媒介的擴充；並試圖翻轉「作為載體的媒材」為訊息本身，再透過「複製技術」的轉變，擴張思考的維度。
展出的四組作品，分別以陽光、空氣、水和幻象為對應，它們是存在的必需品，也是展覽成形的條件；在變化、縮放、迴圈和轉寫的形式中，重新感知時間的質地，也期望在經驗時間的空間裡，發現如海洋的腹語：雪兒是珍珠，雪也是珍珠。
Shell will be Pearly - HONG Yi-Ting Solo Exhibition
Perhaps, not only do the sun, moon, and stars serve as
timekeepers in their past forms; but everything that comes through, like the
current starry sky, flickers in the distant and time-shifted misalignment,
revealing the gaps of life.
This solo exhibition "Shell will be Pearly" (2024)
is mainly based on the previous exhibition "Oasis in-between the
Hourglass" (2022), continuing the approach of "making time out of
time". Through the concept of "quoting," it continues to
reproduce "mass duplication as another aspect of eternity,"
presenting "non-repetitive cycles" through the different positions of
two exhibitions in different times and spaces.
I chose "print" as the medium for creation while
also considering "photography" as an extension of print media. I
attempt to reverse the idea of "material as a carrier" into the
message itself, and through the transformation of "copying
techniques", the dimensions of thought are expanded.
The four groups of works exhibited correspond to sunlight,
air, water, and illusion. They are necessities for the existence and conditions
of the exhibition's formation. Through forms of changing, scaling, looping, and
transcribing, they invite a new perception of the texture of time, discovering
the ocean’s inner voice within the space of experiencing time: Shell will be
Pearly, and xue (snow) is also a pearl.
云云
Such and Such
報紙、年曆、相紙 / 現地裝置
Newspaper, calendar, photographic paper / site-specific installation
230 ×270 ×60 cm / Dimensions variable
●○
如果生命來到這個世界的漣漪是時間感，那會是什麼感覺呢？我以「正在經歷的時間」為「底片」，透過「目光下的一切」將「時間」投影在「還沒有顯影的相紙」上，試圖顯現時間的模樣，也藉此讓時間去尋找自己。
再藉由「報紙做成的灰石頭」和「年曆做成的白石頭」帶來的重力，拉出時間的網狀結構；這些如同「星點」的印刷品，既是感知的連結，同時也讓大量複製的技術，成為永恆的另一種面向。
If the ripple of life coming into this world is a sense of time, what would it feel like? I take the "time being experienced at the moment" as the "film," projecting "time" onto "undeveloped photo paper" through "everything under the gaze" in an attempt to reveal the appearance of time, and thereby letting time find itself.
Furthermore, by the gravity brought by "gray stones made of newspapers" and "white stones made of calendars," I draw out the net-like structure of time. Resembling "stars," these prints serve as perceptual connections while simultaneously enabling mass replication techniques to become another facet of eternity.
字典、地球儀的刻度尺 / 現地裝置
Dictionary（Cihai, Merriam-Webster）, globe scale / site-specific installation
●○
我不斷地在各種時空裡尋找自己的位置，也不斷地透過文字尋找萬物的解釋，如果存在的意義就是尋找本身，那要如何尋找「尋找」呢？
這組由「字典做成的地球儀」，既是一個個縮小的「星球」，也是一個個放大的「塵埃」模型，而「什麼」才是一個理想的歸宿呢？
I constantly search for my place in various moments of space and time, and continuously seek explanations for all things through words. If the meaning of existence is the search itself, then how do we search for "searching"?
This set, composed of a "globe made of dictionaries," is not only a series of diminished "planets" but also enlarged models of "dust." What then is an ideal destination?
融化的詩
Melting Poetry
●○
如果「未知」是世界為我們下的一場「雪」；「面對未知」或許就是「融雪」的過程。那麼在真相之前、在層層積雪之間，又有多少零星的印子被留下了呢？
這是一本「用石頭做成的紙」裝幀而成的書。當書不再是承載內容的空殼，而是成為自己時，它該如何為自己留下印記呢？
If the "unknown" is like a "snowfall" the world has bestowed upon us; perhaps facing the unknown is akin to the process of "melting snow." So, before the truth, amidst layers of accumulated snow, how many scattered imprints are left behind?
This is a book bound with "paper made of stone." When the book ceases to be a mere vessel for content but becomes its own entity, how does it leave its mark?
海市
Hourglass Mirage
複寫紙、攝影、海報、數位印刷、木牆、年曆
Carbon paper, photography, PVC poster, digital printing, dry wall, calendar / site-specific installation
492 × 244 × 105 cm / Dimensions variable
●○
「等待」和「尋找」之間的反覆循環，是否就是創造「期待」的方法？我把藍色的複寫紙一次次的揉皺、攤開、揉皺，再攤開，接著以攝影的方式，拍下一面粼粼波光的海景。而等待掉落的感受與意義，也許正徜徉在複寫的宿命裡，醞釀著潮濕的氣候……
這件作品以「無版印刷」的方式呈現，如果數位輸出的「噴墨」也可以視為現代生活下的彩色的雪，那麼觀看的過程算是為積雪留下腳印吧。
Is the repetitive cycle between "waiting" and "seeking" a method of generating "anticipation"? I crumple and unfurl blue carbon paper repeatedly, then, using photography, capture the shimmering sea. The sensation and significance of waiting to drop, perhaps, reside within the destiny of replication, brewing a damp climate……
If digital output, represented by “inkjet” printing, can be likened to colored snow in modern life through “non-plate printing for this work,” then the act of viewing can be considered as leaving footprints in accumulated snow.
