SU CHANG 苏畅

Entirely hand-made, Su Chang’s sculptural language brings us back to our sense of sight and touch. Each work, crafted with the reverberation of a subtle pulse in the artist’s palms, is like a indigenous container, simple and sensual, or like a breath carefully wrapped up and placed right in front of us.

Su needs no reason to sculpt. For him, it’s a career, a dream and a way of life that he could never change. “My works may give an impression that they weren’t complete or polished, it’s because I’ve purposefully avoided such correctness and accuracy, and the inevitable ubiquitous industrial refinement that would ensue. For me, a work’s raw clumsiness is its strength. I also try not to imbue a work with more significance than what it can contain. Explanations weaken our judgement toward the language of sculpture itself.

“Sculptural aesthetics, to me, is like DNA, something that we’re born with – we know innately what kind of sculpture we like, and we just need to discover and ascertain this connection through encounters. There’s no need to train ourselves to appreciate a style which doesn’t naturally appeal, and it’s even more meaningless to force an appreciation through reading or other ways. That’s why I often make works with no specific purpose – I do it to search for the possibility that such inborn connection exists on a subconscious level.”

苏畅

由手工制作而成，苏畅的雕塑语言将观者带回到眼睛与触觉，作品伴随掌心脉搏微弱的涌动塑造而出，像一个朴实感性的本土容器，像一段被包裹着的呼吸，站立在你面前。

做雕塑这件事对苏畅来说是不需要理由的，是工作，是理想，也是改变不了的生活方式。“我的作品可能给人感觉完成度没那么高，或者说成品感不强，那是因为我故意不要这些正确的东西，这会使得作品趋向与一种工业的精致的共性。但我觉得可能正是作品的生拙感才是力量所在。同时尽量克制不赋予作品除本身以外的更多意义。解释会削弱人对雕塑本身语言的判断。

“我觉得雕塑感觉应该是和基因一样，天生就长在身体里的。人天生就自动知道自己喜欢怎么样的雕塑，只是需要通过观看来产生这种连接和确定。不需要去训练自己喜欢没感觉的形式，通过大量的阅读去强化更加没有意义。所以我经常会做一些没有目的雕塑，只是为了寻找这种潜意识里产生连接的可能。”