黎志文東和鋼鐵藝術項目影像紀錄Video record for Lai Chi Man's Tung Ho Steel Foundation Art Project
如何透過企業的力量，打造藝術與工業生產之間的新連結？進一步將藝術融入大眾生活中。嶄新的跨領域挑戰——畫廊旗下著名華人雕塑藝術家黎志文受邀參與台灣東和鋼鐵駐廠創作計畫，使用苗栗廠區所提供的廢鐵材料、專業機具及技術人員支援。東和鋼鐵長期致力於關懷社會公義，與台灣國藝會持續合作；此合作屆滿十年之際，公共雕塑權威黎志文與日本人間國寶中川衛，作為僅有的兩位國際大師共同創作，並以此形式緬懷悼念東和鋼鐵執行長——台灣鋼鐵業巨頭侯王淑昭女士，多年來對藝術的支持與厚愛。敬請期待七月即將出版的黎志文駐廠創作計畫（如下圖），僅以此文為閣下預先帶來精彩回顧。
黎志文東和鋼鐵項目出版物即將出版
Upcoming publication of Lai Chi Man's Tung Ho Steel International Artist Residency Program
How to utilize the power of industry to forge a new connection between art and industry? Further blending art into the daily life of the public. Established Chinese sculptor Lai Chi Man's participation in "Tung Ho Steel International Artist Residency Program" is a brand new interdisciplinary challenge. Tung Ho Steel Foundation has been contributing to social justice and cooperating with National Culture and Arts Foundation for more than ten years. Recently, Public art Master Lai Chi Man and Great Japanese artist Mamoru Nakagawa were invited to create during the residency. This program is also a form of response to the art-cultural supports from Tung Ho Steel Foundation's chief executive officer, Mrs. Hou. This article is a review of highlights in Lai Chi Man's program. Also, we would like to announce that the publication for his creation precess is upcoming this July.
黎志文在東和鋼鐵藝術項目中創作
Lai Chi Man creating in Tung Ho Steel Foundation art project
黎志文曾與世界雕塑大師亨利·摩爾、野口勇和皮埃特羅·卡塞拉等一起工作；中西交織的生活背景滲透于他的作品當中。生於1949年的香港，工作生活于台灣，後赴意大利及美國進修藝術，尤爲擅長創作富有人文精神的抽象雕塑作品。例如雕塑《生命之樹》，在概念性的思索背後，是黎志文對已逝的侯太太的深切感恩與懷念。
黎志文東和鋼鐵項目紀念侯太太之作品：生命之樹，2019
Lai Chi Man's "Tree of Life" in Tung Ho Steel project 2019, to memorize Mrs.Hou
Lai Chi Man used to work alongside Henry Moore, Isamu Noguchi, and Pietro Cascella; the background of Chinese and Western life permeates into each piece of him. Born in Hong Kong in 1949, he went to Italy and the United States to study art. Lived and worked in Taiwan, Lai Chi Man is particularly good at creating abstract sculptures full of humanity. For example the artwork "Tree of Life", behinds the conceptual forms of the sculpture, there lies Lai's deep gratitude and memorization to Mrs.Hou.
黎志文東和鋼鐵項目作品：圓方，2019
Lai Chi Man's "Circle and Square" in Tung Ho Steel project 2019
在這次駐廠計畫中，黎志文共創作四十餘件作品, 作品主要以切割和焊接技術為主，大部分作品均是以「現成物」觀念進行創作，儘量保留材料本身表面的痕跡。對黎志文來說，這是一次嘗試和石材以外之媒介結合的嶄新經驗。作品「圓方」展現了貫穿黎志文創作歷程中東方古老的天圓地方宇宙觀。
黎志文東和鋼鐵項目作品：獅子山下，2019
Lai Chi Man's "Below the Lion Mountain" in Tung Ho Steel project 2019
In this program, he created more than 40 pieces of works in the project. The artworks mainly created by cutting and welding techniques. Most of my works were created with the concept of "readymade", and the traces on the surface of the materials were kept as far as possible. For Lai, it was a good experience to explore creative mediums other than stone. The artwork "Circle and Square" shows the concept of “Round heaven and square earth (tiān yuán dì fāng)” that runs through Lai's whole art career.
黎志文與技術人員在東和鋼鐵項目中創作
Lai Chi Man creating in Tung Ho Steel project with technicians
鋼鐵材質的嘗試，是一次跨領域的經驗。無論看似如何矛盾的材料、形式，在黎志文的作品中都沒有突兀感；不同媒介和諧並行，卻又秉持各自的特性。黎志文曾提到，“這樣的共存狀態正來自於中國陰陽相生的觀念：不同的元素相對而不對立， 彼此形成平衡穩定的秩序。直至今日，在講求多元的當代社會，這種古老的理念仍能帶給我們啟迪——迥異的存在如何共處？人又如何在紛雜的價值中安身、找到屬於自己的立足之地？”
黎志文與魏女士及畫廊總監PYT在東和鋼鐵成果發表會
Lai Chi Man with Amanda Wei and director PYT in the reception
The application of steel is an interdisciplinary experience for Lai Chi Man. Although the materials, combinations of forms seem contradictory, it is not abrupt in Lai’s creation. They are in harmony with each other, but their characteristics have not been erased. Lai once said, “This state of coexistence is derived from the Chinese concept of Yin and Yang: different elements are opposite but not opposed, forming a balanced and stable order with each other. Even today, in a modern society obsessed with diversity, this old idea still inspires us -- how different beings can live together. How can one settle and find a place of his own in the clutter of values?"
黎志文東和鋼鐵項目作品：這樣做好嗎？2019
Lai Chi Man's "Is It Good to Do So?" in Tung Ho Steel project 2019
曾在美洲及歐洲生活過的黎志文，擁有多元的閱歷，審美觀念受到世界各地思潮的薰陶，卻堅持在創作上回歸東方精神。一直採用中國文字六書中的「象形」、「會意」等造字原理創作立體造形所謂，「象形」是將事物用簡單的線條，如繪畫般地簡單化呈現，而「會意」是將兩種或以上的事物（字體）組合產生一個新的意義。
黎志文東和鋼鐵項目作品, 2019
Lai Chi Man's artworks in Tung Ho Steel project 2019
Lived in Americas and Europe, Lai has a diverse experience and thoughts that enrich his view of aesthetics and world, but he chose to return to the Oriental spirit in his creation. "Pictograph", "compound ideograph" and other principles of Chinese lexicography have been used to create three-dimensional shapes. "Pictograph" is the simple lines like painting to simplify the presentation, while " compound ideograph " is the combination of two or more objects or things to produce a new meaning.
黎志文東和鋼鐵項目作品：家裡有人嗎？2019
Lai Chi Man's "Anyone home?" in Tung Ho Steel project 2019
對黎志文而言，這種樣如同運用複合媒材進行的創作觀念，不單是造形的視覺效果，同時涉及內容與意義的傳達。中文造形中蘊藏著悠久傳統文化內涵，更反映出東方的哲學思想，和人類各種生活經驗，讓他體會及學習到人與自然、人與人之間的關係。
For Lai, this kind of creative concept is not only the visual effect of shape but also the transmission of content and meaning. The Chinese characters contain a long tradition of cultural connotation, also reflects the eastern philosophy and human life experience. Lai experience and learn about the relationship between human and nature.
黎志文東和鋼鐵項目作品：彩虹，2019
Lai Chi Man's "Rainbow" in Tung Ho Steel project 2019
黎志文駐廠期間創作的鋼鐵作品，例如《生命之樹》、《共同體》和《家裡有人嗎？》等均有關生命相關議題，《生命之樹》代表人生不同的階段及經驗; 《共同體》是表彰大和解及世界大同的理念; 而《家裡有人嗎？》則是探討現代社會人與人之間疏遠的現象。或許是鋼鐵材料本身帶給黎志文的靈活和更具有彈性的體會，他在表現上就更加地放心大膽地發現材料應用的可能性。相比石材，鋼鐵的延展性和擴張性更大，在通過切割減少，焊接加上的過程中，製作的靈活性更高。
黎志文東和鋼鐵項目作品：共同體，2019
Lai Chi Man's "Community" in Tung Ho Steel project 2019
The steel artworks such as “Tree of Life”, “Community” and “Anybody Home?” are related to the topic of life. “Tree of Life” represents different stages and experience of life, “Community” manifests an ideal of great reconciliation and unified world, and “Anybody Home?” explores the distance between and isolation of people in the modern society. Perhaps the steel material brought a flexible and more elastic experience to Lai, he is more confident in finding the possibility of material application. Steel is more ductile and expansive than stone and has greater flexibility in the process of cutting down and welding together.
-疫情期間創作
Creation during the COVID-19
回顧今年的新冠肺炎疫情，黎志文同樣肩負起了藝術家的社會責任，以積極的態度作出回應，在創作上嘗試新材質的同時，也抒發了與以往有共性的普世價值觀。他將著色大理石及船型的木器結合，創作出雕塑作品「共同體」，前者如同現今世界形⾊各異的社會個體，後者是⼈們⽣⽣相息的⼟地，亦是在此艱難世道下載渡⼈們的⽅⾈。在這⽣命的共同體中，衝突與對⽐各放異彩，卻又⼀體同⼼，同⾈共濟。
共同體 Community, 2020
Teak and colored marble 柚⽊，着⾊⼤理⽯
63 x 32 × 22 cm
In the global pandemic of 2020, Lai Chi Man takes the social responsibility of an artist, responded positively, and produced different ideas and new material attempts in his creation. Combining multi-colored marble and wood of boat-shaped, Lai created this sculpture "community". The former as today’s world with different social individuals and the latter as a symbol of the earth where all human beings rely on and sail people through the tribulations. In this assemblage of lives, conflicts and contrasts shine in their own ways while fundamentally whole-heartedly help each other in the same boat.
黎志文疫情期間作品室內效果圖
Interior Image for Lai's artworks during the COVID-19
黎志文曾參與眾多公共藝術創作，在2006年更獲得台灣文建會第一屆「公共藝術獎」。其作品在中國、台灣及香港等不同國家地區的公共場所展出，包括當地中學、法院及博物館外的空間等，與空間環境融合互動，把藝術與大眾的關係拉近。在現今這樣一個高度工業化科技化的社會，以3D打印為例的諸多技術使得藝術創作甚至脫離雙手，實現全面機械化。作為為數不多的有溫度有虔心的雕塑藝術家，尤其是石雕大師，親手製作已是罕見，而黎志文多年來堅持參與創作過程的每一步驟；並且不辭辛苦選用義大利大理石、印度花崗岩石等各地特別石材進行雕刻，為人們帶來最能觸及內心的藝術傑作。
黎志文東和鋼鐵項目作品：雕塑家的筆山，2019
Lai Chi Man's "Sculptor's Penholder" in Tung Ho Steel project 2019
In Lai’s long period time of creation, he participated in different public art creations. In 2006, he won The First Public Art Award of Council for Cultural Planning and Development in Taiwan. The artworks exhibited in different public areas in China, Taiwan, and Hong Kong including schools, court, and outdoor areas of museums. The interaction and convergence of artworks and space bring a closer relationship between the arts and the public. In such a highly technological and industrialized society nowadays, many techniques like 3D printing enabled art creation without handcrafts. However, Lai Chi Man is an artist with true spirit and fully devoted to creation. As one of the few stone sculptors who still insist on manual working, he participates in every step of the sculping and chooses special materials like Italian Marble and Indian Granite, to bring the public the most inspiring masterpiece.
圖片來源：東和鋼鐵文化基金會
Photo credit: Tung Ho Steel Foundation
ABOUT ARTIST 藝術家簡介
黎志文早年前往位於意大利以採石場和雕塑聞名的卡拉拉市，在Henraux S.P.A.練習雕塑技巧。在此期間，黎志文曾與亨利·摩爾、野口勇和皮埃特羅·卡塞拉一起工作。四年以後，他獲得了獎學金，讓他前往美國懷俄明州在雕刻家羅伯特·魯辛(Robert Russin)的指導下繼續深造。至1980年，他獲得懷俄明大學雕塑系的藝術碩士學位，並在此期間，遇到他的妻子。1982年，他被接納為荷蘭Beeldende Kunstenaars Regeling (BKR) 項目的成員。黎志文於1984年應邀回到台灣，曾在台北藝術大學任教。擁有在香港、意大利、美國、荷蘭和台灣的生活經歷使黎志文對唯美主義產生了豐富而多元的看法。儘管如此，他始終清楚地知道，他將回歸擁抱東方精神。黎志文的藝術作品受到了全球藝術界的廣泛認可，現被荷蘭國家 BKR 視覺藝術機構、美國懷俄明大學美術館、台北市立美術館、日本原美術館、台灣美術館等世界各大知名藝術機構收藏。
At his early age, Lai Chi Man traveled to Italy where he practiced sculpture at Henraux S.p.A., Carrara, which is famous for its quarries and sculptures. During this time, Lai had the opportunity to work alongside Henry Moore, Isamu Noguchi, and Pietro Cascella. After four years in Italy, he received a fellowship to further his education in Wyoming under the sculptor, Robert Russin. In 1980, he received his M.F.A degree in sculpture from the University of Wyoming. During this period, he married Paulien. In 1982, he was admitted as a member of the Beeldende Kunstenaars Regeling in the Netherlands. Lai returned to Taiwan in 1984 upon invitation to hold a teaching position at the National Institute of the Arts (now, Taipei National University of the Arts). Having experienced life in Hong Kong, Italy, the United States, the Netherlands, and Taiwan, Lai was able to foster a rich and diverse perspective on aestheticism. Nevertheless, it was always clear to Lai that he would return to embrace the Eastern spirit. Lai Chi Man is warmly welcomed and recognized by the international art field. His artworks were collected by series of important art institutions such as Dutch National BKR visual arts organizations, American University of Wyoming Art Museum, Taipei Fine Arts Museum, Japan Hara Museum, and National Taiwan Museum of Fine Arts.