展覽地點(diǎn)：時(shí)裝館銀瀚廳
展覽時(shí)間：2019年5月20日 - 2019年5月25日
《還原》之三
作者：譚海平（中國(guó)）
尺寸：82cmx130cm
材質(zhì)：麻、棉、靛藍(lán)染料、直接染料
工藝：疊布
青出于藍(lán)而勝于藍(lán)，靛藍(lán)染色過(guò)程中，從布料浸入染液到提出染液的那一刻，布料表面經(jīng)過(guò)空氣的氧化，慢慢由黃綠色逐漸變?yōu)榇渚G——深綠——藍(lán)綠——藍(lán)——深藍(lán)，一塊純凈的藍(lán)色就染成了，而這微妙而又短暫的變化轉(zhuǎn)瞬即逝，為了留住這美好的變化，此作品通過(guò)手工藍(lán)染及綠色系手染面料進(jìn)行創(chuàng)作，采用傳統(tǒng)疊布工藝拼接，在秩序中尋求和諧統(tǒng)一以及還原反應(yīng)的微妙變化，展現(xiàn)藍(lán)染過(guò)程中這瞬間的美好變化，將還原的整個(gè)過(guò)程靜態(tài)化并保留在畫面上。
Blue is better than blue. In the process of indigo dyeing, from the moment the cloth is immersed in dye solution to the moment when the dye solution is proposed, the surface of the cloth is oxidized by air, gradually changing from yellow-green to turquoisedark green-blue-blue, a pure blue is dyed, and this subtle and transient change is fleeting. In order to retain this beautiful change, this work Through the creation of hand-dyed blue and green hand-dyed fabrics, the traditional overlapping process is used to stitch together, seeking harmony and unity in order and subtle changes in the reduction reaction, showing the beautiful changes in the blue dyeing process at this moment, and statically restoring the whole process and retaining it on the screen.
渦
作者：傅心怡（中國(guó)）
尺寸：75cmx155cm
材質(zhì)：苧麻、蠶絲
工藝：漚漬、浸染
固執(zhí)的嘗試著材料與染液間的關(guān)系，在普遍而尋常的材質(zhì)中找到新的空間。采用軟材料進(jìn)行創(chuàng)作，放棄材料堆疊時(shí)的控制，將一切交給不確定的應(yīng)力與纖維彈性，染料與纖維他們自己決定自己之間的關(guān)系，拒絕一層不變的樣式。利用柿漆在纖維上成膜的瞬間，找到柿漆在纖維材料以外的空間質(zhì)感。不利用任何黏膠，只是利用柿漆能力將纖維們聚合在一起。
Persistently trying to test the relationship between materials and dyes, looking for new spaces in ordinary materials. Create by soft materials, abandon the control of material stacking. With the uncertain stress and elastic fiber, dyestuff and fiber determine their relationship by themselves, rejecting a constant pattern. At the moment when the persimmon paint form the film on the fiber, the texture of the persimmon paint outside the fiber material could be found. Without any glue, just using the persimmon paint to polymerize the fibers together.
奇幻異想
作者：陳怡仁（中國(guó)臺(tái)灣）
在你心中是否有一片值得尋覓的美麗景致？曾做過(guò)許多夢(mèng)？無(wú)垠的天空藏著甚么奧妙，毛毛蟲羽化成了蒼穹中的蝴蝶，在指尖中流竄生命。本作品采用基本縫扎技法，經(jīng)過(guò)無(wú)數(shù)次的縫、拆、染，在深深淺淺的藍(lán)色中，展開奇幻異想世界。
Have you ever dreamed of exploring the nevernever-land? Wondering what kind of delights you may find in the Eden of your fantasy? There are countless marvels to be discovered in the infinite world of imaginations. The poetic metamorphosis of caterpillars to butterflies offers the glimpse of time passing through our fingertips.
Come and let us transform your world into a fantasy land of indigo textile arts. Through the lens of multitudes of savvy braiding, sewing and dyeing techniques, these aweinspiring indigo art pieces represent the artisan's interpretations of indigo fantasy land.
透疊·Transparent
作者：劉亞（中國(guó)）
尺寸：120cmx70cm
材質(zhì)：真絲
工藝：植物染、絲網(wǎng)印
透疊構(gòu)成是構(gòu)成主義概念中形與形構(gòu)成的一中關(guān)系屬性，包括三個(gè)部分：即透明、疊加、透疊。在這件作品中我將中國(guó)傳統(tǒng)植物染色與現(xiàn)代絲網(wǎng)印工藝相結(jié)合，探討了面料與光、色彩、圖案的關(guān)系與可能性。設(shè)計(jì)靈感來(lái)自于中國(guó)古典小說(shuō)《紅樓夢(mèng)》對(duì)于大觀園四季景色的描寫。
Overlapping-Transparent form is one composition of Constructivism, includes three parts: Overlapping, Transparent, Overlapping-Transparent. I integrate the Chinese traditional natural dyeing and the screen printing technology, to explore the possibility of the light, color and pattern on the silk fabric. The inspiration comes from the Chinese classical novel named “A Dream of Red Mansions” by Cao Xueqin, in which represents the beautiful scenery of four seasons in Daguan Garden.
“山水之間”
Landscape Indigo
作者：羅瑩（中國(guó)）
材質(zhì)：真絲、亞麻
工藝：藍(lán)靛、槐米純植物染色
系列植物染服裝“山水之間”，借助流暢舒朗的線條、沉穩(wěn)有力的色澤，抒發(fā)文人雅士的野逸情懷，也借植物染作品“山水之間”表達(dá)天然染色對(duì)美好環(huán)境的呵護(hù)和敬意。
The series of plant dyeing clothing "Landscape Indigo” express the feelings of literati with the smooth lines, modest but powerful colors. Also, we wanted to show our awareness and respects to the nature through plant dyeing.
踏浪
作者：秦瑞雪（中國(guó)）
尺寸：120cmx120cm
材質(zhì)：布、鐵絲
工藝：扎染
靛青為偏藍(lán)的顏色，是一種來(lái)源于自然的顏色；海河也是自然的，用靛青色染出來(lái)的獨(dú)特花紋比喻海河。通過(guò)面料再造制作各種卷曲的單元形進(jìn)行組合，看起來(lái)仿佛是有人踏著浪歸來(lái)的景象。
Indigo is a blue color, is a natural color; the sea is also natural, indigo dyed out of the unique pattern of the sea. Making all kinds of curly unit shapes through fabric reconstruction, it looks as if someone is walking home on the waves.
Radiance
author name: Sheri Levin McNerthney（U.S.A）
size: 56cm×140cm
material: Silk Mawata and Natural Dyes
“Radiance” is a study in optical color mixing with natural dyes. In this piece my goal is to translate into a fiber medium the practice of watercolor painting with a limited palette. With watercolors one can glaze three pigments - cyan, magenta, and yellow - to achieve a unified universe of color. Since with natural dyes we do not have pure pigments available, I selected a limited palette of a warm and a cool yellow (weld and pomegranate), and warm and a cool red (cochineal and madder), and indigo.
For my “glazing” medium I used silk mawata. I dyed silk mawata in each of my palette colors, then stretched and layered the silk fiber over a frame. I painted the entire surface with a dilute solution of agar to bind the layers. Then I layered the layers, suspending them slightly spaced so that light could radiate from within.
Prism
author name: Yasuko Ishizuka（Japan）
size: 205cm×159cm
material: silk
Natural dyes have beautiful monochrome colors, but when overlapping dyes they show deep colors that seem to spread limitlessly on the screen. I believe that natural dyes can express the beauty of colors in ways that chemical dyes cannot. In order to highlight this feature of natural dyes, I
made it by dyeing the work many times with Itajime's technique. This technique involves the process of folding cloth in two or more directions and clamping it between boards or sticks. The boards and sticks remain plain and the pattern that is created is caused by the penetration of dye into the exposed folds of cloth.
I dyed this work with miscanthus tinctorias, Uncaria gambir, cochineal (Dactylopius coccus), Japanese traditional indigo.
ADD1: Water reflex and ADD2:
Sunlight reflex
author name: Eva Lagnert, Sweden（Poland）
size: 56cm×64cm
material: fabrics of silk, rami, cotton
WHEREVER in the world I turn MY HANDS takes care of what I learned CONNECTING earth and water air and fire SOWING TIME AND LIGHT into new lines that inspire I created an ADD shape, used natural dyes on fabric of silk, wool and rami and found a usefull form for meetings. The natural dyes communicate in a special soft color language.
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