| 英文摘要 |
People view artist’s studio as a myth of creativity. Artist’s studio can not only be seen as the first framework but also the place where the artist can be the first viewer. For artists, studio is a transitional platform. It is between the daily life and professional creation and also among the producion and display of artworks. Artist’s studio can connect an artist’s mental status, consciousness and the movement of the body. As Yunghsu Hsu is famous of his large-scale sculptures, we can image that Hsu’s studio is not a comfortable place. Do the instability of the artist’s life affect the way of arrange a studio? Hsu has experienced different status of studios over about thirty years therefore he has structured the existing studio mode. Taking the consideration of practices in art, he deploys what he learned into the studio. Artist’s studio is the origin of creation and the extension of artist’s body. Artists proceed tremendous but subtle bodily movement with tools and devices in the studio. The instability of sculptures emerges from the becoming status in the studio. Through analyzing the private process of working, we can reconsider what is the relationship amongst artworks, artists and studios. If the studio is the prototype of the artist’s consciousness, when the becoming artwork exactly can be seen as art? This essay aims to show readers a trajectory of practices of Taiwan contemporary sculptures by analyzing Yunghsu Hsu’s artwork and studio. |