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2020 年的「色彩嵌空」個展，是阿部乳坊Abe Nyubo將創作往數位世界推進的首次嘗試，以雕塑表面鮮豔單色塗料覆蓋的局部為綠幕，觀者可在 CG 投影裝置中置換成像。這場跨越視覺感官虛實邊界的探索，即將在今年 4 月 22 日於雲清藝術以嶄新的面貌「色彩嵌空：如何躍界 」再次展開。
作品《色彩嵌空 : 旋步》在阿部乳坊強調動態感以及反地心引力造型風格的系列中獨樹一幟，罕見地採用站立姿態，縝固堆疊的幾何底座以微妙的旋轉曲度與屹立其上大方延敞雙臂的威風人物結合，造型饒富趣味；《色彩嵌空：化身／影子：如何觸及》背景仿擬修圖軟體的透明網格，好比將現實牆面消失，人物伸長的手朝向遠方向未知探索，是擺脫桎梏的具象化呈現。
The exhibition “Chromakey sculpture” by Abe Nyubo in 2020 was the artist’s first attempt to link his work into the digital world. Using the brightly painted surfaces of sculptures as green screens, the artist invites viewers to replace the images with CG application. This exploration crossed the boundaries between reality and virtual senses. Abe Nyubo has continuously developed the concept and presents it in his latest exhibition “Chromakey sculpture: How to bound” April 22, 2023 at Elsa Gallery.
In the exhibition, the element of “shadow” has been added. Abe Nyubo believes that the increasingly popular virtual reality technology is influencing people’s awareness of the real world, and opening up possibilities beyond conventional impressions. He says, “The virtual world is like a shadow of the real world, a kind of other self.” In its presentation, the shadow board and the body are not completely overlapped. Unlike a mere reflection, the shadow acts more like a screen which reflect the fact that every leap forward that are both rooted in reality and surpass imagination.
The work “Chromakey sculpture: Twist step” stands out in Abe Nyubo’s series for its dynamic and anti-gravity style. Unlike the rest of the series, this sculpture is in a standing position, with a geometric base of intricate layers and a figure with outstretched arms standing tall on top, creating a playful and interesting shape. “Chromakey sculpture: Avatar/Shadow: How to reach” is displayed on a background that mimics photo editing software’s transparent grid making the wall disappears. The sculpture extended hands reach out into the unknown forming a concrete representation of breaking free from constraints.
In 2020, during my solo exhibition “Chromakey sculpture,” I attempted to extend my work into the digital world for the first time.
As we come to the end of the journey of the COVID-19 pandemic, our lives and information technology are becoming increasingly intertwined.
During a previous group exhibition in Japan, I was introduced to an interesting wearable device.
When the device is worn by a person, they can see their extended arms in a head-mounted display and can interact with their surroundings as if they were in a virtual body.
This device was used to observe changes in human senses between the virtual and physical bodies.
The experimental results showed that after viewing exaggerated and unreal images, people’s awareness of the real world changed unknowingly, and their preconceptions and reactions were reduced.
This made me realize that this technology could be one of the means by which we can break through our imagination and inherent assumptions. The virtual world is like the shadow of the real world; it is our alter ego.
Abe Nyubo’s works focus on the deformation of the human body, with elongated arms and legs like wings and a buffered posture during upward and downward movements. The sculptures express a sense of lightness, and the extended arms seem to be trying to grasp something even further away.
Starting from the balancing lever that supports the arms at the center of the body, the works attempt to convey the artist’s state of existence in society, always maintaining a dangerous yet stable interactive relationship.
In 2020, Abe Nyubo has introduced the Chromakey sculpture series, using common CG composite techniques in visual effects to extend people’s perception of reality and lead viewers to explore the boundaries between the virtual and real worlds. In recent years, Abe Nyubo has participated in multiple outdoor art projects in Japan and Taiwan, and his works are widely enjoyed by the public and preserved in various cities in Taiwan.