〈藝術自由式—布花設計師帶路〉藝術銀行x減簡手制 Freestyle Arts: An Artistic Journey Led by a Pattern Designer

靈感總在聊聊後？藝術銀行與減簡手制品牌共同合作，以藝術家作品為發想，減去無感留下必須，消化轉譯後融入日常，將感動創作於布料上，作為與人溝通的一種自我療癒的過程，「藝術」成為再創作的靈感來源。設計師陳子瑜認為在藝術家的作品裡，總能嗅出過去的美好，和即將到來的危機。他以藝術銀⾏購藏藝術家陳伯義、劉芸怡作品為發想概念，探究他們的創作動機，並融合減簡⼿制的理念來執⾏布花及布包的設計。如在陳伯義作品以優美的攝影構圖和顏⾊，存放⼀個時間的記憶，在照片裡的痕跡，像是過去某個凍結的瞬間，甚⾄會以為屋主只是出去買個東⻄⾺上就回來，從來沒有離開過一般。⽽劉怡芸則記錄下建築被拆除的過程，或被拆除到⼀半的樣貌，形成⼀種怪異⽽扭曲的戲劇美感，猶如導演昆丁塔倫迪諾(Quentin Jerome Tarantino)電影中殘酷卻⼜絕美的意境。將對兩位藝術家作品的感動放入布花設計中，延續過去關注與創作的方式，透過一遍遍瓦片狀的色塊象徵家的意象，反覆堆疊⼀片片緊緊相依交錯，當空間型態的轉變與城市興衰，狀態則會重新組合排列；布花中線性的框是窗戶，實心的框是空間，框與框互相交疊，呈現出新的色塊，也像是空間相互交融後產生新的記憶；布花中的橘紅代表著紅磚牆，猶如血液一般在不同空間中流竄；深藍則代表空間中陰影的部分，或關燈後的狀態，認為人在陰影或黑暗中呈現最真實的自己，特別神秘與迷人。而陳子瑜覺得空間除了作為安⾝之所外，也是累積回憶的容器，除了受到藝術家作品啟發，也呼應了過去設計中持續關注的議題，因而創作兩款布花圖樣。 Inspirations Always Come After a Chat? Working with Artbank Taiwan, the handmade brand jainjain takes artistic pieces and reduces them to necessities, translates them to be a part of daily life, and recreates impressions about them using fabrics. In this communicative and self-healing process, art becomes a source of inspiration for recreation. Chen Tzu-Yu believes that in art pieces, you can always sense the beauty of the past and crisis in the immediate future. The designer has designed fabric patterns and cloth bags inspired by the artworks of Chen Po-I and Liu Yun-Yi, exploring the artists’ creative motivations and fusing them with the design philosophy of his brand jainjain. For example, the beautiful compositions and colors in Chen Po-I’s works of photography are where the memory of a specific point of time is kept. The traces of memory captured in his photos look as if those past moments have been frozen in time and one might even think the owners of the places have not left for good—they might have just gone out to buy something and would come back soon. Liu Yun-Yi, on the other hand, records the process of a building being torn down or how it looks halfway through the deconstruction. The pieces have a dramatic beauty of eeriness and distortion, much like the captivating brutality in films directed by Quintin Tarantino. The designer has built on his usual ways of seeing and designing when putting his impressions about the artists’ works into pattern design. The tile-like blocks of colors are symbols of home, running closely along, across, and on top of one another, suggesting how blocks of spaces would be reshuffled when spatial patterns change and when a town rises or falls. The outlined shapes in the fabric patterns are windows and the filled ones are spaces; they overlap to show new colors just like new memories are created when spaces merge. The orange-reddish color in the pattern symbolizes red brick walls that run through various spaces like blood. Meanwhile, the dark blue represents shadows in spaces or darkness after lights are turned off. To the designer, shadows and darkness are particularly mysterious and charming because they are where one gets to reveal his/her most authentic self. Chen believes that spaces are both places for settling down and containers of memories. His two pattern designs are a nod to the artists’ works as well as echoes to issues he’s always raised in his designs.