Woven Line Freed – Architectures of Light (from a 21st Century Apocalypse)

Research Background: “Woven Line Freed – Architectures of Light (from a 21st Century Apocalypse”) investigates the expansion of the woven line beyond its tapestry containment into architectural and textile space. Presented within Floating Lines (2025), the work re-situates previously unseen fragments and samples as autonomous research artefacts, testing how the woven line, released from the structure of warp and weft, can exist as a suspended field of colour and illumination. Engaging the figure of John, reimagined from El Greco’s Apostle John of Revelation, and the Star tapestry sample, the work examines intersections of light, edge, theology, and line in tapestry form. Research Question: How can the released woven line and luminous form articulate a metaphysical balance between order and release, matter and spirit, within contemporary visual art and theology? Research Significance: By releasing the line into spatial and luminous suspension, The Woven Line Freed reframes the textile surface and edge as an active threshold between the visible and the unseen. It establishes an architecture of light as both poetic and analytical, advancing discourse on textile, theology, and abstraction. Curatorial validation within Floating Lines evidences the research’s significance, placing it within national dialogues on tapestry and the continuing evolution of the line through time. Research Contribution: The research develops a new vocabulary in which thread, light, figuration, and geometry act as agents of radiant translation between material and metaphysical registers. Drawing on Michelle P. Brown’s articulation of illumination as revelation (Understanding Illuminated Manuscripts, Getty 1994), the work reinterprets medieval conceptions of sacred light through a contemporary textile idiom. Each unbound strand becomes a material line of illumination, oscillating between drawing and architectonics. This methodology contributes new knowledge to how material and theological systems and narratives converge through textile and spatial practice.

研究背景：《“解放的织线——光之架构（源自21世纪启示）”》（Woven Line Freed – Architectures of Light (from a 21st Century Apocalypse)）探讨织线如何突破挂毯的载体局限，拓展至建筑与纺织空间之中。该作品亮相于2025年的展览《浮线（Floating Lines）》，将此前未公开的残片与样本重新定位为独立的研究实物，以此探究脱离经纱与纬纱结构的织线，如何以悬浮的色彩与光影场域的形式存在。作品以重新演绎埃尔·格列柯《启示录使徒约翰》中的约翰形象，以及《星》挂毯样本为切入点，探讨挂毯形式中光影、边界、神学与织线的交汇之处。
研究问题：在当代视觉艺术与神学语境中，解放的织线与光影形态应如何构建秩序与自由、物质与精神间的形而上平衡？
研究意义：通过将织线置于空间与光影的悬浮状态，《解放的织线》将纺织表面与边界重新定义为可见与不可见之间的活跃阈限。该作品构建了兼具诗意与思辨性的光影架构，推动了纺织、神学与抽象艺术领域的学术对话。《浮线》策展环节对本研究的认可，印证了其学术价值，并将其纳入关于挂毯艺术的全国性对话，以及织线随时间演进的研究脉络之中。
研究贡献：本研究构建了一套全新的话语体系，其中织线、光影、形象与几何作为媒介，在物质与形而上的层面间实现辐射式的转译。本研究借鉴米歇尔·P·布朗在《解读彩绘手抄本》（盖蒂出版社，1994年）中提出的“光影即启示”的观点，以当代纺织语汇重新诠释中世纪的神圣光影观念。每一根脱离束缚的丝线都成为承载光影的物质织线，在绘画性与建筑性之间形成张力。该研究方法为理解物质与神学体系、叙事如何通过纺织与空间实践实现融合提供了全新的认知维度。