Cha Jong Rye
韩国雕塑家
1968出生于韩国大田
Born in Daejeon, Korea in 1968
毕业于韩国梨花女子大学
Graduated from Ewha Womans University, Korea
曾举办多次个展与群展
Held numerous solo and group exhibitions
我的作品是与“另一个我”相遇的过程
My work is a process of meeting my“other self”
而不是熟悉的自我
Instead of the familiar self
是寻找佛家所说的“真我”的过程
It's the process of searching for what the Buddhists call“the true self”
这也是我艺术的终极目标
This is also the ultimate goal of my art
—Cha Jong Rye
Cha Jong Rye于1968年出生在韩国大田，这是一个历史悠久的省份，现在被称为韩国的硅谷，但它的名字翻译过来是“大片土地”，让人回想起它简单的有机根源。这些植根于自然的简单是是她作品的基础，也是她选择木材作为创作媒介的原因。1996年，她在首尔梨花女子大学完成了研究生课程。
Cha Jong Rye was born in 1968 in Daejoen, Korea, a historic province now known as the silicone valley of Korea, but whose name translates to a‘large field’harking back to its simple organic roots. These roots in the simplicity of nature are the basis of her works and use of wood as her chosen medium. She completed her graduate work at Ewha Women’s University in Seoul in 1996.
Cha Jong Rye
的作品是遇到“另一个我”的过程，而不是熟悉的自我。这也是寻找佛陀所说的“真我”的过程，也是她艺术的终极目标。这位自我构成的艺术家断然拒绝任何外力施加在她的艺术上，而是选择以自己自由、自愿的意志，主动地调动自己的身体和灵魂，去理解、感知和发现自我。
Cha Jong Rye’s work is the process of encountering‘another I,’ not the familiar self. It is also the process of looking for what the Buddha called the‘true I,’ as well as the ultimate goal of her art. This self-composed artist flatly refuses to apply any external force on her art, but chooses to understand, perceive, and find herself by actively moving her body and soul of her own free, voluntary will.
Jong Rye选用木材作为创作媒，通过她经常挂在墙上的雕塑作品，构建出天衣无缝的复杂木质景观。她在数百块精致的木板上进行打磨和分层，她的创作过程是有意无意的；与其说她是在执行预先确定的设计，不如说她是在流畅地排列和重新排列这些形状独特的手工木块的过程中发现图像。其结果是一幅纹理丰富的三维画布，光与影在画布上翩翩起舞，将曾经可识别的木材材料转变为完全抽象的景观，让人想起褶皱的亚麻或荡漾的水面。
Using wood as her chosen medium, Jong Rye constructs seamlessly intricate wooden landscapes through her often wall-mounted sculptures. Sanding and layering hundreds of delicate wood boards, her process is intentionally unintentional; rather than executing a predetermined design, she allows herself to discover images in the fluidity of arranging and rearranging the uniquely hand-shaped blocks. The result is a richly textured three-dimensional canvas upon which light and shadow dance, transforming the once-recognizable wood material into entirely abstracted landscapes reminiscent of wrinkled linen or rippling water.
Cha Jong Rye
让她选择的材料，木材，引导她的实践，在木头经她之手成形的过程中，揭示她的内心想法。她像使用粘土或颜料一样使用木材，将数百块精致的木片层层叠加、精心打磨，形成美观的轮廓和形状，似乎没有开始，也没有结束。由此产生的巨大的、独立的或壁挂式的艺术作品具有自然的流动性和能量，象征着
Cha Jong Rye
对我们个人生活和周围世界景观的哲学思考。她的雕塑作品以现在时态呈现，活灵活现，而非完整的现实，她的作品也呼唤着创造、无限和永恒的思想。
Cha Jong Rye lets her chosen material, wood, steer her practice, unveiling her inner thoughts as it takes shape through her hands. Working with it as if it were clay or paint, she layers and meticulously sands hundreds of delicate wood pieces into aesthetic contours and shapes that seemingly have no beginning or end. The resulting monumental, self-standing or wall-mounted, works of art have a natural fluidity and energy that symbolize Cha Jong Rye's philosophy of the landscape of our individual lives and the world around us. Presenting her sculptures in the present tense, as something living and moving, rather than as complete reality, her work also calls on the ideas of creation, infinity and eternity.
在创作过程中，与她自己的主体性同样重要的是她的观众的主体性--观众可以从独特的角度自由地解读她的作品。Jong Rye认为她的作品依赖于观众和她本人之间的互动和交流，并认为当观众以一种独特的方式解读雕塑时，雕塑才是最完整的。
Equally important to her own subjectivity in the creative process is the subjectivity of her audience--the freedom of the viewer to interpret her work from a unique perspective. Jong Rye considers her work to rely on the interaction and communication between viewers and herself, and feels that a sculpture is most complete when a viewer interprets it in a way that is unique from her own understanding.
