Leelee Chan 陳麗同
Pallet in Repose (Portal) 凝伫之盘（引道）, 2019
Painting: magazine collages, acrylic medium, acrylic paint and oil paint on linen
绘画：亚麻布面拼贴、亚克力材料、亚克力颜料、油画
Sculpture: found materials including: wood pallet, moon-shape glass, foam packagings, wood, mirror, resin, Aqua-Resin, fiberglass, concrete, pigment, metal bars, felt fabric
雕塑：拾得木托盘、半圆形玻璃、泡棉材料；木、镜子、树脂、水性树脂、玻璃钢、混凝土、色素、金属架、无纺布
绘画：亚麻布面拼贴、亚克力材料、亚克力颜料、油画
Sculpture: found materials including: wood pallet, moon-shape glass, foam packagings, wood, mirror, resin, Aqua-Resin, fiberglass, concrete, pigment, metal bars, felt fabric
雕塑：拾得木托盘、半圆形玻璃、泡棉材料；木、镜子、树脂、水性树脂、玻璃钢、混凝土、色素、金属架、无纺布
Painting 绘画: 162 x 121 x 4 cm; 64 x 47 1/2 x 1 1/2 in
Sculpture 雕塑: 22 x 127 x 131 cm; 8 1/2 x 50 x 51 1/2 in
Sculpture 雕塑: 22 x 127 x 131 cm; 8 1/2 x 50 x 51 1/2 in
更多图片
'Pallet in Repose (Portal)' (2019) is Chan’s first ever installation piece that consciously combines painting and sculpture at the same time and one example of her ongoing series of installations...
"Pallet in Repose (Portal)" (2019) is Chan’s first ever installation piece that consciously combines painting and sculpture at the same time and one example of her ongoing series of installations engaging with transport pallets. Even though Chan doesn’t usually make painting and sculpture at the same time, and the two mediums are inherently different, they both share some recurrent motifs and feelings and they derive from a process-based approach. With painting, all the problems are confined within the canvas, whereas with sculpture, the awareness of its surroundings becomes a key factor to focus on.
In "Pallet in Repose (Portal)" Leelee Chan removes the original core components of value from discarded product waste (wooden pallets, pink foam packaging blocks, half-moonshaped glasses). An arch-shaped glass – adorned with pink foam, transparent resin and transport-related materials – is set within a wooden pallet slightly raised above the floor. This sculptural constituent is linked to the wall-mounted painting behind it, intermixed with collage elements, and forms a single artwork by way of an outlined section in the painting that from a certain perspective, aligns with the curve of the glass. The materiality and the design previously used for auxiliary functions are neatly integrated to rebuild a series of elaborate, skeletonized structures, wisely recalling perceptions of nature.
The work completes with the viewers’ engagement, as they look back and forth between the two in a circular movement. One can experience different images by e.g. looking down upon the sculpture through its reflecting surfaces and stepping back. The viewer’s perception is always in play because our eyes don’t look at things, they look through things.
《凝伫之盘（引道）》（2019）是陈丽同首次有意识地将绘画与雕塑结合的装置作品，也是她持续创作的托盘系列作品之一。尽管陈丽同通常不会同时创作绘画与雕塑，这两种媒介本质上也截然不同，但其母题与感受是共通的，并且都源于一种从过程出发的方法论。绘画的问题在于画布之上，而雕塑则关乎周遭空间。
在《凝伫之盘（引道）》中，陈丽同从木制托盘、粉色包装泡沫、半月形玻璃等被丢弃的商品中剥离出原本承载价值的核心部件。略微悬浮于地面上方的木托盘上，镶嵌着一块拱形玻璃，玻璃上缀有粉红泡沫、透明树脂和与物流有关的材料。雕塑的构件与后方墙上的绘画相互呼应，绘画中融入拼贴元素。在特定角度下，绘画中一条轮廓与玻璃的曲线完美重合，从而构成一件完整的作品。原本为辅助功能而设计的材料被重新整合，构建出一系列精巧简约的结构，巧妙唤起对自然的感知。
作品在被观看时才真正完整。当观者围绕绘画与雕塑，视线在两者之间游移往复，便可俯视雕塑反射的表面，又或后退一步获得不同的视角。观看的行为不断重塑着作品，因为我们的视线并不只是落某物之上，而是穿透它。
In "Pallet in Repose (Portal)" Leelee Chan removes the original core components of value from discarded product waste (wooden pallets, pink foam packaging blocks, half-moonshaped glasses). An arch-shaped glass – adorned with pink foam, transparent resin and transport-related materials – is set within a wooden pallet slightly raised above the floor. This sculptural constituent is linked to the wall-mounted painting behind it, intermixed with collage elements, and forms a single artwork by way of an outlined section in the painting that from a certain perspective, aligns with the curve of the glass. The materiality and the design previously used for auxiliary functions are neatly integrated to rebuild a series of elaborate, skeletonized structures, wisely recalling perceptions of nature.
The work completes with the viewers’ engagement, as they look back and forth between the two in a circular movement. One can experience different images by e.g. looking down upon the sculpture through its reflecting surfaces and stepping back. The viewer’s perception is always in play because our eyes don’t look at things, they look through things.
《凝伫之盘（引道）》（2019）是陈丽同首次有意识地将绘画与雕塑结合的装置作品，也是她持续创作的托盘系列作品之一。尽管陈丽同通常不会同时创作绘画与雕塑，这两种媒介本质上也截然不同，但其母题与感受是共通的，并且都源于一种从过程出发的方法论。绘画的问题在于画布之上，而雕塑则关乎周遭空间。
在《凝伫之盘（引道）》中，陈丽同从木制托盘、粉色包装泡沫、半月形玻璃等被丢弃的商品中剥离出原本承载价值的核心部件。略微悬浮于地面上方的木托盘上，镶嵌着一块拱形玻璃，玻璃上缀有粉红泡沫、透明树脂和与物流有关的材料。雕塑的构件与后方墙上的绘画相互呼应，绘画中融入拼贴元素。在特定角度下，绘画中一条轮廓与玻璃的曲线完美重合，从而构成一件完整的作品。原本为辅助功能而设计的材料被重新整合，构建出一系列精巧简约的结构，巧妙唤起对自然的感知。
作品在被观看时才真正完整。当观者围绕绘画与雕塑，视线在两者之间游移往复，便可俯视雕塑反射的表面，又或后退一步获得不同的视角。观看的行为不断重塑着作品，因为我们的视线并不只是落某物之上，而是穿透它。
展览
2020
How Do We Begin: X Museum Triennial 1st Edition, X Museum, Beijing, China
2019
Core Sample, Capsule Shanghai, Shanghai, China
Notes from Pallet Town, UCCA Dune, Anraya Gold Coast, Beidaihe, China