變種體塊／混血物件：黃贊倫在〈大衛〉、〈安妮〉與〈蘿莉塔〉中的雕塑造型與視覺語藝

Mutated Mass/ Hybrid Object: Sculptural Plasticity and Visual Rhetoric in Zen-Lun Huang's David, Anne and Lolita

作為臺灣新生代的創作者，黃贊倫的創作一直保有其創作的獨特性格。無論是繪畫、攝影、錄像、雕塑，抑或是動力裝置的作品，黃贊倫長期以「變種」與「混血」之身體樣態作為其創作題旨與造型風格。尤其在動力雕塑作品創製上，不僅巧妙地融合跨媒材，更透過詩意化的美學造型，揭示批判性的後人文反思。本研究聚焦於黃贊倫在2012-2016年創作階段中所完成的三件大型雕塑裝置—〈大衛〉（2013）、〈安妮〉（2013）與〈蘿莉塔〉（2015）—作為分析對象，探究黃贊倫如何以其動力雕塑裝置呈現作品中的變種與混血意象，以及其如何透過作品彰顯出藝術家對於當下情境的批判，以及對未來文明的想像、擔慮與質疑，更進一步扣問著人類身體的未來形象是什麼。

As a new generation artist in Taiwan, Zen-Lun Huang’s creation has always maintained its uniqueness. Whether it is painting, photography, video, sculpture, or kinetic installation works of art, Zen-Lun Huang has long employed the concept of body formation of“mutation”and“hybridity”as proposition and plasticity of his creations. Especially, his kinetic sculptures not only subtly integrate diverse media, but also reveal critical post-humanistic reflexivity through poetic aesthetic plasticity. The focus of this research aims on analyzing Zen-Lun Huang’s three large-scale kinetic sculptures-- David (2013), Anne (2013) and Lolita (2015)-- during the 2012-2016 creative period in order to examine how Zen-Lun Huang presents the concept of mutation and hybridity in his works, and how he demonstrates the artist’s criticism of contemporary living condition, as well as his imagination, worries and doubts toward future civilization via his works, and further questioning what is the future body of humankind.