Leelee Chan 陳麗同
Dark Light, Subterranean Circuit 暗光· 地下回路, 2023
found plastic shipping pallets, hand-carved golden obsidian, yellow-zinc plated wheels, calcite, electroplated stainless steel sheet and mirror, 3D-printed metal parts, epoxy, Jesmonite, urethane resin, and UV- resistant pigment 拾得塑料运输托盘、手工切割金曜石、彩钢轮子、方解石、电镀不锈钢板和不锈钢镜面、3D打印金属部件、环氧树脂、矿石树脂、聚氨酯树脂、抗紫外线颜料
Floor section 地面部分: 27 x 143 x 196 cm; 10 1/2 x 56 1/2 x 77 in
Wall section 墙面部分: 240 x 141 x 17 cm; 94 1/2 x 55 1/2 x 6 1/2 in
Wall section 墙面部分: 240 x 141 x 17 cm; 94 1/2 x 55 1/2 x 6 1/2 in
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In the monumental installation Dark Light, Subterranean Circuit (2023), two pallets form a pair of architectural fittings. Whereas the arched wall mount inlaid with rippled amber resin and lustrous gold-sheen...
In the monumental installation Dark Light, Subterranean Circuit (2023), two pallets form a pair of architectural fittings. Whereas the arched wall mount inlaid with rippled amber resin and lustrous gold-sheen obsidian carved by Teotihuacan craftsmen evokes the luminosity of stained-glass, as with many reworked pallets in Chan's oeuvre, the cratered floor piece thoroughly sculpted with epoxy clay resembles fossil stone. Showing through its lithic crater and crevices are copper chrome mirror inlays, yellow zinc wheels, and 3D-printed bronze wildflowers that appear like precious ore in an open-pit mine. By masking the pallet's plasticity with epoxy clay and inlaying various minerals and metals, Chan transforms mass-produced equipment into temporally ambiguous artefacts that intrigue us to rethink the (after)life of materials-if ancient obsidian was once mined for making ceremonial blades and wholesaled today as feng shui crystal, yesterday's detritus plastic may yet become tomorrow's treasure according to the whims of human desire. - Joyce Hei-ting Wong
《暗光· 地下回路》（2023）由两幅运输托盘组成，拱形的壁挂嵌有琥珀色树脂和由墨西哥工匠切割打磨的黑曜石块，跟系列中很多其他改造托盘一样，焕发着好似花窗玻璃的光泽；而带有圆坑的置地托盘则被环氧粘土彻底塑成化石一般，从缝隙里透着铜色镜面、黄锌轮和3D打印的青铜花等镶嵌，仿佛露天矿场一样。艺术家透过各种镶嵌和使用粘土抹去塑胶原有的质地，把本来量产的运输设备转化成一件时态模糊的文物，启发我们反思材料的生命--如果黑曜石在古代曾为铸造锯剑开采，而如今变成了普遍的批发风水石，昨日的废弃塑料或许在人类变化无常的欲望驱使下也能成为未来的珍宝。——黄熙婷
《暗光· 地下回路》（2023）由两幅运输托盘组成，拱形的壁挂嵌有琥珀色树脂和由墨西哥工匠切割打磨的黑曜石块，跟系列中很多其他改造托盘一样，焕发着好似花窗玻璃的光泽；而带有圆坑的置地托盘则被环氧粘土彻底塑成化石一般，从缝隙里透着铜色镜面、黄锌轮和3D打印的青铜花等镶嵌，仿佛露天矿场一样。艺术家透过各种镶嵌和使用粘土抹去塑胶原有的质地，把本来量产的运输设备转化成一件时态模糊的文物，启发我们反思材料的生命--如果黑曜石在古代曾为铸造锯剑开采，而如今变成了普遍的批发风水石，昨日的废弃塑料或许在人类变化无常的欲望驱使下也能成为未来的珍宝。——黄熙婷
