蕭 聖 健 Hsiao, Sheng-Chien
蕭聖健,國立台南藝術學院造形藝術研究所畢業,目前任職 於高雄市福山國中擔任藝術與人文視覺藝術教師。 曾獲第二屆國巨科技藝術獎、2013台北數位藝術獎、2018 高雄獎及國家文藝基金會藝術創作補助。擅長使用工業零件 及一些尋常的生活物件做為創作材料,利用馬達、齒輪或繼 電器等,賦予機械小物規律或不規律的動態或聲響,試圖以 低科技技術的手法創作出自動性運動的機械裝置。藉著以人 工方式營造出的自然美景,來反諷人類為了追求工業與科技文明的發展,而不斷去破壞身邊珍貴的自然環境的盲目行為。舉辦多次個展及聯展,作品曾獲邀於2019台北雙年展,2021台灣雙年展,2021奧地利Linze OK美術館及新加坡ArtSince Museum展出。
Hsiao, Sheng-Chien Graduated from Graduate Institute of Plastic Arts, Tainan National College of the Arts. He works in Kaohsiung Municipal Fushan Junior High School as a teacher of arts and humanities, visual arts at present. He has won the second Yageo Tech-Art Award, Taipei Digital Art Festival Awards 2013, Kaohsiung Awards 2018 and National Culture and Arts Foundation (NCAF) grants. He is good at using industrial parts and ordinary living objects as creative materials, such as motors, gears or relays, etc. Give mechanical gadgets regular or irregular dynamics or sounds, and try to create automatic mechanical devices with low-tech techniques. By artificially creating the natural beauty, satirizes the blind behavior of human beings who constantly destroy the precious natural environment around them in pursuit of the development of industrial and technological civilization. He has held many solo exhibitions and joint exhibitions. His works have been invited to Taipei Biennial 2019, 2021, and exhibited in Okurtur Quartier, Austria and ArtSince Museum, Singapore in 2021.
Hsiao, Sheng-Chien Graduated from Graduate Institute of Plastic Arts, Tainan National College of the Arts. He works in Kaohsiung Municipal Fushan Junior High School as a teacher of arts and humanities, visual arts at present. He has won the second Yageo Tech-Art Award, Taipei Digital Art Festival Awards 2013, Kaohsiung Awards 2018 and National Culture and Arts Foundation (NCAF) grants. He is good at using industrial parts and ordinary living objects as creative materials, such as motors, gears or relays, etc. Give mechanical gadgets regular or irregular dynamics or sounds, and try to create automatic mechanical devices with low-tech techniques. By artificially creating the natural beauty, satirizes the blind behavior of human beings who constantly destroy the precious natural environment around them in pursuit of the development of industrial and technological civilization. He has held many solo exhibitions and joint exhibitions. His works have been invited to Taipei Biennial 2019, 2021, and exhibited in Okurtur Quartier, Austria and ArtSince Museum, Singapore in 2021.
作品 Works
《歸》機械動力聲裝置,依現場裝置,2019
Return, Mechanical power acoustic device, Dimensions variable, 2019
回憶小時候放學行經的路邊,樹上和電線桿上總停滿了麻雀,吱吱喳喳,好不熱鬧。曾幾何時,這幅過去以為再自然不過的景象,已不復存在。現代工業文明的發展,永遠改變了人們原本的生活方式和周遭環境。記憶中的田野蟲聲蛙鳴已被人車穿梭的雜沓聲所取代。我試著在工業文明的機械產物所製造出的聲音中,尋訪、重現幼時記憶裡熟悉的聲音。展場中央置放轉盤,透過緩慢旋轉的樹幹切片,控制鳥鳴器叫聲的位置變換,以模擬鳥群在樹叢間集體移動的聲效。在燈光和交錯的電線裝置裡,製造出一種黃昏樹影的意象。被視為現代、進步象徵的機械,背負著我的鄉愁。刻意外露的電路和低科技手法的運用,讓機械裝置有手感的溫度;慢速轉動的中控台和舊時的生活物件,更召喚出一種懷舊的記憶共鳴。
I recalled that the trees and telephone poles were always full of sparrows chirped lively when I was a child. Once upon a time, this picture that used to be considered natural no longer exists. The development of modern industrial civilization has changed people's original lifestyle and surrounding environment forever. The sound of insects and frogs in the field in my memories has been replaced by the noise of people and cars. I try to find and reproduce the familiar sounds in my childhood memories among the sounds made by the mechanical machines of industrial civilization. A turntable is placed in the center of the exhibition. The slowly rotating trunk slice controls the position of the birdsong, and simulates the sound effect of the collective movement of birds among trees. In the lighting and crisscross wiring devices, an image of dusk tree shadows is created. Machinery, regarded as a symbol of modernity and progress, bears my homesickness. Deliberately exposed circuits and the use of low-tech techniques make the mechanical devices have the temperature of hand; The slow-moving center console and old living objects evoke a nostalgic memory resonance.
Return, Mechanical power acoustic device, Dimensions variable, 2019
回憶小時候放學行經的路邊,樹上和電線桿上總停滿了麻雀,吱吱喳喳,好不熱鬧。曾幾何時,這幅過去以為再自然不過的景象,已不復存在。現代工業文明的發展,永遠改變了人們原本的生活方式和周遭環境。記憶中的田野蟲聲蛙鳴已被人車穿梭的雜沓聲所取代。我試著在工業文明的機械產物所製造出的聲音中,尋訪、重現幼時記憶裡熟悉的聲音。展場中央置放轉盤,透過緩慢旋轉的樹幹切片,控制鳥鳴器叫聲的位置變換,以模擬鳥群在樹叢間集體移動的聲效。在燈光和交錯的電線裝置裡,製造出一種黃昏樹影的意象。被視為現代、進步象徵的機械,背負著我的鄉愁。刻意外露的電路和低科技手法的運用,讓機械裝置有手感的溫度;慢速轉動的中控台和舊時的生活物件,更召喚出一種懷舊的記憶共鳴。
I recalled that the trees and telephone poles were always full of sparrows chirped lively when I was a child. Once upon a time, this picture that used to be considered natural no longer exists. The development of modern industrial civilization has changed people's original lifestyle and surrounding environment forever. The sound of insects and frogs in the field in my memories has been replaced by the noise of people and cars. I try to find and reproduce the familiar sounds in my childhood memories among the sounds made by the mechanical machines of industrial civilization. A turntable is placed in the center of the exhibition. The slowly rotating trunk slice controls the position of the birdsong, and simulates the sound effect of the collective movement of birds among trees. In the lighting and crisscross wiring devices, an image of dusk tree shadows is created. Machinery, regarded as a symbol of modernity and progress, bears my homesickness. Deliberately exposed circuits and the use of low-tech techniques make the mechanical devices have the temperature of hand; The slow-moving center console and old living objects evoke a nostalgic memory resonance.