Leelee Chan 陳麗同
Reverse Conductor 「倒」電體, 2018
found objects: construction lights with metal stands from Tai Kwun construction site, crystal pieces from chandelier. Concrete, pumice, fibreglass, nuts (hardware), gel filters 现成物：于大馆当代美术馆施工现场收集的附铁架之灯具，水晶灯零件、混凝土、 火山石、玻璃纤维、铁件、滤光片
dimensions variable 尺寸可变
Further images
Temporarily occupying the corner space behind the staircase of Tai Kwun Contemporary at its inaugural exhibition, was a set of light stands, made to be mobile and versatile; half of...
Temporarily occupying the corner space behind the staircase of Tai Kwun Contemporary at its inaugural exhibition, was a set of light stands, made to be mobile and versatile; half of them were used in this building as supporting structures while the other half are newly cast by the artist. Within this forest of light stands, visitors can discover “micro-worlds”: the concrete cast of white cement and pumice inside the light; construction materials combined with found objects such as discarded bolt heads and crystal pieces from a chandelier; and the collective scribbles by anonymous workers.
The various tints of green in the cement echo outwards–to the green signage of the piano shop on Old Bailey Street as well as the tennis court and trees visible from the balcony.
在大馆当代美术馆的开馆展中，楼梯背后转角处的空间被临时占据，一组灯架装置悄然伫立其中。这些灯架可灵活移动和组合，其中一半来自这栋建筑中原有的支撑结构，另一半则为艺术家重新铸造。在这片灯光森林中，观者可以发现一个个微缩世界——白水泥和浮石浇筑的灯罩，建筑材料与废弃螺帽、水晶吊灯碎片等拾得物的结合体，以及无名工人随手留下的涂鸦痕迹。
深深浅浅的绿色光线透过水泥向外发散，与奥卑利街上钢琴店的绿色招牌、阳台上望见的网球场和树木遥相呼应。
The various tints of green in the cement echo outwards–to the green signage of the piano shop on Old Bailey Street as well as the tennis court and trees visible from the balcony.
在大馆当代美术馆的开馆展中，楼梯背后转角处的空间被临时占据，一组灯架装置悄然伫立其中。这些灯架可灵活移动和组合，其中一半来自这栋建筑中原有的支撑结构，另一半则为艺术家重新铸造。在这片灯光森林中，观者可以发现一个个微缩世界——白水泥和浮石浇筑的灯罩，建筑材料与废弃螺帽、水晶吊灯碎片等拾得物的结合体，以及无名工人随手留下的涂鸦痕迹。
深深浅浅的绿色光线透过水泥向外发散，与奥卑利街上钢琴店的绿色招牌、阳台上望见的网球场和树木遥相呼应。
