2025 萬象長安光影節——《分裂》
Lighting Xi'an Festival 2025——《Divided》
一個紅色的巨大發光球體被分割成兩半，並分別禁錮於常見於建築工地的鷹架中，形成鮮明而具有衝擊性的畫面。人們被允許在兩個半球之間穿梭，感受被強烈色彩以及幅射光感所包裹的詭祕氛圍。這是藝術家 SpY 於萬象長安光影節所展出的作品：DIVIDED。這件作品屬於《Earth》（大地）系列之一，由《Earth》《Divided》《Confronted》三件裝置組成，圍繞著分裂、衝突與共存展開思考，透過強烈的形式提出對當代世界的象徵性解讀。
A monumental red luminous sphere is split into two halves and encaged within industrial scaffolding commonly seen on construction sites, forming a striking and visually arresting scene. Visitors are invited to move between the two hemispheres, experiencing an enigmatic atmosphere enveloped by intense color and radiant light. This is DIVIDED, a work by artist SpY presented at the Xi’an Light Festival. The installation is part of the “Earth” series, which consists of “Earth”, “Divided”, and “Confronted”—a group of works that reflect on fragmentation, conflict, and coexistence, offering a symbolic reading of the contemporary world through powerful formal language.
這枚帶有強烈紅色光源的發光球體，分裂且深陷於金屬結構之中的姿態，不僅強化了立方體與球形幾何之間的張力，同時也清晰表達出一座被制約的「概念式牢籠」。藝術家 SpY 藉由這件作品持續研究「身體——空間——感知」之間的關係，並探索不成比例的宏觀尺度及燈光運用是如何改變觀者體驗，並影響人們對城市環境的感知方式。
The posture of the luminous sphere—imbued with an intense red light, fractured and embedded within a metal framework—not only heightens the tension between cubic and spherical geometries, but also clearly articulates a condition of constraint, forming what can be understood as a “conceptual cage.” Through this work, SpY continues his exploration of the relationship between body, space, and perception, while investigating how disproportionate monumental scale and the use of light transform the viewer’s experience and reshape the way urban environments are perceived.
該裝置藉由與觀者的身體建立直接、物理接觸的關係，成為主動介入空間、改變環境觀點的動態媒介。巨大尺度的強烈存在感會創造出先於被頭腦理解的身體經驗，對觀者的吸引力與油然而生的敬畏之情，亦隨著腳步的接近而不斷強化。此種藝術形式必須仰賴觀眾的參與才得以實現。參觀者穿行於兩個半球之間，進入一條完全被光籠罩的通道。過程中，旁觀的姿態被消弭，觀者成為作品互動元素的一部分，並且實質置身於球體分裂的核心。
By establishing a direct and physical relationship with the viewer’s body, the installation becomes an active medium that intervenes in space and alters one’s perception of the surrounding environment. Its monumental scale asserts a powerful presence that is felt before it is cognitively processed, generating a sense of attraction and awe that intensifies as the viewer draws closer. This form of artistic experience relies on the participation of the audience to be fully realized. Visitors walk through the space between the two hemispheres, entering a corridor completely immersed in light. In this process, the position of the detached observer dissolves; the viewer becomes an integral element of the work, physically situated at the very point of the sphere’s fracture.
這段往返於兩個半球之間的旅程，同時改變了裝置形式與觀眾身體之間的關係，使體驗往裝置的內部深入。當人們身處於懸浮的光之場域，分裂與合一之間的張力以直接、情緒化的方式直擊身心。與曲面的近距離接觸、濃烈的色彩飽和度，以及幅射的強光，不僅改變了人們對空間的感知，也模糊了尺度與距離的概念。而人體正是在此刻，面對被分割、但仍具有強大壓迫感的巨物面前，成為另類的衡量標準。而深沈詭譎的紅光——近幾年反覆在 SpY 作品中出現——作為充滿情緒、包裹意味濃厚的元素，將空間轉化爲帶有懸浮氣質的場域。使作品不只是佔據空間，更進一步藉由全然的沈浸式體驗為場地賦予新的意義。在此維度下，物件的尺度、人類的感知與身體，都被運用為構成作品的基本要件。
The journey between the two halves transforms the relationship between the installation’s form and the viewer’s body, drawing the experience inward. Within this suspended field of light, the tension between division and unity strikes the body and senses in a direct and emotional way. Proximity to the curved surfaces, the saturated chromatic intensity, and the radiating brightness alter the perception of space, blurring conventional references of scale and distance. At this moment, the human body becomes an alternative measure—standing before a fragmented yet overwhelmingly imposing presence. The deep and uncanny red light—recurrent in SpY’s recent work—acts as an emotional and enveloping element, transforming the space into a suspended atmosphere. The work does not merely occupy a site; it redefines it, turning it into an immersive experience in which perception, scale, and the body become the fundamental materials of the proposal.
在這件作品中，SpY 鼓勵人們使用身體，同時也大膽顛覆人們的身體經驗；創作恢宏尺度的作品，卻讓尺度成為模糊界定的存在。在現今這個充滿衝突與矛盾的世界，透過分裂的現實，微妙的挑動人們內心深處的渴望與不安。
In DIVIDED, SpY encourages the use of the body while simultaneously daring to unsettle bodily experience. By creating a work of monumental scale, he renders scale itself ambiguous and unstable. In a world marked by conflict and contradiction, the work subtly stirs deep-seated desires and unease through a reality defined by division.
