C Square Gallery 榮幸呈現雙人展 “Not Your Average Paintings”，邀請來自荷蘭的藝術家埃爾科‧漢格森（Eelco Hilgersom, 1979) 及南韓藝術家金潣攢（Minchan Kim, 1965），透過具高度實驗性與感官張力的創作，重新定義「繪畫」在當代語境下的可能樣貌。兩位以非傳統媒材與手法顛覆「繪畫」既定印象的當代表現者。此次展覽聚焦於「繪畫作為裝置」與「筆觸作為雕塑」的雙重轉譯，揭示了藝術家們如何以跨媒材的方式，重構平面與立體的關係，並引領觀者進入一場介於視覺、材質與空間之間的對話。這不是一場讓人靜靜站在白牆前點頭稱是的展覽，這是一場讓觀者身體先一步被色彩攻陷的現場。
C Square Gallery is pleased to present Not Your Average Paintings, a two-person exhibition featuring Dutch artist Eelco Hilgersom (b. 1979) and South Korean artist Minchan Kim (b. 1965). Through their highly experimental and sensorially charged practices, both artists reimagine the potential forms and meanings of “painting” within a contemporary context. By embracing non-traditional materials and techniques, they challenge conventional notions of what painting is—and what it can be. This exhibition focuses on the dual transformation of painting as installation and brushstroke as sculpture, highlighting how each artist reconfigures the relationship between two-dimensional and three-dimensional forms. The result is not a show for passive observation in front of white walls—it is a space where color invades the viewer’s body before thought can even begin.
繪畫在藝術史中，長期作為表達、記錄與抽象思維的載體。無論是壁畫、帆布、還是數位繪圖，皆默默預設著「平面性」作為基礎。然而，Hilgersom 與 Kim 皆在各自的創作脈絡中，選擇跳脫此框架，不再將繪畫視為二維呈現，而是積極將其「物質化」、「裝置化」、「場域化」——繪畫，不再僅是視覺經驗，更是一種空間干預的行動。
Historically, painting has long served as a medium for expression, documentation, and abstraction. From murals to canvases to digital illustrations, the format typically assumes a two-dimensional foundation. However, both Hilgersom and Kim depart from this framework, pushing painting toward materiality, installation, and site-specificity. In their work, painting is no longer solely a visual experience—it becomes an act of spatial intervention.
Eelco Hilgersom
b. 1979 Dutch
埃爾科‧漢格森長期觀察自然界的微觀生物結構，並以抽象有機的手法轉化為藝術語彙。他最廣為人知的 Habitat 系列，將微生物、昆蟲外殼與魚鱗等有機體作為靈感來源，以切割後的偏光鏡片（類似太陽眼鏡的鏡面）如鱗片般排列，附著於生物形體的結構之上，營造出反光、閃爍、甚至近乎「活體」的視覺效果。
Eelco Hilgersom draws inspiration from microscopic structures in the natural world, transforming organic forms into abstract visual language. His well-known Habitat series is informed by microorganisms, insect carapaces, and fish scales. These references materialize through intricately arranged polarizing lenses—similar to sunglass lenses—cut and layered like iridescent scales onto sculptural forms. The resulting works shimmer, reflect, and seem almost alive.
Exhibited Artwork
這些鏡片，不只是材料選擇，更是一種觀看的干擾裝置。觀者於近距離觀看時，反射出自身影像，使觀看者無法「全然觀看」，反而陷入一種觀看與被觀看的自我循環中。Hilgersom 的作品挑戰我們對於自然物種的視覺慣性，將「視覺上的不安感」視為一種藝術張力，亦反映當代社會中科技與自然、人工與生物之間的不穩平衡。
高彩度的視覺語言，也同樣來自自然界生物的自我防衛機制——如毒蛙、熱帶魚、甲蟲所展現的警戒色彩策略。Hilgersom 將這些色彩語彙轉化為視覺美學，使其作品在色彩張力與材質構成中，達到迷人卻陌異的共振。
These mirrored lenses function not just as a material choice but as perceptual disruptors. Viewed up close, the reflective surfaces catch and return the viewer’s image, interrupting full visual access and triggering a recursive loop of watching and being watched. Hilgersom’s work subverts our visual expectations of natural forms and turns optical unease into a source of tension, one that echoes the precarious balance between technology and nature, artificiality and biology in contemporary life.
His high-saturation palette is also rooted in the defense mechanisms of nature, such as the aposematic coloration seen in poisonous frogs, tropical fish, or beetles. Hilgersom translates these warning signals into a unique aesthetic vocabulary, using color and texture to create works that are simultaneously seductive and alien.
Minchan Kim
b.1965 South Korea
金潣攢長年關注「筆觸」這一繪畫核心語彙的轉化與演變。在他的作品中，筆觸不再僅是畫布上的動作痕跡，而是被實體化、立體化的存在。他將厚重顏料以堆疊、延伸的方式轉化為三維結構，彷彿將時間凝結於筆刷之中，每一筆都像是被凍結的動態雕塑。
Eelco Hilgersom draws inspiration from microscopic structures in the natural world, transforming organic forms into abstract visual language. His well-known Habitat series is informed by microorganisms, insect carapaces, and fish scales. These references materialize through intricately arranged polarizing lenses—similar to sunglass lenses—cut and layered like iridescent scales onto sculptural forms. The resulting works shimmer, reflect, and seem almost alive.
Exhibited Artwork
金潣攢的創作方法論，來自於無數次對顏料與筆刷之間關係的實驗。他並不刻意模擬形象，而是讓顏料自行構築空間，成為感知與想像的入口。作品中的高彩度與物質感，使觀者幾乎可感受到其重量與力道，將「觀看」升級為「身體知覺」的經驗。
金潣攢的筆觸並非繪畫的工具，而是作品本身。這是一場對藝術語言的逆轉，也是一種對繪畫歷史的自我解構。他以極其直接的方式，讓觀者面對「繪畫是否需要畫布？筆觸是否必須附著於表面？」這些問題，提出一種不設限的創作態度。
His practice is the result of extensive experimentation with the interaction between paint and brush. Rather than attempting to depict images, Kim allows the paint to construct its own spatial logic, becoming an entry point for perception and imagination. His vivid colors and dense textures imbue the works with a tangible weight and force, transforming looking into a bodily, somatic experience.
What is especially compelling is that Kim’s brushstrokes are not tools of painting—they are the work itself. This inversion redefines the language of art, deconstructing the history of painting from within. Through a radical directness, he invites viewers to consider: Does painting require a canvas? Must a brushstroke adhere to a surface? His work suggests an open-ended and unrestricted approach to art-making.
在 C Square Gallery 一樓以潔白為主體的空間中，漢格森與金潣攢的作品以鮮明的形式語彙彼此呼應：一者冷冽反光、具生物感知的邏輯；一者具雕塑語言、富空間動態的構造。兩者皆選擇從「繪畫」的結構鬆動入手，強化了觀者與作品之間的主動連結。
在展場中，觀者不再是單純的觀看者，而是「經歷者」。每一次視線的移動、光線的折射、甚至身體的位置變換，皆成為與作品互動的關鍵因子。這樣的裝置式繪畫形式，使整體展覽成為一場空間與感知的協奏，鼓勵觀者重新思索藝術的邊界，以及我們如何觀看、如何被觀看。
“Not Your Average Paintings”，是一場對繪畫歷史的辯證與翻轉，挑戰了觀者對繪畫媒材的想像。誠摯邀請您於 2025 年初夏蒞臨展場，與我們一同走進這場形色與感官交織的視覺實驗。這些作品，也許稱不上繪畫的「平均樣貌」，但它們正在告訴我們：繪畫從來都不該被平均定義。
In C Square Gallery’s bright, minimalist first-floor space, Hilgersom and Kim’s works resonate through distinct formal vocabularies: one cold, reflective, and biologically intuitive; the other sculptural, dynamic, and spatially assertive. Both begin by loosening the structural foundation of “painting,” thereby activating a more participatory relationship between viewer and artwork.
Here, the viewer is not merely an observer—but a participant. Every shift in sightline, every refracted ray of light, every bodily movement becomes an integral part of the encounter. This installation-based approach to painting turns the exhibition into a spatial and perceptual symphony, encouraging viewers to reconsider the boundaries of art, and how we see—and are seen.
“Not Your Average Paintings” is both a critique and an expansion of painting’s legacy, challenging how we understand its mediums, formats, and futures. We sincerely invite you to experience this immersive visual experiment in early summer 2025, and to step into a world where color and form are anything but average. These may not be your “average paintings”—but perhaps painting was never meant to be average at all.
Artists｜藝術家
Eelco Hilgersom & Minchan Kim
Dates｜展期
May 30 – July 27, 2025
Venue｜地點
C Square Gallery, 1F