(Text/ Ju Ming Museum)
This exhibition takes “Invariant Form” as its central concept, a term drawn directly from the mathematical field of topology. Topology asks: When a form is stretched, bent, or compressed, which structural relationships remain unchanged? From a topological perspective, a circle and an ellipse are considered “the same shape,” because they can be transformed into one another without losing their essential structure. This property—what remains constant during transformation—is called an invariant and the Chinese title “恆形” (Invariant Form) reflects this idea. “恆” denotes constancy, while “形” refers to structural relationships themselves rather than outward appearance.
The exhibition also addresses the viewer’s bodily perception. The “topological space” unfolded by sculpture is not an abstract mathematical diagram, but something perceived through multiple senses—sight, hearing, body, and even thought. “Invariant Form” thus points to a cross-perceptual stability of structure: when encountering a work from different perspectives and at different moments, does its core relational structure remain recognizable?
Invariant Form: Sculpture as Method presents the diverse landscape of contemporary Taiwanese sculpture and reconsiders, through a topological lens, the questions of what defines the boundaries of sculpture and what constitutes a method of understanding art. In a present where form is in constant flux, those structures that remain “invariant” may offer a renewed starting point for understanding art.
About Liu Po-Chun's work |
(Text/ Liu Po-Chun website)
Projecting one’s gaze toward a distant and unknown beyond, the work contemplates the ever-shifting phenomena of existence within the vast, boundless cosmos. Through acts of observation and imagination directed toward the universe, it traces the fluid and unfolding order embedded within processes of becoming and transformation. Adopting an almost godlike perspective, the work seeks patterns within the mechanisms of cosmic movement, weaving together imaginings of the generation and metamorphosis of all things, while ultimately reflecting upon humanity’s place within existence.
The core of the installation is composed of a three-part meteorite series forged from stainless steel, alongside a ground surface spread with abrasive emery grains. Within this space, mechanical motion, shifting light and shadow, and transmitted sound interact and reflect upon one another in a dynamic exchange of forces.
The spiritual dimension of the work traverses an eternal and unchanging sense of time and space, articulating a worldview of human existence while suggesting an unfinished portal of symbolic and imaginative connection.
