H18 × W18 × D28
1987 (180 days)
Carving a block of boxwood into a brick, a wind, rain and sunshine battered, mottled and damaged brick is a qualitative and quantitative transformation challenge of an extreme degree. Even more marvelous is that a completely different tiny bush is sticking out of it. An apparently lifeless brick on which the marks of time manifest all that it has been through, and an utterly bush with incomparable determination, resilience and vitality shoots forth its roots from the cracks, nonchalantly and confidently extending its roots to continuously greet the wind and seek its own piece of blue sky, asking the clouds for rain and announcing its presence to the earth. The relationship between organic and inorganic matter forms an interesting thought.
Life is inherently unhindered, and being unhindered is what it wants with all its heart in order to going on living. To be unhindered is to want to be oneself for a life time, and the spirit of wanting to make a mark for oneself even whilst being kept down, belittled and overlooked. This is one of the choicest representative works during my 1987 creative period. Perhaps it reflects what I learned after spending five years reading the Prajñāpāramitā Hṛdaya Sūtra and deeply immersed in Buddhist meditation! The tough harness and density of a brick is like what we are when we hold onto the concept of the ego. The small bush is the impulse and real nature of being alive, boring through invisible cracks on the surface. Once the impulse breaks through the invisible surface cracks, the mind is free, much like dreaming of a butterfly flitting to and fro freely. Physical existence is then limitless. Are our hearts like immovable solid bricks or like the impulse of the bush? Our consciousness-limited self is thus at ease and subject to no limitations; it is totally unhindered.
Boxwood is very malleable, its grain and hue, especially when skillfully and minutely carved, can evoke the essence of a brick. Making a four-cornered rectangular brick is not difficult, what is hard to do is to render an old brick with a story to tell, clothed in aging, minutely weathered and abraded, with a rough and uneven surface, eroded by the wind, these details make it play-worthy. At the other extreme is the sense of thin delicacy in the veins of the bush’s minute leaves, tiny and swaying in the breeze, clinging closely to the muddy old brick like long whiskered roots. This forms an unbelievably powerful contrast with the solidity of the brick. Think about it, these whiskery gossamer bush roots were carved out of a large block of boxwood! How could such sculpting skill and knack not arrest you in your tracts to appreciate its minute detail? Exhibitions ＊ October 1991 Taipei Fine Arts Museum “Wu Ching Gold Sculpture Grand
＊ October 1992‒1993 Wu Ching Exhibition, Apollo Art Gallery
＊ March 2003 “Wu Ching’s Sculpture World” touring exhibition throughout northern, central and southern Taiwan at the invitation of the Shin Kong Mitsukoshi Cultural and Educational Foundation
＊ 2004 ABN AMRO Bank Exhibition
＊ 2006 Xingang, Chiayi County Cultural and Educational Foundation
＊ 2007 National Center for Traditional Arts “Nationwide Wood Sculpture United Exhibition”
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