Phase of Nothingness—Skin: SEKINE Nobuo Solo Exhibition
空相—皮膚：關根伸夫個展
Type Brochure / Exhibition
Client Asia Art Center 亞洲藝術中心
Year 2019
Artist SEKINE Nobuo 關根伸夫
Graphic Design Sung, Di-Yen 宋狄諺
本次亞洲藝術中心展出關根伸夫最新系列「空相-皮膚」。半世紀以來，其創作理念皆立基於「物派」之脈絡，同時亦受禪宗哲學啟發。他將拓撲學（位相幾何學）的理論結合藝術實驗，探討物事「形變質不變」的情況下，從不同角度能給出何種多元觀感，以及如何影響人與物之間的關係。他透過畫布上明顯與隱微的皺紋、摺痕、凹凸，探究物理定律中的膨脹、收縮、平衡。若說未來宇宙無垠的空間有收縮的可能（儘管自宇宙大爆炸以來它正在迅速擴張），「空相-皮膚」畫布的可塑性記錄著藝術家創作時身體拉力與張力，如同宏大世界的縮影──每個皺紋與摺痕恰如宇宙中的一花一世界。
“Phase of Nothingness-Skin” presented by Asia Art Center, displays Sekine’s newest innovation from his half-century exploration into the concept of Mono-ha. His artistic experimentations manifest the tranquility of Zen philosophy through the theories of topology (study of the properties of space). By disposing matters to continuous change in form while retaining its natural quality, he seeks to unveil the intrinsic quality of matters through varying perspectives, which in turn questions interrelation between the matters and audience as the change takes place. The wrinkles and folds running through the canvas of “Phase of Nothingness-Skin” speak of the waves in a spatial membrane in terms of topology. Recent cosmology suggests the possibility of contraction of the universe in future, despite the fact it is rapidly expanding ever since the Big Bang. In which case, the elastic canvas of “Phase of Nothingness-Skin” truly is a microcosm of the macrocosm. Each wrinkle and fold records a pinch of the universe.
It is better to extend the essence of an artwork rather than restore an artwork.
“Connectivity” is one of the critical features of topology. The initial concept of making this brochure is to make physical changes without destroying the overall structure. By extending and folding the brochure, the artworks of Sekine Nobuo present different appearances and combinations in their way. Moreover, the form of the one-page book turns out to fit the connectivity of the topology and also makes a single piece of paper to become a brochure.
The processing of cover was partially scrubbed and added halftone dots on the scrubbed area, to make it more resemble the texture of media that Sekine Nobuo(Artisrt) used - Oil painting canvas. The lining paper used the housyo paper of Cherry Paper, a quality paper company. The characteristics of this paper are rough in the surface and smooth in the back, and this contrasting feature precisely distinguishes the pictures of artworks from the manuscripts'. By doing this, the tactile sensation of paper can be the medium of communication; therefore, the smooth side to present the pictures of artworks, and the rough side to display the images of manuscripts, yet the manuscripts must be turned over until the end, and artworks’ photos can be revealed. So that the viewer knows artworks he saw used to be so rough and unpolished. That's why this brochure's back is the backside of the artwork, which makes this brochure like a piece of art.
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連通性，是拓樸學當中重要的特性之一。在不破壞整體結構下，做出形體的變化，是本次發想的原點，試圖將關根伸夫的作品藉由延展與折疊延伸出更多內容，而 One-page book 的形式恰好符合拓樸學的連通性，讓單一紙張藉由摺疊與開口轉化成手冊。封面的處理上使用局部磨砂的加工，並在磨砂處用上網點處理，讓接觸的手感更具層次，同時也更接近油畫畫布的質地，內裡紙張特別選用采憶的山彥奉書，為的是讓外在與內涵的反差得已在紙的觸感中呈現，紙張的光滑面呈現本次展出的作品，而粗糙面則是擺放的原作手稿，而手稿也必須得翻到最後才會揭露在面前的作品，讓觀者知曉眼前看到的作品其前身原來是如此粗糙、尚須打磨的狀態。也因此封底的選擇，是以作品的背面呈現，讓整本手冊看起來就如同一件作品。
「與其還原一件作品，不如把握作品的本質並將其延伸。」
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Print --> 日動印刷
Design --> Sung, Di-Yen 宋狄諺
Size --> 15×18.5cm
Paper -->
外襯 聯美-德國彩豔紙
內裡 采憶-山彥奉書
Processing -->
外襯 打凸、水性亮光
內裡 水性亮光
Binding --> One-page book、內冊黏貼外襯紙內裡
