Stone, 2.30/2.00/1.30 m.
Ministry of Culture of Taiwan, Council of Cultural Affairs and Bureau of Cultural Department-Hualien
Sculpture Park of History Museum, Hualien, Taiwan, 1999
The primary requirement of the party commissioning the work is that it be an interpretation on the subject “The Ocean”. The artist should treat the ocean as a symbol of the universe in all its infinity and changeability in the work. It may be achieved either through concrete form or as an abstraction. The scope of this subject provides the opportunity of making use of elements existing in the endless animal and vegetable oceanic world, which is sometimes reminiscent of the cosmos in its weightlessness, lightness and magnetism, as well as structures and forms associated with the microcosm and macrocosm.
The sculpture gives the observer the means by which to freely interpret its meaning without setting out a concrete aspect in the design, as it should provide rather more of an effect for both emotional and aesthetic free association. The intensity of the sculpture, reminiscent of the light caress of wind over water, enriches the overall plasticity of the form and at the same time aims to invoke the desire of the observer to touch it. The eternal movement of the universe and its variegated material appearances in both the SMALL-scale and large-scale sense has always been a mystery and a challenge. This primary principle, as well as its richness and variety, should be instilled into this work. The microcosm and macrocosm are two sides of the same coin. This should be the primary basis of the sculpture which is to be a reduced model of the universe – an interpretation in sculpture. The symbiosis of eternity is to be contained in its silhouette – the eternal transformation of energies from one form into another. The main association should remind one of waves bearing fossils from the depths of the ocean – more especially coral structures – and at the same time reminding one of waves touching on each other thus making the sculpture less abstract and giving it a lightness and tonality. It should be a form of laconism, richly worked in depth. This contradiction of a greatly simplified plane with a complicated structure is the primary principle of matter in the cosmos.
The primary aim is the creation of a specific atmosphere in which the observer feels himself to be outside of time and space, leaving everyday life with all its vanity far from mind, and permitting him to contemplate his own soul in harmony with the cosmos.
Structure of the Project:
The work is to be made of two white Taiwan marble blocks, a stone known for its hardness and artistic value. The surface of the sculpture should be further enriched by using various stone-carving techniques illustrating a sense of the rich variety of the universe. The two parts of the sculpture are to be mounted via thick stainless steel rods on a solid stone plinth which ensures the immovability of the work under the highly seismic conditions found in Taiwan.
It is envisioned that he sculpture be made of light marble. This material has a delicate and noble presence and pours forth light. This corresponds entirely with the vision for the work by creating an illusion of airiness.
The sculpture may be mounted in a park area with the ocean as a background which is an set requirement, but should also correspond with the urbanised area of Hualien. The sculpture should not have a front or back, so it should be acceptable from all sides and may be mounted anywhere.