2025 April Artists in Residence
Residency Works Open Day
Material Memory
Alessandra Riboni
April 26 (Saturday) 16:00, 2025
前言 Introduction
《材料的记忆》群展汇集了Alessandra Riboni、卢嘉玮、李美萱和Max Dooher的多元艺术实践。这些作品反映了每位艺术家在朱家角生活期间对独特的语境、概念和材料探索。这些作品汲取了朱家角的建筑、水道、工艺历史和不断变化的景观，探讨了个人和集体对场景的回应。
“Material Memory,” a group exhibition, brings together the diverse practices of Alessandra Riboni, Brandon Lu, Li Meixuan, and Max Dooher. The works reflect the distinct contextual, conceptual, and material explorations each artist pursued in response to their time in Zhujiajiao. Drawing from the town’s architecture, waterways, craft history, and evolving landscape, these pieces examine both personal and collective responses to place.
Alessandra Riboni驻留期间的项目《编织未来》始于观察传统与现代如何交融，并形成鲜明对比。项目选择使用常用材料，特别是织物和塑料，以强调它们的广泛消费对环境和社会产生的重要影响。作品融合了绘画与物质，旨在揭示这些材料使用的不断增加，以及缺乏有效的回收政策，将如何导致人类日益被垃圾淹没。
作品中，纺织材料的重叠使人类几乎隐形。一层又一层，人物变成了遥远的身影，如同囚徒。
自然本身会改变其基因，变成塑料和合成材料。例如，蚕茧的功能发生了改变，由塑料变为丝绸。
尽管几十年来一直推行回收政策，但塑料的回收利用仍然困难重重。
这些作品探讨了近年来经济增长如何对消费者习惯产生负面影响，尤其是在一次性产品和快时尚方面的使用。这种情况影响着每个人。
Alessandra Riboni’s project “Weaving the future” developed during the residency, began by observing how tradition and modernity have merged, creating a clear contrast. The choice was to use commonly used materials, specifically fabrics and plastics, to highlight how their widespread consumption has an important environmental and social impact. A representation that fuses painting and matter with the aim of telling how the constant increase in the use of these materials, associated with the lack of an effective recycling policy, will lead the human race to be increasingly submerged by waste.
In the works, the overlapping of textile material makes human beings almost invisible. Layer after layer, the characters become distant figures, like prisoners.
Nature itself modifies its genetics, becoming plastic and synthetic material. As in the case of cocoons that change their function by producing plastic instead of silk.
China is the world’s largest textile producer and consumer.
Used clothes and fabrics in general are difficult to recycle.
Plastic is no less, despite decades of recycling policies.
The works investigate how economic growth in recent years has contributed to negatively affected consumer habits, especially with regard to the use of disposable products and fast fashion. A condition that affects everyone.
Max Dooher此次展出的作品是他关于数字模式与提花织机关联研究的一部分。《云纹计算》是一幅在工业喷气提花织机上织造的挂毯；其织造图像采用GLSL代码程序化生成以模拟“云纹”工艺图案的结构。这件作品融合了当代提花织机在重复图案方面的功能及其在数字图像复制方面的能力，利用经纱中的RGBBW纱线来诠释全彩图像。输出的编码介于光栅图像和图案之间，生成的形式难以进行明确的阐释；在这种模糊性中，意义不仅源于视觉信息，也源于编织结构与纱线材质之间的相互作用。
Max Dooher’s presented work exists within his greater body of research into digital modes of interfacing with jacquard looms. 云纹计算 (Cloud Computing) is a woven tapestry made on an industrial air-jet loom; the woven image was procedurally generated using a shader algorithm designed to mimic the structure of the 云纹 craft motif. This work blends the jacquard loom’s traditional role in encoding repeatable patterns with its contemporary machine potential for digital image reproduction, utilizing RGBBW threads in the warp to approximate full-color imagery. The algorithmic output exists between raster image and pattern, with the generated forms resisting clear categorization; in this ambiguity, meaning emerges not only from the visual information but also from the interaction between the woven structure and material quality of the threads.
李美萱的作品将自然景观视为情感与符号美学象征的流动场域，而非单一的外部环境。通过采集和重建当地被忽视、破碎或风化的材料，她试图探索这些物质碎片如何承载并传递个体的反思与情感经验。她的创作过程直觉而具触感，围绕“转化”展开——组合、重塑、软化，使材料在形式与意义之间游移。
在东亚美学概念“间（Ma）”的引导下——即内在世界与外部现实之间的空隙——她探讨记忆、感知与自然如何彼此交织。每一个雕塑性的动作都如对现实的再想象，悄然将被忽视的材料引入诗意的形式，轻轻地脱离它们原有的语境。她的作品邀请观者慢慢凝视与静默反思，揭示身体、场所与时间之间细腻的联系。
Meixuan’s work engages with the landscape not merely as environment, but as aesthetic connotation and symbolic terrain. By collecting overlooked and fragmented materials, her practice explores how physical remnants can embody and translate intimate experiences. Through intuitive, tactile processes—marked by assembling, altering, and softening—she transforms these elements gathered through walks and quiet observation.
Guided by the East Asian aesthetic concept of “間 (Ma),” the space between the inner world and the external, she investigates how memory, perception, and nature intertwine. Each sculptural gesture offers a quiet reimagining of reality, gently guiding overlooked materials into poetic forms, subtly distanced from their original context. Her works invite slow looking and quiet reflection, revealing delicate connections between body, place, and time.
卢嘉玮的摄影系列作品追溯了个体人生变迁中逐渐递进的情感轨迹。他采用蓝晒法，并将摄影与玻璃、丝绸等多种材料融合，形成独特的视觉语言。作品从不同角度展现了对变化的感知与回应 – 回望过往、内省当下、迈向未来。
该系列灵感源自中国古语“上善若水”及江南水乡朱家角的景致。他以水的倒影、涟漪、光影变幻为主要视觉元素和情感隐喻，并将其引入蓝晒过程中。水的流动不仅作为图像的灵感源泉，更以物理方式参与到图像的生成中——光影的印记、颜料的渗透、材料表面的阻力等偶然性的介入，使每一幅作品都在“冲刷”中获得独一无二的转变。
在这一过程中，水成为一种静谧而深具力量的象征，映射着人生中持续流动、不可预测的情感状态。该系列作品邀请观者思考：在面对不确定性与变化时，我们如何感知拥抱并走过人生的转折。
Brandon Lu’s photographic series traces the layered emotions of navigating a personal life transition. Working with cyanotype, glass, silk, and paper, each piece reflects a different perspective on change—looking back, turning inward, and flowing forward.
Inspired by the Chinese proverb 上善若水 (“the highest good is like water”) and the water town of 朱家角 (Zhujiajiao), the series uses water as both material and metaphor. It recurs as a visual motif—reflections, ripples, shifting light—and shapes the cyanotype process, physically washing over and unpredictably altering each image. In this process—where light imprints, pigments bleed, and surfaces resist—water becomes a quiet but powerful force, reflecting the emotional currents of change. The series invites viewers to consider how we embrace uncertainty and move through life’s transitions.
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