採訪│李育萱 / 陳儷云   日期│ 2018-10-31更修版

 

 

金工之路從一塊布料說起

The road to metalworking started from a piece of cloth

 

中學時期都在美術班的皓涵，很少有機會用雙手去創作；素描、水彩、油畫、水墨，平面上的運筆是她再熟悉不過的媒材。一直到大學一年級，在一堂和造型相關的課堂上，老師要求大家用材料作出一個物體，才首次進入「立體世界」摸索。「真的太神奇了，我可以把一個平面的材料，變成立體的東西。」皓涵驚呼。

 

因此，在輔仁大學應用美術系的四個分組裡---室內設計、視覺傳達、電腦動畫之外，皓涵毫不猶豫地選擇了金工產品這個讓她感到驚奇的組別。從「看得到」到「摸得到」的過程，對她而言非常迷人；「我從來沒有想過可以把材料變成自己創作。進入這個領域這麼多年，我依舊覺得探索不完，還有好多技法是我沒有接觸過或是尚未深入了解的。」從台南藝術大學研究所畢業後，皓涵曾在金工品牌底下工作一段時間，但因與學員交流不夠深，掏空速度太快，決定用自己適合的步調，繼續從事創作和教學。「我自己非常陶醉在創作裡，所以會希望讓大家認識素材，然後嘗試有別於市面上常見的金工可能。」

 

In the art classroom of a middle-school, not often had Hao Han the opportunity to put her hands to creative use; moving brush on the surface of a sketch, watercolor, oil color or an ink painting never did become a familiar medium to her.

 

It took until the first year in university, on a class related to modeling, when the teacher asked everybody to use given materials in order to create an object, and to thus fumble into the world of three dimensions for the first time.

 

It was really like magic when I could take a flat material and transform it into a three-dimensional thing, Hao Han explains.

 

Fu Jen Catholic University divides art studies into four groups: interior design, visual communication, computer animation and the last but not the least, metalworking, which Hao Han was amazed to choose.

 

The process of turning "what can be seen" into "what can be touched" was very charming to her;

"I never thought that I could take the material and turn it into an independent creation. Having been in this field for years, I still feel that there is no end to exploring, that there are many techniques I have yet to come in contact with, or gain a deeper understanding of."

 

After graduating from Tainan National University of the Arts ́ graduate school, Hao Han had already done metalworking for some time. But, because the communication with students does not reach a deep enough level, and the time flies, she decided to take things at her own pace and continue creating and studying.

 

"I revel in creativity and wish to let people understand the materials, and bring metalworking out there to be seen more often in different occasions."

 

 

金工藝術家　張皓涵

 

 

當代首飾，以美感經驗挑戰負面題材

Contemporary jewelry takes on negative themes from personal experience

 

大學時代因為皮膚狀況不佳，經常有過敏現象，皓涵開始改變飲食習慣，從雜食轉成素食，並逐步開啟她對環境保護的認識及關注。有感於現代生活大家為求方便快速，大量使用人造物質如塑膠、食品添加劑、導致「人造疾病(過敏、惡性腫瘤等)」增長，因此皓涵選擇使用自身的美感經驗來討論負面題材。「我希望能喚起大家對於這個議題的重視。」她透過大量的閱讀吸收知識和概念，大都聚焦在醫藥、環境和疾病上。第29屆新一代設計展中，皓涵獲得金獎的作品『遊，戲人身 Slide on The Body』，就開始嘗試讓首飾具有解決健康問題的功能。站在女性角度思考更年期、生活壓力的緊繃，設計具有佩戴美感，同時擁有按壓穴道功能的金工飾品。

 

「身體首飾」泛指配戴在身上的飾品；飾品可以因為不同的佩戴方式，或是不同的作品尺度，展現出不同的模樣。在近期的創作中，皓涵以『偷生』系列作品模擬了癌細胞偷偷摸摸於體內生長蔓延的樣子，首飾從原本作為點綴外貌的裝飾品，進一步成為攜帶訊息的警示物：『疾病有時就像首飾一樣，裝飾著我們的身體。』「偷生」系列在技法表現上經過幾個時期的轉變：從一開始以金屬裁切表現化學結構；逐步進化搭配不同的材質，便可以藉由配戴方式的改變，和身體有更多結合；到現階段應用「電鑄」技法，讓材質上產生出的不可預期球狀堆疊，詮釋屬於皓涵風格的腫瘤細胞。「下一步除了在電鑄技法上加精進外，或許是針對配戴方式的思考突破吧。」作品除獨立陳列之外，影像結合也是皓涵為了讓作品背後意義更能夠被理解的表現。「透過和攝影的結合，可以幫助我說更多我想說的。我的作品是要放置在人體的部位上，才有一目了然的感覺。我覺得這個部分的（影像）說明對我來說非常重要。」

 

When Hao Han was in university her skin was in poor condition and often sensitive. She started to change her diet to vegetarian whilst gradually becoming more aware of environmental protection.

 

For the sake of modern convenience and ever increasing speed, we consume much more man-made materials such as plastic and food additives that leads to an increase in man-made illnesses such as allergies and aggressive tumors – a reason why Hao Han has chosen to discuss about these negative topics through her personal experience in aesthetics. "I hope I can arouse people ́s interest towards this issue".

 

She has studied through lots of material and concepts of which most focus on medicine, environment and diseases.

 

Having won the gold medal in 29th New Generation Exhibition with her work "Slide on The Body", she began to make jewelry that attempts to feature solutions to issues regarding health. Coming from a woman ́s perspective, thinking about menopause and the pressures of life, her design has beauty, which can be worn, whilst possessing acupunctural properties at the same time.

 

The term body jewelery refers to accessories one wears on body; with different ways of wearing and with different scaling, accessories can exhibit different appearances.

 

Hao Han ́s latest creation, a series called "Life leech", simulates the way in which cancer cells spread inside one ́s body. The purpose of this jewelry is to act as an ornament one wears, and, on the other hand, to deliver a warning message: "a disease sometimes resembles a jewel in the way it decorates our bodies".

 

The techniques used in "Life leech" series express multiple alterations which occur at different times.

 

It begins with cutting the metal and its molecular structure, gradually evolving into an arrangement of different materials and the changes in which way they can be worn. At that stage, electroforming technique is used to produce unpredictable spherical patterns on the material as to portray the swelling of cancer cells.

 

"The next step is not just about the work on details by electroforming, but it is also possible to come up with a breakthrough as for the style in which way the piece can be worn".

 

The finished piece is not just an independent work to be displayed. A photograph is also taken in order to portray Hao Han ́s meaning behind the work and to get a better understanding of it.

 

"The combination of feeling the work and photographing it can help me to say more of what I want to say. My works are meant to be put on any part of one ́s body to get a glimpse of that feeling. I believe that the picture explains the great importance of what I am saying."

 

 

「偷生 Hormones」

模擬癌細胞偷偷摸摸於體內生長蔓延的樣子，首飾從原本作為點綴外貌的裝飾品，進一步成為攜帶訊息的警示物。

 

 

理想與苦思 ─ 以藝術創作影響人群

Ideal and challenging – influencing the crowd with artistic creativity

 

『偷生』系列更在駐村於新竹市鐵道藝術村期間，參與歐洲金工創作者所舉辦的當代首飾競賽，獲得材質獎，因而於2018年初受邀於雅典的Benaki Museum 展出。『來自世界各地的金工創作者都聚集到雅典，不論是大會或參展藝術家本身，都十分熱愛技術的研究，對於創作理念反倒沒那麼在意。』提起2018年初的歐洲當代首飾創作盛會，皓涵最大的期待仍是觀賞者能關注作品代表的意義。『很希望創作能喚醒大眾意識到因貪圖便利而造成的汙染，需要放慢生活的步調才能感受到環境受的傷，感覺到大自然的反撲正威脅著人類的健康。』作品美麗卻生動地提醒著人們，但仍無法更進一步的改變人的生活習慣，產生實質影響，是皓涵一直思考的問題。

 

駐村的兩年間，皓涵成立『蒔時金工』除了創作與教學之外，皓涵也在近郊租了農地種植蔬菜、香草，日日的採收成了課堂上學員們喝的香草茶，工作室時常充滿了溫柔的交談與笑聲，人與人的交流豐富了，皓涵的生活方式也逐漸影響學員，放慢腳步，關心環境，減少資源浪費。投入農事工作之後，皓涵也感受到慣行農法所採用的工具材料對環境造成傷害，例如為了抑制雜草生長的塑膠布，防風防曬的尼龍網，長期風化後成為土壤中的塑膠微粒…等，於是她開始嘗試以農事中剩餘的塑料做為創作材料，也積極研究廢料的再製運用。

 

新竹鐵道藝術村從鐵道倉庫變身為具有文資身分的歷史建築之後，基於空間的公共性提升，駐村藝術家甄選也更加嚴謹。在此之後，皓涵是第一位獲得連續駐村資格的創作者，期間不論是創作成果或是工作室經營都受到遴選評審團的肯定。即將在2019年離開藝術村邁向下一步，皓涵計畫設立一所金工學校。『希望這個學校讓人們從金工創作中學會放鬆，夠緩慢才有力氣和時間關懷自身，以及自身以外的世界，也才有機會翻轉效率、便利至上的生活方式。』從沉醉於創作的藝術工作者，到透過交流來改變影響人們的引導者，是張皓涵在駐村期間最明顯的變化

 

最近皓涵也開始利用閒暇時間勾針：「用一根勾針、一團線，然後勾出一個真正可以實用的東西，我覺得是很有趣的事。」雖然現階段她還沒考慮過金工和勾針在創作上的結合；但線材卻有她實踐生活理念的意義。「我是接觸線材，才理解線材要變成材料之前，要經過非常多的程序。……但這是我們常常忽略的。舉凡可以花錢購買的，都變得容易入手，卻忘記珍惜。」透過線材勾針出一個實用性的生活物品，珍惜材料、資源的意念，也正一點一滴的被灌注在日常片刻。

 

"Life leech" series has exhibited in Hsinchu Railway Art Village, won an award for materials in a contemporary jewelry competition held by European metalwork creators and was invited to exhibit in Benaki Museum in Athens in 2018.

 

"Creative metalworkers from all over the world convene in Athens – it does not matter if it is a conference or an exhibition, all are 100% passionate about the technology research, caring very little about creativity."

 

As for the 2018 European contemporary jewelry creators ́ meeting, Hao Han ́s greatest expectation is to still remain a viewer and to pay attention to the significance which the pieces exhibit.

 

"I wish the creations can arouse public ́s awareness towards pollution caused by greed and convenience, taking a step of slow-paced life closer towards feeling the agony of the environment, understanding that the nature ́s retaliation will threaten human health".

 

Apart from pieces being beautiful, they should also act as a reminder, and to have a substantial impact on our lifestyle choices, Hao Han believes.

 

During her two-year art residency, Hao Han established "Plant-time Metalwork", for which, in addition to creating and studying, she also rented a vanilla crop field nearby.

 

The daily harvest turned into vanilla tea for the students in class, filling the studio with warm conversations and laughter, cultivating peer-to-peer discussions, allowing Hao Han ́s lifestyle to gradually take hold of students in the form of slower pace, taking care of the environment and reducing waste.

 

Investing in farming made her think about agricultural regulations and materials which are applied to the tools, but which can harm the environment, for example the plastic cloth which is used to suppress weed growth and the nylon mesh which acts as a sun screen, often disintegrating into the soil. Thus she began to use surplus plastic from farming as a material for creative use while researching how the waste can be actively re-used.

 

After Hsinchu Railway Art Village's rail yard buildings became a historical and cultural asset. the public use of the space has gone up, and also the residential artist selection has become more rigorous. Whether it was for the works, which came to fruition, or workshop management, Hao Han was the first residential artist to be allowed succession by the jury.

 

After the art residency finishes in 2019 Hao Han is planning to open a metalworking school.

 

"I hope this school will allow people to learn creative metalworking at ease, with slow enough pace, so that one has abundant time to care about oneself and the world around, and to flip over the efficiency and convenience based lifestyle."

 

From being indulged in creative arts to being a guide for change is the most obvious change caused by the art residency in Hao Han herself.

 

Recently, Hao Han talks about how she finds it interesting "to use a hook and line to catch something useful". Though she is yet to use a hook in her works, the line catches her philosophy.

 

"I am in contact with the line and understand the way it transforms through many processes, a thing which we often neglect. It is affordable to everyone and everyone can use it, but people have forgotten to cherish it."

 

To experiment with using a hook and line, the materials of nature which ought to be cherished, to catch something usable is to be reminded of the pulled-in moments of our everyday life.

 

皓涵的勾針作品

 

 

 

『蒔時金工』工作室中的美好時光

 

 

 

  『蒔時金工』的編織課，以麻繩編織網代替塑膠袋

 

創作者介紹 ─ 張皓涵 

經歷/

2017~  新竹鐵道藝術村 駐村藝術家

2016~  竹塹社區大學 基礎金工課程 講師

2016   工藝研究發展中心「金工創意設計人才培育計畫」助理教學

2015 -2016  草山金工 專門工作營 講師

 

學歷/

2011-2014　國立臺南藝術大學 應用藝術所 金工與首飾創作組

2006-2010  天主教輔仁大學 應用美術學系 金工與產品組

 

個展/

2018   「Hormones」Hao-Han Jhang Solo Exhibition。Athens，Benaki Museum Shop

2014　「偷生」張皓涵金工與首飾創作個展

 

連展/

2018  「在地發聲－當代藝術聯展」。桃園，聯新藝文中心

2018  「與___對話」當代金屬工藝創作聯展。新竹，241藝術空間

2017   新竹市鐵道藝術村 駐村藝術家聯展

2017   Athens Jewelry Week. Greece, Benaki Museum

2017   山之見榮-金工與首飾創作組二十週年展。台北，爆炸毛頭油炸朱利

2015   2015 Itami International Jewellery Exhibition. Japan, The Museum of Arts and Crafts ITAMI

2015   【意趣】台灣當代珠寶創作展。台北，RICHMAN TOUCH

2015   台灣國際金屬工藝大賽成果展暨國外巡迴展。Memphis, National Ornamental Metal    Museum  

2015   台灣國際金屬工藝大賽成果展暨國內巡迴展。台南，文創PLUS-台南創意中心

2015    台灣國際金屬工藝大賽成果暨邀請展。新北市，新北市立黃金博物館

2013   「南喃」金工與首飾創作聯展。屏東，縣政府文化處

2012   「手/印」2012台南應用藝術研究所師生創作聯展。台南，

           台南藝術大學 南書房意象空間、大葉大學 設計藝術學院一樓展覽空間

2011   「一種理想的生活」工藝人才發展成果展。嘉義，嘉義文化創意產業園區

2011   「縱向‧複合體」 2011台南應用藝術研究所師生創作聯展。台南，台南藝術大學視覺館

2011   「反璞歸真-台灣漆藝形象展」 2011台灣設計師週。台北，華山文創園區

2010   「第三者」 2010新一代設計展。台北，世貿

2010   國立台灣工藝研究所發展中心「98卓越公藝人才培育成果展」。台北，台北當代工藝設計分館

2010   「I Wanna Gold with You」 2010台灣金工創作七校聯展。台北，輔仁大學應術學院

 

獎項/

2017   Athens Jewelry Week, MATERIAL QUESTS Award (希臘)

2015   日本伊丹國際首飾競賽 入選(日本)

2015   國藝會 美術類別 創作補助

2015   臺灣國際金屬工藝大賽 首飾組 銅質獎 

2010   亞洲最具影響力設計學生大獎 入圍(香港)

2010   台北市客家文化節”客綻心藝”客家文化周邊商品 銅獎

2010   蕭壟設計新人獎”潔能” 百大設計作品 入圍

2010   新一代設計競賽工藝設計類 金獎

2010   新一代設計競賽工藝設計類 特別獎

 

重要專業經歷/

2018   臺韓當代金工國際交流大師工作坊

2016   Gitte Nygaard & Jair Straschnow材質文化探索工作營

2013   Mary Lee Hu 金工創作研習營

2012   Marilyn & Jack da Silva金工創作研習營

2012  「寳、玉石跨媒材創作」研習計畫

2012   KatjaPrins首飾創作研習營

2012   Monika Brugger 首飾創作研習營

2011   2011寶玉石媒材創新開發人才發展計畫

2009   98年工藝創意人才培育金工創意設計研習

 

延伸閱讀

駐村藝術家專訪--- Brian Scott Rothkopf

從土地出發 --- 呂紹川專訪