A DROP OF DUST
一粒尘埃
DESIGNER: Guang Yu
YEAR: 2015
CLIENT: 香格纳画廊 ShanghART Gallery
It is a “big picture” consisting of more than 1300 “small paintings”: A “brick of book”, measured
14 × 10 × 12.5cm, is expected to create a dumbfounded look on the face.
Compared with a normal book, Ouyang Chun’s album of painting is more of a brick. When printed on a shrunk format, the thickness becomes preponderant and eye-catching, indicating the huge number of works collected. Inside the pages you won’t find any texts, or information about the artist, the works and copyright. They are printed on the five different sides of the “brick”. This is certainly not much of most people’s cognition about a book or the way of reading it. However, especially when you are flipping the pages, the ink drops on the sides of each page fall and form characters. This dynamic process represents the designer’s understanding of the drop of dust.
Compared with a normal book, Ouyang Chun’s album of painting is more of a brick. When printed on a shrunk format, the thickness becomes preponderant and eye-catching, indicating the huge number of works collected. Inside the pages you won’t find any texts, or information about the artist, the works and copyright. They are printed on the five different sides of the “brick”. This is certainly not much of most people’s cognition about a book or the way of reading it. However, especially when you are flipping the pages, the ink drops on the sides of each page fall and form characters. This dynamic process represents the designer’s understanding of the drop of dust.
这是由1300余幅的“小”共构的大：一块儿 14 × 10 × 12.5厘米的“书砖”所带来的视觉错愕。
相比一本书，欧阳春的画册更像是一块砖，当开本变小后，凸显的厚度烘托出的是作品在数量上的众多；内页里你是看不到任何文字的，艺术家名字、作品和版权页等信息都被印在了“砖”的五个侧面，这颠覆了大部分人对于一本书的习惯认知——尤其是在翻看的过程中，当每一页侧面点滴的落墨汇合成册时，下降、堆砌、叠落的动态就是设计师对尘埃的理解方式。
相比一本书，欧阳春的画册更像是一块砖，当开本变小后，凸显的厚度烘托出的是作品在数量上的众多；内页里你是看不到任何文字的，艺术家名字、作品和版权页等信息都被印在了“砖”的五个侧面，这颠覆了大部分人对于一本书的习惯认知——尤其是在翻看的过程中，当每一页侧面点滴的落墨汇合成册时，下降、堆砌、叠落的动态就是设计师对尘埃的理解方式。
