《謄真集》Transmography —— 黃至正 × 海流設計
__________________________________
● 燙金印製八件實驗版畫
● 三件版畫以藝術家嚴謹工序手工貼箔及硫磺燻燒
● 封面嵌入其中一件銀箔版畫作品
● 一冊精裝作品集
● 收錄沈裕昌、陳晞、陳寬育三位藝評專文
● 海流設計擔綱裝幀與版畫監製
● 均有版次、親簽
__________________________________
若攝影是以光線書寫，「謄真集」相對於「寫真集」，則不再是摹寫而是謄錄失真的影像，謄錄藝術家因離散而不復完整的家族關係。作品集共收錄十一個黃至正探討記憶、真實的系列作品，並以藝術家八件作品製作成實驗版畫，不僅是試圖再現原作，此次的八件作品皆是與海流設計來回討論，邀請設計師以其對於紙張、印刷技法的知識，重新詮釋這八件作品，且從中展示作品的不同面向。而其中的三件實驗版畫，藝術家更決定加入經常用於創作中的日本銅箔、銀箔，以嚴謹工序手工貼箔再以硫磺燻燒，並刻意不做隔絕空氣的處理，讓金屬箔能持續因接觸空氣而改變質地，藉此回應《謄真集》中的時間性。計劃期間黃至正也與海流設計親自走訪多次燙金廠，反覆實驗測試燙金工法能如何運用在箔上，又該如何以各自的經驗與技術激盪出更多想像。
《謄真集》之所以相當強調實驗版畫的製作過程，是因為我們皆視《謄真集》為一種對話的方式與過程，從初期的規劃至實作，都充斥大量討論與彼此觀念上的更新，也因為始終對於整體計畫抱持著開放的態度，進而衍生出一種共同創作的合作形式。
《謄真集》不僅是一件作品，亦是一種對話方式的展演與紀錄，透過擴展知識島嶼的邊際，持續性地進行探索與提問，從中鬆動原本固著僵化的區塊。
Transmography is the culmination of artist Huang Chih Cheng's works. Deeply attracted to the opposite characteristics of foil - fragility and rigidity - Huang focuses on the causes of certain phenomena to explore how the relationship between people changes. On the basis of individual experiences, he questions whether the facts built on contemporary assumptions are solid enough, while touching on all aspects of life as well as time perception.
The artist catalogue uses suitable paper and ink to faithfully represent the artist's works. The production of eight of the prints involves mechanical operations and handicrafts. The repeated operation of the hot foil stamping machine is intertwined with the artist's gilding skills, breaking through the boundaries of traditional artist catalogues. The artist deliberately chose to embrace the fact that the foil is subject to oxidation, allowing for such a material to change continuously with the passage of time. The colour and texture of the foil prints would gradually change, leaving the traces of repeated machine stamping on his work as a figurative interpretation of time.
The artist catalogue uses suitable paper and ink to faithfully represent the artist's works. The production of eight of the prints involves mechanical operations and handicrafts. The repeated operation of the hot foil stamping machine is intertwined with the artist's gilding skills, breaking through the boundaries of traditional artist catalogues. The artist deliberately chose to embrace the fact that the foil is subject to oxidation, allowing for such a material to change continuously with the passage of time. The colour and texture of the foil prints would gradually change, leaving the traces of repeated machine stamping on his work as a figurative interpretation of time.
