質物霽畫
BOTANIPLAN VON LEE CHI
「最重要的精神是，我們一直在討論人、環境、植物和空間，所有元素在這個時間裡面，衍伸出對於身邊其他周遭變化的影響。我們的作品其實不單單只是視覺形式的操作，更重要的是，我們如何去利用這些物質，組裝、拆解後建構出新的畫面。」
“ The most important part is, that we discuss about people, the environment, plants and space. All these factors in one time and space allow us to discover its impact on its surroundings. Our work isn’t simply for visual aesthetic, but more importantly, it is how we use these materials, deconstruct and reconstruct to create something new”.
因自由而迸發的生命力
「從生活到事業、從建築到植物藝術，這一路，李霽總是在摸索中找到感動，從過程中發掘各種可能性，他形容那些經過是一種自由的生命力的迸發。我想起他愛的藤蔓，沒有人預期它會長成什麼樣子，哪一天偶然發現的時候，它或許就成了一面生氣盎然的牆。」
“From life to work, from architecture to plant based artworks, this journey has allowed a lot of exploration and sentiment. Through this path, Lee Chi has constantly searched for different possibilities, he describes it as the freedom in the exploration of life. This reminds me of his beloved vines, where no one had any idea or expectations of how it would grow, but one day, when you really look again, you would have realized that it has covered the whole wall.”
“別懷疑，「我的本名就叫李霽，霽是雨過天晴的意思，我哥叫李霖，天降甘霖的霖，都有一個雨字頭，卻是自然中完全不同的水循環階段。」或許從命名的那一刻起，李霽就注定了用自然素材說故事的命運。”
“Don’t be doubtful, my given name is “Lee Chi”. “Chi” in Chinese stands for “the sun after the rain”, where as my brother’s name is “Lee Lin”. “Lin” means “the rain after a drought”. Both of our names have “Yu” which stands for rain, however our names hold very different parts of the natural water cycle. It was as if Lee Chi was meant to create art with materials from nature at the moment he was given his name.”
表達植物的悲傷面
“聊到最喜歡的作品，李霽立刻就憶起2015年為高雄駁二藝術特區所作的《the PAIN》。當時整個團隊很年輕、經費有限、卻大膽地孤注一擲、花光所有錢和資源，將『蠟』與『植物』結合，完成了充滿張力的作品，深刻低討論『痛』這個人人都體會過、卻難以言喻的滋味。一般人對花卉植栽的印象是浪漫歡快的，李霽卻選擇以悲傷的方式來詮釋：『植物有很多不同的情緒，我希望可以呈現一種別人沒辦法看到的面貌。』
不過，悲傷畢竟只是創作養分之一，背後支撐他的信念還是充滿『愛』，李霽認為愛無所不在，存在於身邊每一個人事物上，而他選擇謙卑聆聽不同想法和價值觀，並用藝術家敏銳、精準且深入的感官，為情緒，找到是個的說話空間，既使只是一個小小的切縫也好，靜靜等待懂的人、來品味。”
Speaking of his favorite work, Lee Chi immediately recalled a piece he had made in 2015 called “the PAIN”. At the time, the whole team was very young, with limited funds, they took a leap of faith, expending all their funds and resources to create the piece. The combination of wax and plants created a piece full of tension, that explored the idea of “pain”. Pain is something that everyone experiences, yet may be hard to put to words at times. Many people's’ impression of plants are romantic and joyous, however, Lee Chi chose to depict these plants to express sorrow. “Plants have different emotions, I hope to express them in ways people can’t recognize”.
However, pain is only a small part of what inspires Lee Chi to create work. Where the core of what supports his work is “Love”, believing that love is everywhere and around everyone. Humbling himself to allow voices of others to be heard, using his acute sensibilities as an artist, Lee Chi has found a space for emotions to be able to be heard. Even if the space is narrow, it awaits audiences to slowly experience it.
未來的時間定義，從起初到現今，一直都是人類與生俱來就要開始面對的真相。從既有的規則中，找尋突破的可能範疇，藉由許多能夠符合社會機制下的認可，而獲得的機會裡，以共同性為前提去揣摩具有前衛意識的未來進行公式，連結品牌、設計、文化間黏著的收邊，雕塑身體足以支撐出的結論。
The definition of Future, the none-stop seeking answer for human beings, has been accessed by the opportunity of a common avant-garde formula linking to brand, design, and culture, and supported the conclusion of body-sculpting.
質物VS植物 複合異材質裝置藝術
作品當中採用大量複合媒材質拼接，「材質可以讓人勾起使用的記憶，材料有太多可能與潛力」，
<Fling- 日常爆發> 為塑造辦公室空間與朝九晚五生活，採用鋁料、矽酸鈣板、日光燈管、植物、紙張以及皮件等，建構材質符號與既定印象的連結、籍以表達上班族潛在且浮動的內在思緒。「我不是專業的植物學家，但植物對我來說是最真實的存在，是世界的肺，轉換二氧化碳為空氣，我喜歡這種轉換的感覺，根莖的氣味是從泥土裡面汲取養分，這部分讓我十分著迷」，現代城市可以解釋為資本主義與科技的產物，幾乎脫離環視自然的生存運作模式，從至味根源擷取養分延續生命的面向出發，從最初的質地激發出可能性與未來畫面，因此創作最初必須了解所有的始與末、需求與目的。與愛馬仕合作作品 <FUTURE MUSEuM - 未來博物館> ,以環保為主題探討全球暖化與極端氣候問題，透過未來主義呈現13中瀕危絕種的物種與自然環境，團隊運用建築構面為基礎，加上國外植物永生技術和細膩工藝美感，闡述也許兩百年以後只能從博物館看到絕跡的地景地貌，籍此喚醒大眾對於環境議題的正視。
This piece was created using a lot of mixed media materials. “Materials and textures have the ability to allow us to recall certain things, or memories, this is why materials have so much potential”. Using aluminum, calcium silicate boards, uv light bulbs, plants, papers and leather pieces to create the environment of an office and an allusion to the 9-5 working time in <Fling-The Daily Explosion> . The structures and symbolism of the piece resonates with the emotions of workers that have to work from 9 to 5 everyday.
“I am no professional botanical scientist, however, to me, plants hold a firm reality. They are ingrained in our lives. They are the lungs of our earth, they hold the ability to transform CO2 into oxygen, where this transformation fascinates me”. The modern city can be understood as a capitalist ideal along with the advancements of technology, straining way from nature and its original way of life. From the way plants receive nutrients from their roots, to expand their lives in an upward growth, from the most inherit ideals that have informed my artistic practice. Where it is important to understand the beginnings and ends, the demand and reason for its existence. The collaboration with Hermes <Future Museum> emphasizes the importance of our environment, and our efforts to promote preservations and conservation, and shine light on issues like Global warming and extreme climate changes. Using a futuristic mindset, thirteen near extinct organisms and natural environments were explored and displayed as an art installation. These works illustrate our future, were in two hundred years, the only way to see our natural environment is through museums, no longer tangible in our daily lives. These works are meant to raise awareness for our environment.
「質物霽畫對環境議題感興趣，或許沒辦法以生物科學的方式呈現，但是我們可以用美學來表達，並且去回應、討論我們所面臨的生態問題：《未來博物館 Future Museum》讓我們做到環境關懷，也是我們這階段的里程碑。」李霽分享質物霽畫製作過程中，曾遇到粉絲表示這些作品好像只是把環保掛在嘴邊，二非實際關心環境。符合感受環境的狀態，促使質物霽畫訂出了今年的主軸——環境閱讀，從各樣的美學及直覺去探索身邊環境，透過可行的模式與態度實踐環保，並且秉持亙古不變的道理——源於自然。
Botaniplan Von Lee Chi’s interest in environmental issues may not be explained through scientific formulas and research, however, we have continuously used art as a form of expression to talk about our environment. <Future Museum> gave us a platform to raise awareness for environmental causes, which was also a milestone for us. Lee Chi shared that some fans had posed inquiry about whether our attention to environmental issues was justs a farce, lacking genuine care in what we were doing, which was what lead to a goal this year for Botaniplan Von Lee Chi, which was to read and educate ourselves widely about the environment, through different angles such as art and instinct for our surroundings. Taking feasible and reasonable steps for raising awareness of our environment, we resort back to nature as our unwavering source of inspiration.
「我不是不認同花藝設計這個領域，而是我一直在做的事，其實是透過討論環境、討論藝術本質的方法來看待所謂的植物創作。」
“I don’t disapprove of floral design, it has been something I have been doing myself. However, plant based design should be viewed as art, and be a part of discussions and discoveries of our environment, and art at its purest forms allows".
「我們是一個不穩定的因子，永遠都在找尋未來的平衡，這代表『革命』。我們並沒有想要安逸地做一樣的事，這就是質物霽畫最重要的精神。」
“ We are unstable in our nature, forever trying to reach for balance in our future, this is the ideals of revolution. We aren’t striving for comfort in doing one thing, this is the nature of Botaniplan Von Lee Chi”.
"從建築設計轉而投入植物創作領域的李霽，思考建築或空間已不再是從過往熟悉的方式出發，試圖加入植物語彙並讓兩者共存，這是他詮釋初家的另一種信念。“
“Formerly an architect, and now a plant based artist, Lee Chi’s way of thinking about architecture and space strays from the past, the comfortable and the known. Continuously trying to step out of a comfort zone, with the addition of plants, to create its own language in the way that he makes his home, and gives a new meaning.”
