The exhibition attempts to transcend flamboyant and intense artistic expressions, interpreting the creators’ deep affection for art through a soft and poetic approach. This is not a passionate performance but rather a delicate melody, whispering its way into the viewer's consciousness, like being immersed in a gently intoxicating jazz night, walking slowly with the rhythm.
展覽試圖跳脫張狂與強烈的藝術語彙，以柔和且充滿詩意的方式，詮釋創作者對藝術的深刻情懷。這不是激情四溢的演奏，而是如低語般輕盈的樂章，讓人沉浸其中，彷彿置身於夜色微醺的爵士樂吧，隨著旋律緩步前行。
C Square Gallery 在生機盎然的春日，攜手四位台灣女性藝術家，以細膩的筆觸、溫潤的色彩與沉靜的結構，譜寫一首屬於藝術的浪漫樂章。在這裡，藝術不僅是視覺上的饗宴，更是一場關於生命與情感的對話，如同一曲悠揚的爵士樂，在夜色中流轉，勾勒出內心深處的悸動。
In the vibrant spring, C Square Gallery collaborates with four Taiwanese female artists to compose a romantic art symphony through delicate brushstrokes, warm colors, and serene structures. Here, art is a visual feast and a dialogue about life and emotions, like a long-lasting jazz tune that lingers in the evening, tracing the heart’s subtle stirrings.
Maria Barban b. 1996 Taiwan
巴梅莉 b. 1996 台灣
巴梅莉的作品以觀察現代社會中的消費文化與個體與社會之間的權力結構為基礎。她的創作反映了當代人對外部世界的回應，尤其是在一個消費主義高度發展的時代，個體的角色愈發模糊。巴梅莉的“娃娃頭”象徵了這種權力關係的二元性，既是藝術家對自我內心的投射，也暗示每個人都處於一個無所不在的監視與控制之下。她通過錯綜複雜的視覺語言來探討現代人如何在觀看與被觀看的狀態中遊走，並質疑我們如何反應、抵抗或屈服於這樣的結構。其作品中的模糊、迷幻筆觸不僅在視覺上挑戰觀者的感官，還在思想層面上激起對現代社會結構的深刻反思。
Maria Barban explores the power dynamics between the individual and society in contemporary consumer culture. Her work reflects how people respond to the external world, especially in an era where consumerism has deeply shaped our identities. Barban’s “Doll Head” symbolizes the duality of this power structure, both as an artistic projection of the self and a suggestion that everyone is under constant surveillance and control. Through intricate visual language, she delves into how modern individuals navigate between being watched and watching, questioning how we react, resist, or yield to such structures. The ambiguous and psychedelic brushwork in her pieces not only challenges the viewer’s senses visually but also provokes deep reflections on modern social structures.
Chih-Chi Hsu b. 1982 Taiwan
許芝綺 b. 1982 台灣
許芝綺的陶瓷雕塑作品融合了有機、抽象的線條與純白色調，呈現出一種超越物理空間的流動性。她通過不斷的物理操縱與時間的堆疊，將材料轉化為一種精神與內心世界的象徵。她的作品中每一條曲線、每一次變化，都像是對時間流動與空間感知的探索。許芝綺強調細節與視角之間的變化，這些看似微小的調整其實反映了藝術家對世界的深刻理解。她的雕塑，尤其在光影的交織下，給人一種充滿生機與生命力的感覺，彷彿每一個變化都包含了對存在的詮釋與反思。對她來說，雕塑不僅是靜態的物體，而是時間與空間交織下的一種持續運動，觀者與作品之間的每次接觸都能激發不同的情感與思考。
Chih-Chi Hsu merges organic, abstract lines with pure white tones in her ceramic sculptures, presenting a fluidity that transcends physical space. Through constant manipulation and the layering of time, she transforms materials into symbols of spirituality and inner worlds. Each curve and change in her work feels like an exploration of the flow of time and the perception of space. Hsu emphasizes the subtle variations between details and perspectives, reflecting her deep understanding of the world. Especially when interwoven with light and shadow, her sculptures evoke a sense of vitality and life, as though every change is an interpretation and reflection on existence. For her, sculpture is not a static object but a continuous movement, where each interaction between the viewer and the work sparks different emotions and thoughts.
Mia Liu b. 1980 Taiwan
劉文瑄 b. 1980 台灣
劉文瑄的創作探索了心理感受與身體感知之間的互動。她的作品經常反映出日常生活中的細微情感波動，並將這些感受以藝術形式呈現出來。無論是空間裝置、紙雕還是攝影，劉文瑄的作品都與她對當下世界的反思密切相關。她的藝術形式表面上似乎多樣，但每一件作品背後都隱藏著一種深入的詩意——一種生活中的內在聯繫。劉文瑄不僅是在創作物理作品，更是在創建一個可以讓觀者感受情感波動的空間。這些作品之間的聯繫，如同自然界中一切萬物的交織與碰撞，總是蘊含著強烈的情感能量，將觀者引領進入一個富有詩意的境界。
Mia Liu focuses on the interaction between psychological feelings and bodily perception. Her work often reflects subtle emotional shifts in daily life, presenting these feelings through art. Whether in spatial installations, paper sculptures, or photography, Liu’s works are closely tied to her reflections on the present world. Though her artistic forms seem diverse, each piece hides a deep poetic connection—an inner bond in everyday life. Liu is not just creating physical objects; she is constructing a space where viewers can feel emotional shifts. The connections between her works, like the interweaving and collision of everything in nature, carry a strong emotional energy that leads the viewer into a poetic realm.
Peng Yu-Tzu b. 1996 Taiwan
彭禹慈 b. 1996 台灣
彭禹慈的創作圍繞著摺曲與碎形筆觸的堆疊，探索破碎與結構之間的微妙關係。她的繪畫手法以細膩的碎形筆觸積層為特徵，每一筆每一層都似乎蘊含著一種內在的情感波動。彭禹慈將“破碎”視為一種積極的創作方式，認為這種細微的差異能夠喚起觀者對生命、對時間流動的感知。她運用白色作為核心，將畫面中的瑕疵放大，讓每個細節都能直指畫作的本質。這些留白的空間與碎形筆觸的交織創造出一種無形的「氣候」，仿佛某種無形的力量，在觀者面前游移不定。彭禹慈的作品並不遵循傳統的繪畫規範，而是在一個自我存在的空間中游走，將觀者帶入一個既模糊又清晰、既靜止又動態的藝術境界。
Mia Liu focuses on the interaction between psychological feelings and bodily perception. Her work often reflects subtle emotional shifts in daily life, presenting these feelings through art. Whether in spatial installations, paper sculptures, or photography, Liu’s works are closely tied to her reflections on the present world. Though her artistic forms seem diverse, each piece hides a deep poetic connection—an inner bond in everyday life. Liu is not just creating physical objects; she is constructing a space where viewers can feel emotional shifts. The connections between her works, like the interweaving and collision of everything in nature, carry a strong emotional energy that leads the viewer into a poetic realm.
“Fly Me to the Moon” 是一場視覺上的展覽，也是一首關於藝術的情歌，一場關於夢想與自由的浪漫邀約。每位藝術家的作品，都在探討當代人對時間、空間、情感與自我的認知。透過這些作品，觀者能夠進入一個既夢幻又真實的世界，並在其中找到自己內心的共鳴。在這個空間裡，讓我們一同隨著旋律漫步，沉醉於溫柔、詩意中。
“Fly Me to the Moon” is not just a visual exhibition but also a love song about art, a romantic invitation to dreams and freedom. Each artist's work explores contemporary reflections on time, space, emotion, and self-awareness. Through these works, viewers enter a world that is both dreamy and real, finding resonance within themselves. In this space, let us walk along with the melody, immersed in its tenderness and poetry.
Exhibition｜展覽
Fly Me to the Moon
Date｜展期
2025.Mar.15th - May. 18th
Artists｜藝術家
巴梅莉、許芝綺、劉文瑄、彭禹慈
Maria Barban, Chih-Chi Hsu, Mia Liu, Yu-Tzu Peng
Venue｜地點
C Square Gallery 1F