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孙博轩
Bo Sun
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孙博轩是居住于伦敦的中国艺术家 2022 年毕业于中央圣马丁学院纯艺 3D 系.他的作品体现了在后人文学时期解剖学和工业制造的融合。他用铝、有机玻璃和金属零件装置等工业材料重建生物形态。通过融合不相容的材料，Bo 重新评估了骨骼结构和工业制造之间的传统结构。Bo 的作品在于思考如何通过拟人化的手段将非生命体赋予一个假想的有机骨骼框架使人类思考人与动物和物品的潜在共情关系和人与人的非人化关系。
Boxuan Sun (Bo Sun) London based Chinese artist. Graduated from Central Saint Martin BA fine art in 2022.Bo Sun's work bespeaks the convergence of anatomy and mechanics in the post-humanist era. He reconstructs biomorphic forms from industrial materials, such as aluminium,perspex and metal fixtures. Through a fusion of incompatible materials, Bo re-evaluates the conventional articulation between bone structures and fabricated objects, with an emphasis on insect exoskeletons and patterns within industrial design of an increasingly digitalised and globalised world.
2022 April, Group Show "Eyes, Dusk, Phantasmagoria", RuptureXIBIT, London/ 2022 Feburary Group Show "Meltdown", Ridley Road Project Space, London/ 2021 December Group Show “Port of Call”, Changing Room Gallery, London/ 2021 December Online exhbition " 我非我 " hosted by Top Bidder/ 2021 October Dual artist exhibition “Flaming Moth”, Changing Room Gallery, London/ 2021 August Group Show "Do I Belong T(here)", Harlesden High School, London/ 2021 June Group Show “Walls All Around”, Fusion Design Centre, Nottingham/ 2021 May Group Show “Object (lost), Treasure (Found)”,Undergroundflower offsite space, London/ 2021 May Site Specific Dual Artists Show “Caught in Cave” with Alfie Rouy , 213 Kupfer Project, London/ 2019 Nov Group show “Melon Cauli” at Asylum Chapel, London.
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Glasswing铝合金、透镜、金属固定装置 Aluminium, Perspex, Metal fixturesThorax
铝合金、透镜、金属固定装置、硅胶、油漆 Aluminium, Perspex, Metal fixtures, Silicone, Paint
65*36.5*8cm
2022
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Hindwing
铝合金、透镜、金属固定装置、硅胶、油漆 Aluminium, Perspex, Metal fixtures, Silicone, Paint
66*47*7cm
2022
Q：作品材料的选择似乎钟情于金属，亚克力板和硅胶，你是怎么理解这些材料并作出选择的。A：金属，亚克力板和硅胶都是比较工业化的材料，我很喜欢他们之间的联系，尤其是材料携带的内在含义。我把金属看待成骨骼，把亚克力板看待成肌肉，把硅胶看做是软骨；铝制金属有一定的硬度但是也有柔韧性，同理于亚克力板，它作为材料硬度低一些但是也很强壮，硅胶相当于韧带，作为连接部分，更加灵活和有机感。将我们的人体以工业材料来体现的话，我觉得这些材料是最妥当的隐喻。
Q: The choice of material for the piece seems to favor metal, acrylic, and silicone. How do you interpret these materials, and how do you make your choice?A: Metal, acrylic, and silicone are all relatively industrial materials, and I like their association, especially the internal implications they carry. I see metal as bone, acrylic panels as muscle, and silicone as cartilage; Aluminum metal has a certain degree of rigidity but flexibility, similarly to acrylic panels, which are less stiff as a material but still firm. Silicone is equivalent to ligaments, serving as the joint part, a more flexible and organic sense. I think these materials are the most appropriate metaphor if industrial materials manifesting our human body.![]()
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DetailsQ: 你作品中的金属材质上雕刻了很多几何纹样，那也是对于生物结构的隐喻吗？还是有别的用意？A: 金属上的纹样的确可以说是一种仿生暗示，主要来源于简化的蝴蝶纹样。我觉得金属本身的性质太过强硬，这些类似纺织的雕纹会中和一些这种金属感。与此同时，我的作品有很强的层次感，所以其实这种纹样相当于附着在金属上的另一层材料。Q: You have a lot of geometric patterns carved into the metal in your work. Is that also a metaphor for the biological structure? Or is there something more to it?A: The pattern on the metal is indeed a biomimetic allusion, mainly from the simplified butterfly pattern. I think the metal itself is too tough, and these textile-like carvings help to neutralize the metal. At the same time, my work has a strong sense of layering, so the patterns are equivalent to another layer of material attached to the metal.![]()
铝合金、透镜、金属固定装置 Aluminum, Perspex, Metal fixtures132cm*30cm* 6cm（壁挂件）(Wall Mounted Piece)
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Details
Q: 你的作品中那些“有机”的结构，是参照现实中某些具体的生物或者器官来制作的吗？
A: 是的，大多数的作品都参考了蝴蝶翅膀，人体骨骼，以及一部分工业设计。我对蝴蝶翅膀的“骨骼”与透明的视觉效果很感兴趣，同时发现这些效果在一些工业设计中也有所体现。
Q: Are your work's "organic" structures inspired by specific real-life creatures or organs?
A: Most work is based on butterfly wings, human bones, and industrial designs. I was interested in the "skeletal" and transparent visual effects of the butterfly wings and found that these effects were also reflected in some industrial designs.铝合金、透镜、金属固定装置 Aluminum, Perspex, Metal fixtures![]()
铝合金、透镜、金属固定装置 Aluminum, Perspex, Metal fixtures![]()
Drawing III
铝板蚀刻 Etching on Aluminium
尺寸可变 Dimensions variable
2021
Q: 为什么会选择生物性的结构作为母题呢？如何对生物学产生兴趣的？A: 整体而言，我的作品在研究生物结构和工业设计的交汇处：比如我们的盆骨在视觉上很像蝴蝶的翅膀一样。再比如地铁，有的边边角角都是圆滑的，材料之间都有微妙的衔接和过度，就像是它们有自己的身体结构一样，我很喜欢这种视觉共同点。Q: Why did you choose the biological structure as the central theme? How did you become interested in biology?A: Generally speaking, my work investigates the intersection of biological structures and industrial design. For example, our pelvis visually resembles a butterfly's wings, and then the subway, for example, has rounded edges and corners, with subtle articulation and overlap between materials, as if they have their own body structures of their own, and I like this visual coincidence.
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铝合金、透镜、金属固定装置 Aluminum, Perspex, Metal fixtures![]()
铝合金、透镜、金属固定装置Aluminium, Perspex, Metal fixturesQ: 你的作品似乎往往都是静态、不可运动的，这和“生物”的概念具有某种反差，你是如何看待这种关系？
A: 对于作品，在展示的时候我考虑更多的是一种类似于博物馆式的陈列方法，可能因为我比较喜欢“可运动的暗示”这种想法。人们看到作品后会希望看到作品动起来是什么样子，就像是自然生物博物馆中的蝴蝶一样，被定在板子上，用玻璃保护住。你知道这些翅膀以前是会煽动的，但它现在以一种静态的方式陈列出来。一些作品的设计和细节完全暗指了这种潜在的位移可能，但也许我希望这种可运动性只停留在人们的脑海中。
Q: It seems that your works are often static and immobile, which is somehow contradictory to the concept of "creature" how do you see this relationship?
A: For the works, I was thinking more of a museum-like display approach when showing them, probably because I like the idea of "hints of movement," and people would like to see what the works look like when they are moving, just like the butterflies in the Museum of Natural Biology, fixed on a plate and protected by glass. You know these wings used to flutter, but now they are displayed stationary. The design and details of some pieces completely allude to this potential possibility of displacement; however, perhaps I would like to keep this type of movability only in people's minds.
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铝合金、透镜、金属固定装置 Aluminium, Perspex, Met- al fixtures
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铝合金、透镜、金属固定装置 AluminiumPerspex, Metal fixtures
Q: 仿生学、义体、人机结合作为「赛博朋克」美学的重要组成部分，你如何看待这种已经成为了某种时尚的意识形态？你认为这种思潮会对艺术产生什么样的潜在影响？
A: 我觉得这种思潮是不可避免的吧，毕竟我们生活在一个不断变化的生态系统里面。再加上日益恶化的大环境，我们对于人，动物，科技之间的探讨与反思更加火热。赛博朋克美学相当于一个假想，来考验这个以人类为中心的生态系统。如果我们注入一些人类的特征于非人类事物中，我们会怎么想？是能更加感同身受还是更加厌恶？而这种美学的界限又是什么？我经常以这种想法来解释我的作品。就像《圣经》中阐释的片段：“上帝以他的形态创造了我们”，这种赛博朋克美学相当于我们以人类的形态创作出非人类的事物，加以人体特征于动物，物品等等。虽然这种表现手法是典型的人类中心主义的产物，但是它或许是最贴切的，让我们和非人类生命体和无生命体产生关联的象征性手法。
Q: How do you see bionics, prosthetics, and human-machine integration as essential components of the 'cyberpunk' aesthetic, an ideology that has become fashionable? What potential impact do you think this trend will have on art?
A: I think this trend is inevitable; after all, we live in a constantly evolving ecosystem. This, combined with the deteriorating environment, has led to a more heated discussion and reflection on the relationship between humans, animals, and technology. The cyberpunk aesthetic is an imaginary experiment to test this anthropocentric ecosystem. How would we feel if we injected some human traits into something non-human? Would we be able to empathize more or detest more? Moreover, what are the boundaries of this aesthetic? I often interpret my work with this kind of thinking. Like the Bible's quote, "God created us in his form," this cyberpunk aesthetic is the same as us creating non-human things in human form, adding human features to animals, objects, etc. Although this representation is a typical product of anthropocentrism, it is perhaps the most pertinent symbolic device that allows us to relate to non-human life forms and lifeless objects.