Mike Nesbit 《MEASURED RESOLVE》

活動介紹

對 Mike Nesbit 而言，繪畫並不侷限於在平面上呈現圖像。擁有建築背景並具備實際工地經驗的他，將混凝土、木材、膠合板、鐵絲網等用於構築結構的材料，連同切割、組裝、澆置、支撐、豎立等建造過程本身，一併融入繪畫的語言中。在他的作品裡，材料並非傳遞圖像的媒介，而是能主動留下自身重量、壓力、重力與時間痕跡的積極元素。因此，作品並非重現預先設定好的畫面，而是在製作過程中產生的物理條件與現場變化中逐漸形成。 這種態度在經過《Pour Tomorrow》（2025）與《Built Like Us》（2026）後變得更加鮮明。在《Pour Tomorrow》中，Nesbit 將施工現場視為展場，同時將展場看作施工現場，把混凝土、模板、工具與勞動置於同一造型體系之中。隨後的《Built Like Us》則將手推車、水桶、工作靴、鐵絲網和混凝土塊等原本為製作而存在的元素，延伸為繪畫與雕塑的表面、支撐體及裝置結構。《MEASURED RESOLVE》並非重新改變這種語言，而是在首爾特定展場中重新組合，更直接地展現作品與場所之間的關係。 《MEASURED RESOLVE》指涉引導此製作方式兩種相互依存的態度。「Measured」比起單純數值的精確度，更接近透過身體去衡量重量、距離、平衡與抵抗的測量。雖然必須丈量尺寸、規劃順序並準備結構，但材料與空間並不總是按計畫運行。「Resolve」則同時意味著貫徹計畫到底，以及在現場決定接受什麼、修改什麼與在何處停止的判斷。對 Nesbit 而言，完成並非到達預定形態的瞬間，而是透過計畫與材料、控制與偶然之間的協商所選擇的暫時狀態。 本次展覽中，梯子與手推車在被呈現為雕塑的同時，也直接參與了繪畫的製作過程。在展場地面以水平方式製作的《Vertical Easement》中，這些物件留下的接觸、壓力與材料流動延展為畫面的痕跡，完成的作品隨後重新被豎立起來成為繪畫。這種從水平到垂直的轉換，撼動了製作與展示、工具與作品之間的界線。此外，在清除地面地磚的過程中，意外露出了更早期的地磚層，藝術家選擇不繼續挖掘至原先計畫的深度，而是在該點停止作業。將發現的條件視為新的判斷基準而非失敗，這一選擇最具體地展現了展覽主題中的「Resolve」。展覽的製作與安裝是與行林綜合建築師事務所（Haenglim Architects & Engineers）合作進行。大型結構物、混凝土與木製框架在實際空間中的實現與調整過程中，製作與安裝不再是作品完成後的技術階段，而是參與作品形成的其中一部分。地面的裸露、鏡面的反射、梯子與手推車的物理存在，以及立於牆邊的繪畫，並非各自獨立的元素，而是隨著觀者移動不斷產生新的關係。最終，《MEASURED RESOLVE》中的繪畫不再只是懸掛在牆上的單一對象，而是成為在工具與雕塑、地面與建築、勞動與合作，以及觀者身體之間持續構築的一個空間事件。 For Mike Nesbit, painting is less a bounded medium than a field of construction. Trained in architecture and shaped by work in building environments, he mobilizes concrete, timber, plywood, and steel mesh alongside the procedures through which structures are made: cutting, bracing, pouring, lifting, positioning. Materials are not neutral supports but agents that register force, gravity, duration, and contact. The image therefore emerges not from a fixed composition but from the contingencies of fabrication and site. This logic has developed across Pour Tomorrow (2025) and Built Like Us (2026). In Pour Tomorrow, the construction site and exhibition space were treated as reciprocal conditions, with formwork, tools, concrete, and labor occupying a single spatial system. Built Like Us pushed these provisional supports further into the work itself: wheelbarrows, buckets, work boots, mesh, and concrete blocks became surface, structure, and sculptural form. MEASURED RESOLVE relocates this vocabulary within UM Gallery, where the relation between object, process, and architecture becomes immediate and site-specific. The title names two interdependent modes of working. “Measured” suggests not numerical exactitude alone, but an embodied calibration of distance, balance, weight, and resistance. Structures are planned and dimensions taken, yet matter and site remain only partially governable. “Resolve” thus signifies both determination and judgment: the capacity to continue, revise, accept, or stop. Completion appears not as the realization of a fixed plan, but as a provisional resolution negotiated between intention and contingency. Here, a ladder and wheelbarrow function simultaneously as sculpture and as instruments in the making of painting. Vertical Easement was produced horizontally on the gallery floor, where contact, pressure, and material movement registered across its surface before the work was raised upright. The shift from horizontal fabrication to vertical display collapses distinctions between tool and artwork, production and exhibition. The same logic governs the floor intervention: when removing the existing tile exposed an earlier layer, Nesbit chose not to continue toward the intended concrete slab. The decision to stop turns discovery into a material form of resolve. The exhibition was realized in collaboration with Haenglim Architects & Engineers. Within a practice dependent on concrete, timber frameworks, tools, and architectural conditions, fabrication and installation do not follow conception; they are constitutive of it. Exposed floor, mirrored surfaces, ladder, wheelbarrow, and paintings operate as a shifting field of relations activated by the viewer’s movement. MEASURED RESOLVE consequently positions painting not as an autonomous object but as a spatial event produced through material, labor, architecture, and bodies in motion.

地點

Gangnam-gu UM畫廊（UM Gallery）

天氣

• 9月2日(三)☁️陰天 · 23° ~ 29° · 降雨機率 30%

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