Provisional Measures 臨時措施, 2026, Space One Gallery, University of Taipei, Taipei, Taiwan •
當自由不再以自身為正當理由，而是意識到自身俱有任意性和暴力性時，道德就因此開始。—埃馬紐埃爾·列維納斯
《臨時措施》是藝術家在雲森陶陶工作室駐留期間創作的36 件陶瓷作品，後來於台北市立大學展示中心展出。這些作品以常見的淚滴狀花瓣為原型，懸掛於鋁桿之上。小巧的尺寸令人聯想到芒果等長莖圓錐花序上的果實和花朵；而大尺寸則指向人類介入世界的結構，例如建築。
儘管鋁材曾在多個展覽中出現，但自《圓孔方釘》（2010）以來，它並未扮演如此重要的角色。與《手鐲》（2014、2015）類似，這些陶瓷作品懸浮於金屬絲之上。與《筒倉》（2015、2018）類似，這些陶瓷作品被掛在鉤子上，供觀眾取閱。克里斯蒂安·波爾坦斯基、西川裕子和馬克·迪·蘇維羅的懸垂陰影藝術作品對本系列作品產生了影響。保羅·克利曾說，繪畫就是一條散步的線條。因此可以說，陶瓷產業就像一架飛翔的飛機。
Morality begins when freedom, instead of being justified by itself, feels itself to be arbitrary & violent. —Emmanuel Levinas •
Provisional Measures 臨時措施 is 36 ceramics created during residency at Cloud Forest Ceramics, Taipei then exhibited at Space One Gallery, University of Taipei. Formed from a generic teardrop flower petal shape, suspended on aluminum rods, on an intimate scale they recall the fruit and flowers on panicles (long stems) such as mango, while on a large scale pointing to human structures intervening in the world, such as architecture.
Though aluminum has featured in several exhibitions, it has not played such an important role since round hole square peg (2010). As in braceros (2014, 2015), the ceramics float on wire. As in silos (2015, 2018), the ceramics are offered up on hooks, available to the audience. Suspended, shadowed artworks by Christian Boltansky, Nishikawa Yuko, & Mark di Suvero are influences for this series. Following Paul Klee’s famous remark that a drawing is a line that went for a walk, ceramics is a line that went for a flight.