徐同骏

作品一：乐园
PARADISE
 In this crazy age, work and life caused anxiety in everyone's life, the feeling of chaos and upset everyone experiences, we resist, for comfort, but it's no use, even the familiar place which can give a person the sense of belonging, may also because of our anxiety become a ruins ，such as in our own home that supposed to make us feel comfortable ，sometimes feeling that everything is upside down and abnormal in times of anxiety. This sculpture is an expression of that feeling.I chose to make the sculpture directly on the roof platform of the furniture factory. I think it can help me not to be depressed by the indoor environment, because making sculpture is a very experienced process for me, and it is a great choice to make sculpture directly under the sky

Name: paradise 
Materials: Wood, metal, plastic, paper, paint             
Size: 9 meters wide by 3 meters high 
2021 Oct 20th 

乐园
在这个疯狂的时代，工作和生活造成焦虑出现在在每个人的生活里，混乱和不安的感觉每个人的经历过，我们反抗过，可惜没什么用，甚至熟悉的地方给人的归属感，也可能因为我们的焦虑成为废墟。比如在自己的家里，本应该让我们感到舒适，可是有时感觉一切都在颠倒和产生不正常的焦虑。我们永远都在不安和惶恐中寻找自己的乐园。此雕塑是这种感觉的一种表达。我选择直接在家具厂的屋顶平台上制作这个雕塑。我认为这可以帮助我不被室内环境所压抑，因为做雕塑对我来说是一个非常有经验的过程，而且直接在天空下做雕塑是一个很好的选择。

作品二：最终起源（the Final inception）

Since I began to study "Industrial rationalism", I’ve been constantly reinforcing elements of this style in different aspects of life.In films, illustrations and works of art, I constantly recognize elements of this style in art designs and scenes, which makes me feel connected to this style.
it has never been isolated, which is probably not necessary in modern aesthetic theory. What drives my research is a much more personal interest. In regards to this project, I deliberately weakened the interpretation of the connotation of the artwork, so the meaning expressed is relatively simple,which is about "the falseness of modern information sources"Greater emphasis was attributed to the aesthetic style of the artwork itself. I choose to complete the final product in the form of "found object".

自从我开始研究“工业理性”以来，我一直在生活的不同方面不断观察这种风格的元素。在电影、插图和艺术作品中，我经常在设计和场景中发一些元素，让我感到与这种风格有联系。
它从来没有被人单独研究过，这在现代美学理论中大概是没有必要的。推动我研究的更多是个人兴趣。在这个项目中，我有意淡化了对作品内涵的阐释，所以表达的意义相对简单，是关于“现代信息源的虚假性”，更强调的是作品本身的美学风格。我选择以“现成品”的形式完成最终的产出。