在「 New Work Project | 新作輯」裡面，兩位藝術家各自挑選了對方三件之前的作品，經過漫長的討論與溝通，與對彼此創作的瞭解，各自重新製作了對方的作品，一件件經歷保留、捨棄、再製轉化的「全新舊作」。在一個「計劃」的絕對前提之下，展覽本身便被賦予了穿透作品意涵的指令，直至散射出創作本身的光譜。
New Work Project | Luo, Jr-Shin and Niu, Chun-Chiang
From undertaking stimulation to collision, tumble and restructure, this chain effect certainly is considered as a part of the creative process. Imagine the chaos between two artists disputing the annotation rights for the ‘exhibition title’ in order to give out the best mutual concept to the viewers. By exchanging the projects to one and another, the potential notions including ‘Does the inspiration really exist?’ ‘How an artist performs their tasks?’ ‘Is it important for artists to stylize themselves throughout the process of creating? Are there any limitations?’ ‘What do we care other than arts?’...etc.
Streaming through confrontations to countless argumentations, and turned out with different motions and opinions, the exhibition was named as “New Work Project.”
In the exhibition of “New Work Project,” two artists need to select three former artworks from the other for remodification. After a long discussion and communication in behalf of comprehending the opposite party, every piecemeal went through the faith of either withhold or discard, and then transformed into a ‘New/Old Work.’ The precondition of one ‘project’ is to give the exhibition instruction to penetrate the meaning of the work until it exalted itself. In hence, the viewers will notice 12 workpieces with only 6 titles when they come to the exhibition. These were ‘anew’ creations with different materials and techniques from past time. Perhaps, there might be a deeper message within the works, which carry out by another artist, unfold in front of the viewers? Or is it possible that two artworks could truly become the same piece while the creative concept and subject are coherent to each other?