Q&A ｜ 吴凌昊：¿¿¿¿¿¿¿¿¿

出于对工艺和工业的高度尊重和对各种材料的数字制造技术的掌握，我会从材质出发来创作作品，我试图在数字雕塑工艺语言与自然语言的极度接近中找一种时间维度的突破口，构建新人类的幻觉和梦想，进入一个新版本的现实世界当中。这些年尝试过不同的构建方法和材料，通常以增材构建（additive manufacturing）为主。在SIMULACRA的“不太纯粹的理性批判”展览中，是我第一次使用铝这种材料去进行减材制造（subtractive manufacturing），这次展览同时也标志我进入了一种混合制造（hybrid manufacturing）的工作流程，也是我第一进行架上作品的尝试。在本次“竞技场”上，数学的严格性和无尽的自由结合。我使用了干净闪亮的金属铝在数字实验室中被熔炼出的混乱状态，伪装的条纹和断层线，定格在纹理光滑又完美的一刻。

在UC1000-04系列中，呈现的是我和个人叙事架构和世界观中的切片（slicer），是我想象中的景观的一部分。通过对想象力的研究，生命出现了一种复杂潮湿，产生了一种不可逆转的切片，宇宙时间的启示，金属铝纯粹的冷漠，重塑数字切片在物理世界的感知和概念。就像古罗马诗人奥维德在变形记中表达的那样，无机生命和有机生命，并不是相反的两极，而是沿着统一万物的连续体流动和融合。

气质。于我而言，气质带给人的感受更加强大和真实。

我不太认同艺术和装饰物的需要以品类分类界限划分，比较认同的是以个人为探索为分支的自定义创作（bespoke）和以商业目的标准化批量生产（Mass production）来划分。

如今在们生活在一个由我们自己造就的单调的产品世界里，新一代的年轻艺术家出于各种材料和成型方法的热衷与敬畏，以及欧洲商品相对高的物价，除了各自的主线创作工作，闲暇之余在日常生活中也会用擅长的材料给自己制作具有功能性的日常用品。我们私下经常交换各自bespoke的小物件。我都视作珍宝，这些物件的能量就好像是陨石碎片。是艺术家自身对当下状态的一种投射，愉悦，表达。

在外界看来我一直在试图模糊艺术和家具两者的边界。但我并不认为这两者存在鸿沟。我只专注于材料和技术之间美丽的混乱，我想这是一种解放。

It's a privilege to be invited to site-specific exhibitions by energetic venues. The first small solo exhibition I did last year was supported by the Alcova platform of Milan Design Week, which gives young people the opportunity to experiment with free thinking every year. The site was in an abandoned military hospital in the suburbs, and the whole work process was incredible. I was involved in activating the ruins: weeding, vacuuming, cleaning the roofs, connecting the meter boxes, etc.. I anthropomorphised the sculptures and made them perform a specific mechanism within the space. The final construction of the exhibition site is a mysterious, serendipitous sanctuary where an offbeat story is slowly being activated. The same set of works then went on to a group exhibition in the clinical space of an invasive dental clinic, where the show claimed a different ecology of being, hoping to diagnose the repressed by restoring a listening ear to the body. I want to bring the viewer a complex feeling of intertwined emotions through the dizziness and order in work. My fixed works (constraints, conditions) can be replaced with different dimensions to adapt and build new structures and patterns, like a game of potential texts (Ouvroir de Littérature Potentielle).

Out of high respect for craftsmanship and industry and a mastery of digital fabrication techniques in various materials, I create my work from materials. I try to find a breakthrough in the temporal dimension in the extreme proximity between the language of digital sculptural processes and the language of nature, to build new human illusions and dreams, and to enter a new version of the real world. Over the years, I have experimented with different construction methods and materials, often with additive manufacturing. SIMULACRA's exhibition, 'A less purely rational critique', was the first time I used aluminium as a material for subtractive manufacturing, and the exhibition also marked my entry into a hybrid manufacturing process. This exhibition also marked my entry into a hybrid manufacturing process and my first attempt to work on the shelf. In this 'arena', mathematical rigour and endless freedom are combined. I used the chaotic state of clean, shiny metallic aluminium melted down in a digital laboratory, camouflaged streaks and fault lines, framed in a moment of textural smoothness and perfection.

What is presented in the UC1000-04 series are slicers from my personal narrative structure and worldview, part of my imagined landscape. Through the study of the imagination, life emerges as a kind of complex humidity, producing an irreversible slice, the revelation of cosmic time, the sheer indifference of metallic aluminium, reinventing the perception and concept of digital cuts in the physical world. Inorganic and organic life, as expressed by the ancient Roman poet Ovid in his Metamorphoses, are not opposite poles but flow and merge along a continuum that unifies all things.

Aura. For me, aura brings a more powerful and real feeling.

I'm afraid I have to disagree that art and decorative objects need to be divided by category boundaries but rather by bespoke creations that branch out into personal exploration and mass production for commercial purposes.

Today we live in a monotonous world of products of our own making, and the new generation of young artists, with their enthusiasm and awe of various materials and forming methods, as well as the relatively high prices of European goods, are making functional everyday objects for themselves in their spare time, in addition to their main line of creative work, using the materials they specialise in. We often exchange our bespoke objects in private. I consider them to be treasured. The energy of these objects is like a meteorite fragment. It is a projection, a pleasure, an expression of the artist's own state of being.

To the outside world, I am trying to blur the border between art and furniture. But there isn't a divide between the two. I focus on the beautiful confusion between material and technique, which I feel is liberating.

There is no need to conclude. Because a new ecology with inclusivity and diversity is gradually establishing a new order in the field of stable meanings, it is a creation with the aim of inspiring change and equality that is crucial. Human emotions are complex, and with several factors stirring them up, a powerful emotional impact attached to a subject or entity can achieve optimal expansion, irresistibly summoning the shaping power of thought and imagination to break through time, space and everything.