李勇志 Lee Yung-Chih

移植即將剝落的油漆背面如同靈芝般的紋路，用廉價的轉印貼紙手法黏合成虛構的芝山石。表面上說是回應著「芝山岩」背後的悠遠歷史，實際上像是以「探索歷史」為名的起點，但依舊是那自已習慣的日常旅程：走在路上，對乏人問津的荒廢之物的想像與賣弄。

就如同台灣常見的奇石造景風水美學，我將「芝山石」放置展場角落，或是附近街道偽裝成可以帶來幸運的石頭。同時用3D掃描石塊，重新利用貼圖效果做成動畫，製造虛假的島嶼山脈攝影，又像是宇宙的隕石般以假亂真的地層紋路展示，並置著文學性、地質描述、技術性和作品互動方式的字卡，看起來像是長輩圖、廣告影片等等「易於讓人理解」的形式摻雜在這樣美麗破敗 ，讓人暈眩，如催眠般的運動流轉當中。

The artist Lee Yung-Chih transplanted the texture of the back paint that is about peel off like Ganoderma lucidum to create a fictional Zhishan stone in a cheap hands-on way. Superficially, it is a reponse to the long-last history behind Zhishan and Zhishanyan. In fact, it is still some kind of the daily journey that artist is used to:walking in the streets, imagining and showing off the wastes that no one cares about.

As a common scene of stone landscaping in Taiwan, The artist laid Zhishan stones at the corner of the exhibit room or placed them by the street as stones that would bring luck. In the meanwhile, he 3D printed the stones, making animation through the “Image Texture” effect to create fake photography about the mountains on the island. In addition, it’s like the seemingly genuine display of meteorites that show strata with veins. The description cards that incorporate literacy, geological description, technical skills, and interactive features look like promo pictures, commercial videos, or some kind of “understandable” forms mixed in this fascinating, lightheaded, and hypnotizing flow.