▎時間：2026/06/06（六）- 07/19（日）
▎開幕時間：2026/06/06（六）15:00
▎公休：每週三四 (Closed on Wed & Thu)
▎地點：台南市中西區民權路二段64巷56號3F
▎藝術家：陳憲則 Chen Hsien-Tse
▎策展人：張碩尹 Chang Shou-Yin
▎主辦單位：應力空間、土星工作室
▎展覽介紹
思索展覽的時刻，總會期待它可以塑造出一個模樣。無論會是什麼模樣，它彷彿都存在一個既定的形狀。我與憲則對於展覽的想像，好似都在自我咀嚼中發現，與浸濕的陶土脫不了關係。然而，這個既粘膩又滑溜的材質，卻又成為塑造這個展覽的起點。或是，那個我們倆人一開始以為的起點。
過去，憲則曾將屬於童年寄寓的想像翻製成模具。而現在，他重新回到了習陶的起點。回望過去陶瓷產業的風光歲月，無數的石膏模具日復一日地運作，翻製出成千上萬的物件，用以盛裝人們的世俗慾望。就像那些象徵著聚財、曾經普及於客廳桌案上的「家庭流水盆景」。而憲則，同樣透過模具的翻製，試圖去複製、去捕捉屬於他想像中的模樣。
然而，當時代推移，那些盛裝慾望的流水盆景逐漸從日常中消逝；曾經沾滿泥漿、講求效率的工業模具，也隨著產業外移而流落街角，陷入了無盡的乾涸。
本次展覽以「Dripping into the model 模型造景」為名，由模型（Model）來包裹雙重意義。它既是那些被遺棄的工業模具，也是微縮了世俗慾望的家庭盆景。憲則不再將模具視為隱藏在幕後的生產工具，而是將它們翻轉至臺前，化作如同積木般的基礎元件，重新堆疊出一座微縮於家庭的山水風景。
他捨棄了讓黏膩陶土在模具中成形的本質，轉而將微弱且持續的滴流（Dripping）引入石膏風景中。當水滴緩緩墜入模型，這不再是為了複製下一個實體物件，而是在乾與濕的極端對比中，重新啟動物質對話。就像是模具總是在乾與濕之間拉扯，永不停歇。
當水滴墜入模型，「Dripping into the model」意圖流入的不是固定的軀殼，而是在未定義的流動中，繼續切割出游移變動的風景。
When conceptualizing an exhibition, there is always an expectation for it to take a certain shape. Yet, whatever that form may be, it seems to inherently possess a predetermined contour. Through our inward contemplation, Hsien-Tse and I discovered that our imaginations of the exhibition are inextricably linked to wet clay. This sticky and slippery medium, however, became the starting point for shaping this exhibition—or rather, what we both initially believed to be the starting point.
In the past, Hsien-Tse cast his childhood imaginations into molds. Now, he returns to the genesis of his ceramic journey. Looking back at the golden era of the ceramic industry, countless plaster molds operated day after day, reproducing thousands of objects designed to contain people's secular desires. This is epitomized by the indoor tabletop fountains—once a ubiquitous symbol of attracting wealth on living room tables. Similarly, through the process of mold-making and casting, Hsien-Tse attempts to replicate and capture the contours of his own imagination.
However, as times change, these tabletop fountains—once vessels of desire—have gradually faded from everyday life. The industrial molds, once coated in slip and driven by efficiency, have also been abandoned on street corners due to industrial relocation, falling into a state of perpetual dryness.
Titled Dripping into the model, this exhibition encapsulates a dual meaning within the word "Model." It signifies both the abandoned industrial molds and the domestic miniature landscapes that encapsulate secular desires. Hsien-Tse no longer treats these molds as hidden production tools behind the scenes; instead, he brings them to the forefront. Transforming them into foundational components akin to building blocks, he reconstructs a miniature landscape of mountains and waters within a domestic context.
He abandons the conventional essence of molding sticky clay, choosing instead to introduce a faint yet continuous "dripping" into this plaster landscape. As water drops slowly fall into the model, the act is no longer about replicating another physical object. Rather, it reinitiates a material dialogue through the extreme contrast between wet and dry. It mirrors how a mold is perpetually caught in the tension between dryness and moisture, in an unending cycle.
When the water drops fall into the model, Dripping into the model does not intend to flow into a rigid, fixed shell. Instead, within this undefined fluidity, it continues to carve out a shifting and ever-changing landscape.
陳憲則 Chen, Hsien-Tse
1997 年出生於新北三峽，
2026 年畢業於國立臺南藝術大學應用藝術所陶瓷組。
創作關注於符號生成後的商業複製、及其與工業生產間的對照關係。
作品中，常挪用童年遊戲、民間器物、工業模具，以陶瓷、石膏模具作為創作媒介，並透過切割、翻製與重組，探討複製、信仰與物件流通之間的連動狀態，使物件在崩解與再生之間，成為對複製機制與物質記憶的回應。
策展人 張碩尹
不是那個張碩尹的張碩尹，現就讀於臺南藝術大學藝術史學系暨藝術史評與古物研究所碩士班。研究方向主要關注策展實踐、當代工藝及獨立藝術空間研 究，期許透過各觸角的延伸，將臺灣藝術領域的發展被更多人看見。