Narrated battles are understood as causes and consequences. What would miniatures do? Highlighting history as vignettes and isolated scenarioas, they invite us to contemplate the gaps in between. 戰爭化為敘事往往強調了因果關係,手造的微型模型則更像小插畫,其真實性存活於小節和細工裡。
In Toy as Media 3, Wai-leung Lai changes strategy though still sticking to his favorite subject matter -- the battles of WWII. Surprise discovery: the hierarchy of events by significance could be mis-leading. How else to understand history? 《玩具媒介3》Toy as Media 第三集,黎偉亮的參展作品仍不離二戰軍事模型。因視力衰退老花加深,他將舊製作拍成照片加上新的註解,過程中卻無意地發現了一條隱隱約約的戰爭時間線,興起了說說這一段歷史的念頭。
黎仲民的藝術方式通常都悠閒愉快,且以觀眾為主;他堅信觀眾可以令藝術作品變得完整。Lai’s approach to art is generally care-free and audience centred. Andio Lai’s art brings a playful happiness to viewers and exhibition participants; he believes having an audience makes an artwork complete. John Batten spoke with Andio Lai.
「我跟彈珠人有一種緣份,跨越了二十多年時間,這種特殊的喜愛也是一樣的。無論在小學,還是到現在,相比其他漫畫,這個故事情節也比較真實…。」(2017,黃福權)成年人眼中的沈溺,在一個小孩來說,或許是有他們的原因的,也可以是一生的能源的暗出口。今天的他再回顧小六時候的記憶。Wong Fuk-kuen sees a clear linkage between the young kid and the adult of himself through the marble shooting toy B-Daman. Here, he speaks of the 20-something-year attachment.
Stock-taking at Floating Projects. Model-mania. Please insert. 據點打開門,點子上倉。模型經。偉師傅起頭,歡迎插入。
Kel Lok, FP member, artist of “Toy as Medium” and workshop host for “Monster Assemblage,” shares with us the more-than-monsters created on 3 December 2016 with visitor-participants.
Through the looking glass, FP member Kel Lok traces an everlasting sentiment nourished from his childhood, a deep view on the fantastic planet Eureka 7 and the episode “Psalms of the Planets.”
FP member Andio Lai, Co-curator of “Toy as Medium” (opening 20 Nov 2016), recalls the meandering trail of his childhood events, code-named “Cyclone Magnum.”
FP member Wai traces the making of his 15 pieces at “Toy as Medium,” revealing the mind of a devoted miniature maker whose obsession has a rational dimension. He finally came back to his “craft” after 35 years of no model-making.