Leelee Chan 陳麗同
Pallet in Repose (Resurfacer) 凝伫之盘（重现）, 2021
found plastic pallets, salvaged tennis court asphalt pieces, Lapis Lazuli, resin, stainless steel mirror, stainless steel rods, stainless steel hardware nuts, metal base, epoxy putty 拾得塑胶卡板、回收网球场沥青块、天青石、树脂、不锈钢镜子、不锈钢螺丝杆及螺母、金属底座、环氧油灰
106 x 110 x 145 cm
Further images
-
(View a larger image of thumbnail 1
)
-
(View a larger image of thumbnail 2
)
-
(View a larger image of thumbnail 3
)
-
(View a larger image of thumbnail 4
)
-
(View a larger image of thumbnail 5
)
-
(View a larger image of thumbnail 6
)
-
(View a larger image of thumbnail 7
)
-
(View a larger image of thumbnail 8
)
Chan’s inspiration for Pallet in Repose (Resurfacer) came from witnessing construction workers breaking off a huge number of asphalt pieces from a hard tennis court at the Indian Recreation Club...
Chan’s inspiration for Pallet in Repose (Resurfacer) came from witnessing construction workers breaking off a huge number of asphalt pieces from a hard tennis court at the Indian Recreation Club in Causeway Bay in Hong Kong. This scenario revealed layers of different substances which provoked an uncanny mixture of an archaeological site and a post-apocalyptic landscape. Pallets, such as those used in Chan’s sculptures, have also a particular meaning in the history of Hong Kong, a city which first gained global significance as a global trading port. During her childhood, the artist grew up overseeing a 24-hour container port in Hong Kong from her apartment window.
Created for economical purposes, the plastic pallets and hard tennis court serve as a ‘surface’ for human activity, and yet share the fate of a limited lifespan of functionality. The discarded asphalt pieces were piled up and readied to be buried underneath a new road. The artist salvaged selected asphalt pieces from the site and integrated them inside of a cube composed by seven plastic pallets standing upright, so as to reveal its manipulated inner structure upon closer inspection.
陈丽同创作《凝伫之盘（重现）》的灵感来源于她某天看到建筑工人在香港铜锣湾印度游乐会的硬地网球场施工时钻碎大量沥青块的过程。地下层层叠叠的各种物质引发了她对考古现场和末日光景的想像。陈丽同雕塑中用到的托盘对于香港这个作为全球贸易港口而取得国际重要性的城市有着特殊的历史意义。艺术家儿时经常从她家里的窗户观察窗外24小时运作的货柜码头。
塑胶托盘和硬地球场同样为了经济目的而被制造，都为特定的人类活动提供了一个“表面”，并同样难逃使用寿命随功能性而终结的命运。被掘起的废弃沥青块，本来是要被揽碎，再用来重新铺就另一条香港的道路。艺术家从中挑选出一些沥青块，将它们嵌入七块塑胶托盘形成的立方体中。这些塑胶托盘直立摆放，露出惯常被隐藏或忽视的内部结构。
Created for economical purposes, the plastic pallets and hard tennis court serve as a ‘surface’ for human activity, and yet share the fate of a limited lifespan of functionality. The discarded asphalt pieces were piled up and readied to be buried underneath a new road. The artist salvaged selected asphalt pieces from the site and integrated them inside of a cube composed by seven plastic pallets standing upright, so as to reveal its manipulated inner structure upon closer inspection.
陈丽同创作《凝伫之盘（重现）》的灵感来源于她某天看到建筑工人在香港铜锣湾印度游乐会的硬地网球场施工时钻碎大量沥青块的过程。地下层层叠叠的各种物质引发了她对考古现场和末日光景的想像。陈丽同雕塑中用到的托盘对于香港这个作为全球贸易港口而取得国际重要性的城市有着特殊的历史意义。艺术家儿时经常从她家里的窗户观察窗外24小时运作的货柜码头。
塑胶托盘和硬地球场同样为了经济目的而被制造，都为特定的人类活动提供了一个“表面”，并同样难逃使用寿命随功能性而终结的命运。被掘起的废弃沥青块，本来是要被揽碎，再用来重新铺就另一条香港的道路。艺术家从中挑选出一些沥青块，将它们嵌入七块塑胶托盘形成的立方体中。这些塑胶托盘直立摆放，露出惯常被隐藏或忽视的内部结构。