“I choose to use wire because it is able to break down the solid mass of a sculpture without losing the significance of forms and yet, it brings out the strength, solidness and at the same time, fluidity of the sculpture. The sculpture doesn’t require the use of any equipment nor adhesive, but simply using the medium itself, employing a basic but yet very powerful method of weaving, connecting, and strengthening the sculpture to form a piece, strong enough to stand on its own feet, even at a height of more than 4 metres.”

Although a ceramics major, Victor began experimenting with wire in his first year of studies back in 1995. In Searching for an alternative to pencil and paper for his life-drawing class, he found wire. With wire, he could draw a line, feel it, then draw the next line, in relation to the last. This way, he gets feedback which he can’t get through paper and pencil. The wire sketches were an in-between of 2D drawings and 3D forms. To him, space is the paper and wire is the pencil strokes.

The wires are coiled and weaved into the desired form, beginning first with a loose contouring of the main body, followed by additional filling in and densification which gives volume and strength to the skeletal form. When working on the bigger sculpture, Victor first makes maquettes which are sometimes as small as the size of an adult’s finger. Victor’s fingers have become so nimble that even the smallest piece of work transcends life and spirit.

Victor has explored with galvanized steel, copper, brass, and now uses mainly stainless steel, of quality L304 or 316. There is no fear of tarnish nor losing of its qualities over time. Although a cold material, the finishing of stainless steel gives an attractively pleasing touch and look. To Victor, perhaps more than anybody else, sculptures should be touched and felt.

Victor’s sculptures are weaved from just wire, and hence seem colourless. On a ironic note, the colour on the stainless steel is never the same, instead they absorb and reflect the environment, hence the colour and mood changes accordingly. Seeing a same work at different times of the day and at different locations creates different dimensions to his between-2and-3D work. The shadow casts from the sculpture onto a wall creates yet another dimension to the interesting dynamics of the works. It begs the viewers now to ask, do we look at the 3D work or the 2D drawings on the wall?

即使在高度超过4米

“我选择使用金属丝，因为它能够把雕塑简单化，同时又不失形式的意义，展现出雕塑的力量、坚固性和流动性。雕塑不需要使用任何设备或粘合剂，只需媒介本身，采用基本但非常有力的方法来编织、连接和加固雕塑以形成一件作品，即使在高度超过4米处，强度仍足以使雕塑独立站立。”

尽管陈为达主修陶瓷，但他在 1995 年学习的第一年就开始尝试使用金属丝。他为写生课寻找能够代替铅笔和纸的媒材，发现了金属丝。通过电线，他可以勾勒出一条线，感受它，然后创造下一条线，与上一条线相关。这样，他就可以获得通过纸笔无法获得的成果。线草图介于平面绘图和立体形式之间。对他来说，空间是纸，电线是铅笔笔触。

将金属丝盘绕并编织成所需的形状，首先从主体的松散轮廓开始，然后进行额外的填充和致密化，从而为骨骼形状提供体积和强度。在制作更大的雕塑时，维克多首先制作模型，有时小到成人手指的大小。陈为达的手指变得如此灵活，即使是最小的作品也超越了生活和精神。

陈为达探索了镀锌钢、铜、黄铜，现在主要使用不锈钢，质量为 L304 或 316。不用担心随着时间的推移会失去光泽或失去其品质。虽然是冷材料，但不锈钢的表面处理却具有令人愉悦的触感和外观。对于陈为达来说，也许比任何人都更应该触摸和感受雕塑。

陈为达的雕塑仅由金属丝编织而成，因此看起来是无色的。具有讽刺意味的是，不锈钢上的颜色从来都不是一样的，相反，它们吸收并反射环境，因此颜色和情绪也会相应变化。在一天中的不同时间和不同地点观看同一作品，会为他的平面和立体作品创造出不同的维度。雕塑投射到墙上的阴影为作品的有趣动态创造了另一个维度。现在观众不禁要问，我们看的是立体作品还是墙上的平面图画？