Leelee Chan 陳麗同
Circuit (New Moon) 迴路（新月）, 2021
found plastic pallet, copper plate gifted by Filipino D’Aloise, bronze powder, stainless steel mirror, metal hardware, gold sheen obsidian 拾得塑膠托盤、由Filipino D’Aloise贈予的銅盤、青銅粉、不銹鋼鏡子、金屬硬件、金曜石
94 x 45.5 x 16 cm
Further images
Circuit (New Moon) is an extension of Leelee Chan’s recent Pallet in Repose sculpture series and explores the evolving meaning of materials in relation to her BMW Journey “Tokens of...
Circuit (New Moon) is an extension of Leelee Chan’s recent Pallet in Repose sculpture series and explores the evolving meaning of materials in relation to her BMW Journey “Tokens of Time”.
Circuit (New Moon) consists of a pre-used plastic pallet collected in the streets of Hong Kong by the artist and a circular copper plate that was gifted to Chan during her BMW Art Journey by one of the three remaining coppersmiths in the medieval town Agnone in Molise Province, Italy. Filipino D’Aloise still practices the ancient methods of copper work and shared with the artist vivid stories about the history of copper in Agnone, once the most important Italian city for copper production in the Middle Ages.
The artist grew up overseeing the 24-hour container port from her apartment window in nearby Lai King. Pallets have a particular meaning in the history of Hong Kong, which first gained global significance as a global trading port.
Copper and plastic pallets have a seemingly paradoxical relationship. Copper was the first metal human extracted form ores as early as the seventh millennium B.C.E and was of similar significance in the ancient world as steel and aluminium are today.
First invented in the 1960s, plastic pallets present a mobile ground for transportation as part of the accelerating global supply chain. The former is conductive, permanent and natural, and the latter thermosensitive, disposable and artificial. One embraces craftsmanship, and the other eliminates labor.
Chan incorporates the intrinsic materiality of copper and plastic pallets and reconfigures the function of these “tokens” to create the enigmatic form of Circuit (New Moon). Chan’s intention is to generate a new living entity driven by its own internal logic and existing in its own right, while creating alternative meaning.
《迴路（新月）》是陈丽同近期的《凝伫之盘（重现）》系列雕塑的延续，结合她的宝马艺术之旅“Tokens of Time”，探索了材料的多重意义。
《迴路（新月）》包含艺术家从香港街道上拾得的被使用过的塑胶托盘和一块铜制圆盘，这块铜盘为宝马艺术之旅途中Filipino D‘Aloise赠予陈丽同的礼物。Filipino D’Aloise是意大利莫利塞大区的中世纪古镇阿尼奥内仅存的三位铜匠之一，他至今仍在使用古老的工艺，并生动地向艺术家讲述了阿尼奥内（中世纪意大利首要的制铜城市）铜的历史。
铜和塑胶托盘的关系似乎充满矛盾。早在公元前7千纪人类就开始从矿石中提取铜，这是人类历史上最早被提炼的金属，在古代社会的重要性相当于今天的钢和铝。
塑胶托盘最初在1960年代被发明出来，作为不断加速的全球供应链的一环，被用作陆路运输中可移动的底座。铜具有传导性、永久、自然，而塑胶托盘则具有热敏性、用完即可丢弃、为人工制造。前者着重工艺，后者减轻劳动。
陈丽同融合铜和塑胶托盘固有的材料性，重塑这两个“令符”（token）的功能性，创造出《迴路（新月）》的神秘形态。她意图塑造由自身内在逻辑驱动的生命体，独立存在，创造着另一种意义。
Circuit (New Moon) consists of a pre-used plastic pallet collected in the streets of Hong Kong by the artist and a circular copper plate that was gifted to Chan during her BMW Art Journey by one of the three remaining coppersmiths in the medieval town Agnone in Molise Province, Italy. Filipino D’Aloise still practices the ancient methods of copper work and shared with the artist vivid stories about the history of copper in Agnone, once the most important Italian city for copper production in the Middle Ages.
The artist grew up overseeing the 24-hour container port from her apartment window in nearby Lai King. Pallets have a particular meaning in the history of Hong Kong, which first gained global significance as a global trading port.
Copper and plastic pallets have a seemingly paradoxical relationship. Copper was the first metal human extracted form ores as early as the seventh millennium B.C.E and was of similar significance in the ancient world as steel and aluminium are today.
First invented in the 1960s, plastic pallets present a mobile ground for transportation as part of the accelerating global supply chain. The former is conductive, permanent and natural, and the latter thermosensitive, disposable and artificial. One embraces craftsmanship, and the other eliminates labor.
Chan incorporates the intrinsic materiality of copper and plastic pallets and reconfigures the function of these “tokens” to create the enigmatic form of Circuit (New Moon). Chan’s intention is to generate a new living entity driven by its own internal logic and existing in its own right, while creating alternative meaning.
《迴路（新月）》是陈丽同近期的《凝伫之盘（重现）》系列雕塑的延续，结合她的宝马艺术之旅“Tokens of Time”，探索了材料的多重意义。
《迴路（新月）》包含艺术家从香港街道上拾得的被使用过的塑胶托盘和一块铜制圆盘，这块铜盘为宝马艺术之旅途中Filipino D‘Aloise赠予陈丽同的礼物。Filipino D’Aloise是意大利莫利塞大区的中世纪古镇阿尼奥内仅存的三位铜匠之一，他至今仍在使用古老的工艺，并生动地向艺术家讲述了阿尼奥内（中世纪意大利首要的制铜城市）铜的历史。
铜和塑胶托盘的关系似乎充满矛盾。早在公元前7千纪人类就开始从矿石中提取铜，这是人类历史上最早被提炼的金属，在古代社会的重要性相当于今天的钢和铝。
塑胶托盘最初在1960年代被发明出来，作为不断加速的全球供应链的一环，被用作陆路运输中可移动的底座。铜具有传导性、永久、自然，而塑胶托盘则具有热敏性、用完即可丢弃、为人工制造。前者着重工艺，后者减轻劳动。
陈丽同融合铜和塑胶托盘固有的材料性，重塑这两个“令符”（token）的功能性，创造出《迴路（新月）》的神秘形态。她意图塑造由自身内在逻辑驱动的生命体，独立存在，创造着另一种意义。
