中間体ⅡⅩ

”Intermediary compound XV”is the continuation of Yuan’s series “Intermediate”, continuing to visualize the indivisible relationship between humans and nature, and establish the connection between himself and reality through the consciousness of glass material itself, showing the structure of primitive fragments inside human unconsciousness through his philosophical ideology toward our natural surroundings.

M.デュシャンが《大ガラス》（1915-23）と略称される作品によって、透明な基底材に描くという新たな手法を提示してから100余年経った。同作品は制作が中断されてから3年後、移動中に割れてしまうアクシデントに見舞われた。さらに10年後、デュシャンはその割れた破片をすべて貼り合わせ、今ある姿へと変貌させたのである。「透明性とひび割れ」というガラス素材の特質が、現代美術界に刻印された瞬間だった。さて、袁方洲のガラス素材による超然とした表情を持つ塊状の作品は、およそ１世紀前に成立したガラス素材に対するその様な既成概念をものの見事に打ち破るような力強い威容を我々に提示している。袁はガラス素材に対する新たな世界観を打ち立てたのである。

（公募／ARTISTS’ FAIR KYOTO実行委員会）

100 years have passed since M. Duchamp proposed a new method of depicting on a transparent base material in his work often called the Large Glass (1915-1923). Three years after production had stopped, the work was greeted by an accident – it had cracked during a transportation. A further ten years, Duchamp fixed all the broken fragments together, to transform the work into its currently known form. This was the moment the characteristics of glass material, transparency and cracking, was engraved into the world of contemporary art. Fangzhou Yuan’s agglomerate works of glass material with transcending expressions, present to us a powerful presence that easily breaks this kind of preconception towards glass materials that was formed nearly a century ago. Yuan has enacted a new world view towards the glass material.

（Public／ARTISTS’ FAIR KYOTO Organising Committee）