Mirror of Day and Night

Public Art

Designer : Wang-Wei Ho
Designer & Supervisor : Chao-Ming Lu , Harmony Architecture Design
Location: National Taiwan Museum
Project Year: 2019

The field of view here is derived from the original existence and the nihility that has emerged
The image here refracts the guidelines from the heavens and the earth, and is lost in the mind
The space here speculates about the disordered consciousness or disordered city behind the conscious space

Is the field of view we get just a sudden appearance or a calm presentation?
Is the image we see isolated in space-time, or is it the truth under space-time?
Is the space we occupy an object equivalent to our body size or the field of view of a person engaging in reflection?

In fact, the image only makes the past create a deeper imagination of my soul. The image is also exactly the same as the real present, showing what another real present ought to be. Perhaps, the image only reminds us of its shortness. Although the image is the end of a field of view, our existence is only in countless ephemerality, but it eliminates the short-term gap. The creator developed this polygonal geometric italic shape based on the corresponding relationship of penta prism photosensitive film, thus, creating the metaphor that light and shadow refraction are important factors before the entire image is input to the film. It is hoped that the metaphysical imprints of these historical images may enable people to bear in mind the true key principles of their formation.
From this field of view, we are not looking for a more concrete and real world, but a forgetting of existence. A kind of moment of us, which is neither the beginning nor the end, will ultimately be captured by the image. The people and the world will be classified into a certain view in history, and the passion under the image will always ask naked questions to the world. The space we are in is not where we belong. When people slowly walk out of their homes and give meaning to everything, we will find that we can no longer recognize this world.

晝夜之鏡

公共藝術

藝術家：王為河
設計&監造工程：呂兆民、和墨設計
地點：國立臺灣博物館
時間：2019年

《晝夜之鏡》

這裡的視域 源自於原本即己浮現的存在與虛無
這裡的影像 折射了天上來的 地上產地 及心中所錯失的因循
這裡的空間 思辨著都會凌亂的意識 或意識者背後無序的都會

我們所獲得的視域 只是猝然中的隱現 或是坦然下的呈現
我們所看到的影像 是一種孤立的時空 還是時空下的真相
我們所佔據的空間 是這具身軀等量的形體 還是一位反思者的視野

其實，影像只是讓過往，造就了更深層內我靈魂的遐想。 影像也是把真正的當下分毫不差，呈現出另一個真正應有的當下。 或許，影像只是提醒了它的短暫，雖是一種視域的盡頭， 而我們的存在，也只是處在無數個短暫中卻是消弭了短暫間的落差。
作者以五菱鏡及感光元件的對應關係，發展出此一多邊類幾何的斜體造型，隱喻光影折射才是整個影像導入感光元件前的重要因素。希望讓這些歷史影像的形上印記，能牢記其形成的真正關鍵原理。

我們將從這處視域中，尋找的不是更具體更實在的世界，而是一種存在中的遺忘，一種即非開始也非結束的當下我們也終將被影像所攝，只因世人與世間都將歸入歷史中的某種看法，而影像下的激情 將永遠向著世人提出赤裸裸的疑問，我們所處的空間也非我們所屬，當人們緩緩步出自己的家園，並賦予萬物其意義時，將發現我們再也認不得這個世界了。