Blossoms, branches, and leaves, through the reorganization and arrangement of postures, resist the running of time with the most beautiful appearance in the process of disappearing step by step; nodes, paths, and regions, through the memory of human brain interpretation, depict a set of corresponding mental images in the observation of walking displacement, and record the path of fading.
Even if the scale of time varies, it is possible to detect the "impermanence" of fading - plants may die overnight, cities may collapse over a hundred years, somewhat giving the world the illusion of "eternal" existence in its remaining state.
'Alive #1: Beyond the Edge' explores the relationship between 'objects' and their space of existence through the combination of different materials. The visual term of the medium allows us to identify the numerous symbols of the material world and the spiritual structures it conveys, evoking psychological paths in view and experience. As a result, organic movement can be created in the interplay of inorganic objects, and the laws of nature can be glimpsed in artificial compositions.
At the end of the day, we follow the texture of the medium and the flow of time, crossing the softness and rigidity of the objects one by one and diving into the beauty hidden in the gaps of time.
花體、折枝、葉片，透過姿態的重組排列，在步步消亡的過程中，以最美的模樣，抵禦時間的運行；節點、路徑、區域，藉由人腦的記憶判讀，在行走位移的觀察中，描繪一套相應的心理圖像，記錄消逝的路徑。即便時間的尺度有所差異，我們都能在其中嗅聞「無常」的消逝 ── 植物或許一夜枯折，城市或許百年頹傾，在其存留的狀態間，多少給予世界「永恆」存在的錯覺。
《Alive #1: Beyond the Edge》 透過異材質間的組合，探討「物件」與其存在空間之關係。媒材的視覺語彙，使我們能夠識別出物質世界的無數個表徵與其所要傳達的精神結構，在觀看與體驗中召喚心理圖徑。於是，在無機物的相互組合間，能創造出有機的動態，而人造的構成中，也能瞥見自然的法則。即使終將消逝，我們沿著媒材的肌理與時間的流動，一點一滴地橫越物件的柔軟與剛硬，深入時間縫隙中所隱含的美。
According to WHYIXD, 'Alive#1: Beyond the Edge', created for 'Taipei Dangdai', keeps the concept of 'electronic landscapes'. Unlike his previous outdoor large-scale works, 'Alive#1' is a smallest-scale, 121-piece 'electronic' container that challenges the relationship and imagination between people, the city, the landscape, and nature.
In terms of the creation methods, WHYIXD uses 'metal 3D printing' technology to challenge the limitations of traditional metal fabrication and to reduce the weight of the individual pieces while retaining the delicate texture and characteristics of the metal material.In addition, the metal pieces are also equipped with LED lights, which makes the work in a state of flux every second with the complement of the plants, exquisitely showing the flow of 'time'.
Queena Wang, the florist who first collaborated with WHYIXD, has studied 'Ikebana' at the level of a full professor at her mother's side since she was a child, and has also studied Western floristry at the FSNY. She is also a professional animation scriptwriter and producer with a great ability to create storylines, and as a result, her floral artwork has a unique narrative and personal style. Queena Wang believes that each plant has its own unique lifestyle and she cherishes the process and destiny of meeting them. In this creation, she does not pursue rare species, but chooses common plants in the market, giving expression to their original "point, line, surface and block" patterns to create a rich sense of space.
At the same time, she also puts a narrative approach into her work by observing the changes of nature throughout the day, presenting the 'four seasons in a day': from darkness to light, from warmth to coldness, just like the flow of the four seasons.
Through the interweaving of different plants, she expresses the timing of the unique nature of 'an organic object' and conveys the image of the flow of 'time'.
何理表示，這次為「台北當代」創作的《Alive#1: Beyond the Edge》，沿襲何理一貫的「電子地景」概念．但不同於過去的戶外大尺幅創作，《Alive#1》嘗試以最小尺度、由121個「電子」元件填充而成的地景容器，挑戰人與城市、地景、自然之間的關係與想像。創作手法上，何理運用「金屬3D列印」技術來製作，挑戰傳統金屬製造上的成形限制，在大幅度減少單體重量的同時，也保留金屬媒材的細緻質感與特色。此外，各金屬元件中也搭配了LED燈的設置，在植物體的相輔相成下，作品每分每秒中都處在變動的狀態，細膩地展現「時間」的流動。
2023 台北當代藝術博覽會 TAIPEI DANGDAI ART & IDEAS