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Proximity (bubble version) (2010)
這麼近那麼遠（泡泡版）(2010)
Caspar STRACKE
卡斯帕．史察克
GERMANY 德國
Artist's Biography 藝術家簡介 >
Artist Statement 藝術家陳述 >
Technical Statement 技術陳述 >
這麼近那麼遠（泡泡版）(2010)
Caspar STRACKE
卡斯帕．史察克
GERMANY 德國
Artist's Biography 藝術家簡介 >
Artist Statement 藝術家陳述 >
Technical Statement 技術陳述 >
Artist Statement
"It's not enough to just see,sometimes we got to look as well".
Nathan Lane as Phil Webster in 'At First Sight'
The viewer is confronted with a wall of 96 bright illuminated spheres, floating in a virtual space. They can be perceived three-dimensionally. In moments of emitting maximum brightness, the halo of these light sources creates visual connections between the spheres similar to bonding oil bubbles in lava-lamps. All of them are in minimal movement like air bubbles, slightly changing shape.
Together they form a moving image something figurative yet on the verge of recognition. Movements and shapes can be perceived whereas all other details are swallowed in blurry light.
These images are accompanied by a soundtrack, playing the original sound from eight movie excerpts which have all one commonality in their story: The protagonist either re-gains eyesight after an eye operation or describes a vision of an incomplete image.
From this synesthetic surrogate, the viewer is prompted to fill in the missing parts, drawing from his/her own visual memories as well as clichés that the movie soundtrack brings along.
"It's not enough to just see,sometimes we got to look as well".
Nathan Lane as Phil Webster in 'At First Sight'
The viewer is confronted with a wall of 96 bright illuminated spheres, floating in a virtual space. They can be perceived three-dimensionally. In moments of emitting maximum brightness, the halo of these light sources creates visual connections between the spheres similar to bonding oil bubbles in lava-lamps. All of them are in minimal movement like air bubbles, slightly changing shape.
Together they form a moving image something figurative yet on the verge of recognition. Movements and shapes can be perceived whereas all other details are swallowed in blurry light.
These images are accompanied by a soundtrack, playing the original sound from eight movie excerpts which have all one commonality in their story: The protagonist either re-gains eyesight after an eye operation or describes a vision of an incomplete image.
From this synesthetic surrogate, the viewer is prompted to fill in the missing parts, drawing from his/her own visual memories as well as clichés that the movie soundtrack brings along.
藝術家陳述
「這作品光用肉眼觀望並不足夠，我們得用心細看。」
菲力．韋伯斯特 (內森．連恩飾) 《真情難捨》
在觀眾面前的牆壁有九十六個漂浮於虛擬空間的三維發光球體。在球體到達最燦爛的瞬間，球體的光暈會產生如熔岩燈內的石油氣泡，它們如氣泡般緩慢變形、連繫再分開。
氣泡共同形成一個形象化卻難以辨認的動態影像。觀眾雖能辨認出影像的形狀和動作，但其他細節則淹沒在模糊的光影中。
這些圖片都伴隨著聲帶配樂，配樂來自八齣電影中相似的場景：故事主角在手術後重獲視力，又或是主角在描述一個不完整的圖像。
觀眾會因為替代聯覺，從個人的視覺記憶及為人所認知的電影配樂中填補視覺上的空白。
「這作品光用肉眼觀望並不足夠，我們得用心細看。」
菲力．韋伯斯特 (內森．連恩飾) 《真情難捨》
在觀眾面前的牆壁有九十六個漂浮於虛擬空間的三維發光球體。在球體到達最燦爛的瞬間，球體的光暈會產生如熔岩燈內的石油氣泡，它們如氣泡般緩慢變形、連繫再分開。
氣泡共同形成一個形象化卻難以辨認的動態影像。觀眾雖能辨認出影像的形狀和動作，但其他細節則淹沒在模糊的光影中。
這些圖片都伴隨著聲帶配樂，配樂來自八齣電影中相似的場景：故事主角在手術後重獲視力，又或是主角在描述一個不完整的圖像。
觀眾會因為替代聯覺，從個人的視覺記憶及為人所認知的電影配樂中填補視覺上的空白。
