《Augmented Reality》延續了自 2006 年起定義《Cement Eclipses》的微型尺度：同樣以那個典型角色——一個穿著灰色西裝、中年且禿頭的男人——化作微小的具象雕塑，縮小到迫使觀者必須彎下腰、近距離凝視那些原本會被忽略的細微之處。《Cement Eclipses》利用公共空間本身來扭曲尺度，將這些微小的人物置於縫隙、角落和被遺忘的城市表面；而《Augmented Reality》則將這種親密感移植到畫廊之中，將日常與家居物件——沙丁魚罐頭、鳥籠、口罩、生鏽的油漆罐——作為禁錮與暴露的新建築。
作品標題勾勒出的是一條心理弧線而非敘事線。《Dreamer》睡在金錢之上，茫然或認命。《Isolated》與《Augmented Reality》的籠子系列作品展示了同一個被困在方寸之中的男人，被手機分散了注意力或迷失在虛擬實境頭戴裝置裡——籠子不再只是一個隱喻，而是媒介化生活的字面建築。《Follower》凹陷的面孔將目光投回給觀者——這是一種顛倒，被觀察的物件同時也在觀察著你。《Tar Pit》緩緩沉入一個與他自身無法區分的物質中。《Influencer》、《Eve》與《Adam》將日常或工業物件——口罩、拾得的鐵罐——推向更接近搖籃、陷阱或包裝的境界：人類被簡化為產品，起源神話被簡化為品牌。
對所有這些作品而言，尺度並非形式上的選擇，而是觀念上的選擇。縮小人物突顯了他的脆弱，並將他周圍的物件轉化為超大型的控制結構——無須明言，便呼應了鮑德里亞（Baudrillard）關於現實已被其微型、量產複製品悄然取代的洞見。正如在《Cement Eclipses》中一樣，幽默與諷刺流於表面，卻從未遠離不安——這種喜劇與絕望之間的張力自計畫之初便貫穿始終，如今不再於街頭上演，而是搬進了畫廊的框景之中。
–Isaac Cordal
September 2nd, 2026 ——— Isaac Cordal Solo Exhibition: Augmented Reality Spanish Artist：Isaac Cordal
Augmented Reality continues the miniature scale that has defined Cement Eclipses since 2006: small figurative sculptures of the same archetypal character — a middle-aged, bald man in a grey suit — reduced to a size that forces the viewer to lean in, to look closely at something that would otherwise be overlooked. Where Cement Eclipses uses public space itself to distort scale, placing these tiny figures in cracks, corners, and forgotten urban surfaces, Augmented Reality transplants that intimacy into the gallery, using domestic and everyday objects — a sardine can, a birdcage, a face mask, a rusted oil tin — as the new architecture of confinement and exposure.
The titles trace a psychological arc rather than a narrative. Dreamer sleep on top of money, oblivious or resigned. Isolated and the Augmented Reality cage pieces show the same man boxed in, distracted by a phone or lost inside a VR headset — the cage no longer a metaphor but the literal architecture of a mediated life. The concave face of Follower returns the gaze to the spectator — an inversion in which the object being observed observes you back. Tar Pit sinks slowly into a substance indistinguishable from himself. Influencer, Eve, and Adam push the domestic or industrial object — a face mask, a found tin — toward something closer to a cradle, a trap, or packaging: the human reduced to product, origin myth reduced to branding.
Across all of them, scale is not a formal choice but a conceptual one. Shrinking the figure heightens his vulnerability and turns the objects around him into oversized structures of control — echoing, without needing to name it outright, Baudrillard's sense that the real has been quietly replaced by its miniature, mass-produced copy. As in Cement Eclipses, humor and irony sit close to the surface, but never far from unease — the same tension between comedy and despair that has run through the project since its beginnings, now staged not on the street but inside the frame of the gallery.
–Isaac Cordal
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展覽資訊 | About the Exhibition:
日期 | Exhibition Date: 2026.09.02 (Wed) - 2026.09.29 (Tue)
展覽時間 | Opening Hours: 上午11時 — 下午7時（逢星期日，一及公眾假期休息） Tuesday - Saturday 11:00 - 19:00 (Sunday, Monday & Public Holiday Closed)
地點 | Venue: 香港中環荷李活道10號大館3座1樓103室 Touch Gallery, Shop 103, 1/F, Block 3 Barrack Block, Tai Kwun, 10 Hollywood Road, Central, Hong Kong
展覽策劃 | Exhibition Planning: Touch Ceramics
TOUCH Ceramics and Gallery
Tel : +852 25629000 / +852 51379943 (Whatsapp)
Web : https://www.touchceramics.com/
Ig : touch_galleryhk / touchceramicshk
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