藝術家Artist
米夏˙雷斯卡Mischa Reska
藝術家簡介Artist Profile
色彩・空間・動作
身為一位視覺藝術家，我經常使用繪畫及攝影，這兩項素材之間不斷相互影響並互相襯托。我的作品圍繞著人類的身體，但在影像中沒有很顯而易見。身體會做出不同動作，如果是藝術的動作，則稱為舞蹈；動態的身體需要空間，而空間則構成建築。因此，動作及空間是我創作的兩大主題。
視覺藝術是以「看見」作為依據，然而每個人有不同的觀點，對於什麼是顯而易見的皆有差距。我認為試著去訓練大腦，讓觀點更精準是很有趣的過程，但同時也要考量到每個人擁有獨特的視野。
我個人很著迷色彩的概念，語言上我們只有幾種描述色彩的詞彙，但眼睛所看見的顏色卻無限豐富。色彩不是視覺語言的起點，而是一種滋養。我觀察著不同動作並感受空間的流動。
color - space – movement
As a visual artist, I mainly work with the media of painting and photography.
Whereby one medium influences and builds up the other over and over again.
Center of my work is the human body, even if it is not always visible in my pictures.
The body is naturally in motion, in art movement is dance. The moving body needs space, space is architecture. Movement and space are the main topics in my art.
Visual art refers to seeing. But we do not know exactly how differently the visible is perceived by each of us. It is fascinating to train the brain to refine the perception.
But we are individuals and individuality is important to me.
My personal obsession is color. We only have a few words for colors, but what we can see is much richer. For the visual language is an enrichment, not the starting point.
I observe the movement and feel the room.
創作論述Work Text
《糖與鹽》
我一直以來的創作計畫是透過散步漫遊、仔細觀察的方式「征服」一座城市。一邊散步一邊拍照，這兩件事合而為一，邀請我上街探索。
以建築的角度來看，我深深受台南不規則的街景所吸引。刻意安排及意外巧合的特質同時存在。我喜歡空間被利用到百分之百的角落，也欣賞建築物在不破壞舊結構的前提下融合在一起。
最令人著迷的是，房子正門貼滿窄小的磁磚，陽光照耀下發亮的樣子。60年代建造的房子除了具備功能性外，也考慮到顏色及形狀的設計。建築物外觀有著既精準又巧妙的設計。當時的建築師受到德國包浩斯建築風格以及其他外國風格的影響，以小磁磚打造的建築外觀成為獨特的台灣特色。
當時的建築物看得出對現代性的積極探索，而這點在後來所建的房子比較少見了。在世界各地，常見的現象是對未來缺乏進步的精神或對前人經驗缺乏尊重。我仍然住在從小長大的60年代房子裡，雖然建築風格跟台灣的房子很不一樣，我認為這時期的建築物對我的藝術創作有多元的影響。
長久以來，我對陶瓷品充滿興趣，因此在台南也很理所當然地選擇這項主題。
我的攝影主題探討美的概念。面對美的概念與核心價值，會讓我們更了解自己跟所處的社會。全數的攝影作品皆於佳里拍攝，我沒有挑別標明地點，因為每個街道皆有獨特的美感，只要仔細觀察便能領略滋味。
特別感謝文資建材銀行侯成育及游子萱的協助。
Sugar and Salt
My art work about the issue of cities is influenced by:
Richard Sennett – e.g. The Conscience of the Eye: The design and social life of cities
Jane Jacobs - The Death and Life of Great American Cities
Italo Calvino - Le città invisibili / Invisible Cities
The theory of the dérive by the Situationist International
My continuous project is to 'conquer' a city by strolling through the streets, observing carefully. Walking and taking photos become a flow like a river, that draws me into the streets.
Architecturally, I'm attracted to the disordered nature of the buildings in Tainan. There is coincidence and planning at the same time. I like the places where no space seems to be unused, and where buildings merge without disrupting the old structure.
I am particularly fascinated by the narrow little tiles on the facades, glittering in the sunlight. These houses from the 1960s are functionally well thought out and play with colors and shapes. The facades are skillfully designed and quite matter of fact. The architects oriented themselves on the idea of the German Bauhaus and what they saw during their visits to other countries. The tile facades they developed, became a unique Taiwanese style.
Enthusiasm for the idea of modernity can be seen well in this architecture. This is far less the case with most buildings that were built afterwards or built today. Maybe ever where in the world? How often there is no spirit of progress or respect of knowledge of the past.
I grew up in a house from the 1960s which I still live in. Though built in a completely different style. Architecture of this era has influenced my artistic work in many ways.
Ceramics have interested me for a long time, so it is no coincidence that I came across this topic here and that I have dealt with it intensively.
My photographic work is about the concept of beauty. The confrontation with the concept and the value of beauty let us learn about oneself and society.
All photos are taken in Jiali. I do not indicate where, because every street has its beauty.
One just has to pay attention.
Many thanks to HOU, CHENG-YU and YU, TZU-HSUAN from Architectural Heritage Vault.