Luo,JingZhong

No.03

2011-10-18T23:25:00.000-07:00

No.02 LCD glass plates

2011-09-04T09:04:00.000-07:00

No.01 box

2011-09-04T06:25:00.000-07:00

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No.04 千里之遠Far from Thousands Miles away

2011-09-01T10:26:00.000-07:00

Date : April, 2007.

Media: water, 6 fluorescent tubes, vertical filters.

Size: 415× 265× 280(cm).

Installation in the National Taiwan University of Arts, The Sculpture Department.

No.05 箱子群組Boxes

2011-09-01T09:22:00.000-07:00

Date: 2007.

Media: transparent acrylics, balsa wood, colored clay, cardboards, wax, LED tubes.

Side: 430× 430 × 128(cm).

No.06世界A World

2011-09-01T08:51:00.000-07:00

Date: 2007.

Media: wax, 3 LED tube, a motor with a long axle and fans, a heater, grass, soil.

Size: 240× 32× 155(cm)

Installation in the National Taiwan University of Arts, Department of Fine Arts.

整個創作系統裡，藝術家要抓住的是人與自然對應的原則。在作品內構作風水學式的場域，使得場域內的物體成為形象符號並作用為相互關係的引力。藝術家視作品為自然界的微觀型態，具有人為「再造」的意涵，而觀賞者必須以移動中的身體、視覺、聽覺以及對自然的經驗組合出形象交互的深度感受。觀賞者面對作品並不處於被動的位置，而是跳躍於作品中無數的空間，直到可想像的邊緣，並且接受來自於物質對立因素的各種力量，人與自然對應的原則因而形成。

創作當中，一些具非物質型態的元素最常被採用，例如：水、光、被溶掉的蠟，在液態與固態間轉換。偶爾出現植物的生長，那活體來自於土壤的滋養。以及被當成具有生命的簡單動力機具。某些作品有如水塘般的收納真實，幻化映像於水塘內，這個具有深度的容器。

Luo is interested in the interaction between humanity and the nature. He use many shapes to symbolize the objects in his work, and constructs the 風水學-like field within his work. The work is a micro-nature, hence, while looking at the work, the spectators have to move their body around the work, use the perception of their eyes, ears, even the whole body, and combine the memories of their perception to the nature. The spectators are no more passive, by their imaginary jumping among the countless spaces. Meanwhile, the spectator also receives force among the conflicts of different substances. Therefore, the corresponding relationship between humane beings and the nature has been formed.

Luo commonly use water, light and wax, he likes to make the wax in the state between liquid and solid-state. And he use plants, which depend on the soil to give it nourishment. Moreover, Luo considers machinery as a simple life in his work. reservoirs of certain works like the real admission, turns into the image in the reservoir, the depth of the container. For Luo, the whole work is like a pool or a container, which reflect or contain the reality.

No.07 各種散步的總和Assemble of many kinds of Amble

2011-09-01T08:38:00.000-07:00

Date: 2006.

Media: transparent acrylics, vaseline, water, a motor with a long axle and fans, colored clay, cardboard, fluorescent tubes, a toy car with infrared-sensor.

Size: 150×150×185(cm) .

Installation in the Huashan Culture Park,Taipei,Taiwan, November 2006.

No.08 牆上風景Landscape on the Wall

2011-09-01T05:34:00.000-07:00

Date: 2006.

Media: video, audio, a LCD vertical filter, a 15 inch LCD module, resin, LED tubes(30cm), and a light dependent resistor .

Size: depend on the space.

Installation in the National Taiwan University of Arts, Department of Fine Arts.

No.09 空間形塑The Shaped Space

2011-09-01T05:19:00.000-07:00

Date: 2005.

Media: video, audio, water, a power-head motor, and waste material of building.

Size: depend on the space.

Installation in the Open-Contemporary Art Center, Taipei, Taiwan, 2005.

No.10 一位美女及我佇立於此A Beauty and I Standing here together

2011-09-01T05:09:00.000-07:00

Date: 2005.

Media: video, a 7 inch LCD screen , and a player.

Size: depend on the space.

Installation in the National Dr. Sun Yat-sen Memorial Hall, Taipei,Taiwan,December 2005

No. 11 什麼鳥都沒有There’s Nothing

2011-09-01T05:01:00.001-07:00

Date: 2004.

Media: video , audio, a telescope, and infrared –sensor.

Size: depend on the space

Installation in the Everspring Industry Co., Taoyuan, Taiwan, December 2004.

No.3 雲之象The Image of the Cloud

2011-08-31T07:18:00.000-07:00

Date: March, 2009.

Media : transparent acrylics, grass, soil, a power-head motor with an axle , water, T5 light tubes, and cement .

Size: 425× 205× 148(cm).

Installation in the Beaux-arts de Paris, French,March 2009.

此作品以自然為形象來源，以人之感知大地山川而將其收納於意識之下沈澱，作品本身像是容器般的裝載一些自然來源的想像，本身微型化而再造了物之映像。其形式包括表面的地勢起伏，側面觀看有如符號般的山形，而其中空的內部散射白光，並匯聚了細語之水流。

作品亦運用光、水等不可定形之物質材料，以及具人為塑造性質之水泥，參照中國園林山水從自然而人化的裝置，著手處理身體面對「物」的知覺召喚，以及人觀照「物」之全面而細緻的微觀型態

The notion of this work comes from the image of the nature. People percept to the earth, the mountains and the rivers, and then they incorporate their perception into this work. The work is like a container, loading people’s imagination of nature. The work miniaturize the nature, and recreate the image by itself. In this work, Luo create a space using topography, Yamagata-like symbols, hollow foundation with light, and assemble of the whispers of the water flow.

Luo likes to use material that can’t be fixed, such as light and water. The mountain- like sculpture in concrete, was referred to the artificial installation of Chinese Garden. The traditional Chinese artists used to deal with the relation between the sensation of the body and the objects. Different to western artists who use one-eye perspective, traditional Chinese artists emphasize on the all-round, micro-patterns nature.

No.1 風景 Landscape

2011-08-31T02:12:00.000-07:00

Date: March, 2011.

Media: 3 video , LCD glass plates , a power-head motor, a convex mirror, water,

colored clay, a RC server, wax, LED tubes, and transparent acrylics.

Size: 152.4╳46.5 ╳50 (cm).

Installation in the Museo di Arte Contemporanea di Villa Croce, Genova, Italy, March 2011.

藝術家創作上的概念大多提取至本身文化中，例如東方性質的時空思維，在那樣的世界裡，人們運用許多想像力了解真實現象，形成對空間的理解，並且對空間的探索規範出由上下層次以及四方平行的無限延伸，由此，藝術家將其觀點匯入作品的裝置之中，並且以「層」這樣一個觀念涵蓋作品裝置。這個空間概念述說每一個層次有屬於自己的平行空間，但在一些狀況下是允許融會在一起的，這就像我們進入房子的樓層就看不到其整體，但可以藉由聽到其他樓層或房間傳來的活動聲音探究當中正在發生的事情。
Most of the notion of Luo's creation are refererd to Orient culture, for example, the notion of space-time in Orient. People use their imagination to figure out the phenomenon of the reality. They map the space as many parallel layer, and they deem the spaces infinite. Luo use the notion of "layer" to create his installation. "Layers" are parallel to each other, but under some situation, layers can be blended. For instance, we can't see the whole building while we are in the building. But we can hear the voices from other floors, hence we can infer the situation in other floors.

Installation in the Spazio dell’ex Gil, Rome, Genova, Italy, May 2011.