楊子逸

Landscape painting remains a relevant medium for expressing emotions. Yang Tzu-Yi, a rising star in calligraphy and painting, is known for his portfolio which includes prestigious exhibitions such as "National Art Exhibition" and "Taipei Art Freedom Day." His strength lies in creating a dialogue with the multi-layered landscape on paper, seeking to uncover the essence of truth and provoke contemplation in viewers.

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Yang Tzu-Yi argues our visual perception of reality is misleading. His artwork, "Seeing Mountains," blurs reality and imagination by superimposing inkblocks to create landscapes. This art goes beyond traditional paintings and reflects Yang's contemplation of modern technology.

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Yang Tzu-Yi redefines landscape, freeing himself from established thought patterns. Traditional Palace Museum art keeps up 

with technology, blurring reality and simulation. Yang's visually dynamic ink and paper artworks capture the ever-shifting "constancy" of existence. Each block represents a memory fragment in life's pursuit. Yang invests emotions in the process, exploring spiritual and philosophical dimensions of calligraphy and painting.

古人以山水畫寄託情志,這樣的創作精神至今仍不曾抹滅,畫家甚至揉合了更多 樣的繪畫技法、不同的思考脈絡,在紙墨中揮灑出新意境。畢業於國立臺灣藝術大學的新世代書畫藝術家楊子逸,曾入選「全國美展」,也參與過「台北藝術自由日」等展覽,擅長在層層疊疊的山水塊面與自己對話,向世人叩問「真」的涵意,引 發觀者多元的思考。 

雙眼所見即為真實?楊子逸引用了布西亞(Jean Baudrillard)的論述:「所有的事 物以及真實已經被『擬仿物』所取代,形成了被擬像構成並超越真實的時代。」他 在其作品《見山》初次以失焦與重疊的效果畫山水,反覆疊加單一墨色塊面,於透 明感中層層堆遞彷彿是山又不是山的景象,如幻覺一般,這幅作品不單單是山水 畫,而是楊子逸對當代科技反思所設下的命題。 

「我嘗試用這種手法重新經營山水。試圖喚起在看待事物時的思考,使自己擺脫 固有的思維模式」楊子逸表示。同是山水畫,如今展示於故宮的古代名畫之景大 多物換星移,而在影像科技突破飛速的時代,虛擬實境的視覺經驗也把真實與模 擬的界線模糊。楊子逸的畫作,紙墨裡的視覺性動態層疊,表現出萬物不斷變動 的「恆常性」,每一個塊面都是生活之中追求本質的回憶切片,他寄情於此,同時 也探求書畫的精神性、哲思。