藝術廈門
地點：廈門國際會展中心A1館
展期：2023/10/26 - 10/29
展位：A1-41
展出藝術家：張子隆、蔡志松、馬修‧費雪、劉文瑄、傑夫‧羅伯、蔡宜儒、楊子逸
Art Amoy
Venue：Xiamen International Conference & Exhibition Center Pavilion A1
Date：2023/10/26 - 10/29
Booth：A1-41
Artists：Chang Tzu-Lung, Cai Zhisong, Matthew F Fisher, Mia Liu, Jeff Robb, Tsai Yi-Ju, Yang Tzu-Yi
Chang Tzu-Lung 張子隆
B. 1947
Taiwan
《行星》
2015
肖楠木
24 x 34 x20 cm
張子隆為臺灣現代雕塑藝術發展的重要推手，1947年出生於淡水，1969年自國立臺灣藝術專科學校畢業，後赴日本師事山梨縣立美術館館長千澤楨治教授、東京藝術大學菊池一雄教授、和光大學吉田芳夫教授。受到現代主義的啟發和日本文化中追求素樸精緻之美的力量影響，張子隆的作品散發著經過琢磨、沈澱後的精準與深刻，致力於追尋現代雕刻中，四度空間裡一切美的觀察和法則的呈現、以及材質與造形相互揉合的的張力與生命力。
張子隆將其雕刻表現的基本思考點置於「生命力」的表現之上，力圖超脫官能所感受到的僅是天地世間之毫芒的局限性，並藉由他純粹靜雅的創作語彙，將玄妙莫測又深具意義的世界本質展現在我們面前，由此擴大雕塑作品的空間意識，令觀者直接和視覺、觸覺、甚至聽覺產生連結。
張子隆造型上深受20世紀初西方現代主義雕塑影響，注重體量感、空間感、形式感等美感因素，作品氣韻卻流露東方美學獨有的簡潔和靜穆。他關注自然的理想化形象，作品以象徵性的極端抽象與微妙的造形為特色，材料上偏好採用石、木、銅來表現材質的生命與純粹形態，透過純熟凝煉的切割、細磨，結合技巧的意念與質感的殊異，展現其作品優美的造形曲線，同時釋放藝術家想傳達的精神意念。
Chang Tzu-lung, a prominent figure in the advancement of modern sculpture in Taiwan, was born in Tamsui in 1947. His artistic sensibilities have been deeply influenced by modernism and the Japanese cultural reverence for simplicity and refined beauty. The hallmark of Chang Tzu-lung's work is the precision and depth that reflect the meticulous craftsmanship he applies to his creations. His artistic dedication lies in the exploration of the principles underlying beauty within the fourth dimension of modern sculpture, as well as the dynamic interplay between materials and forms that give rise to tension and vitality.
At the core of Chang Tzu-lung's sculptural philosophy is the expression of "vitality." He strives to transcend the constraints of sensory perception, which often capture only the superficial radiance of the world. Through his serene and purely creative vocabulary, he endeavors to unveil the enigmatic and profoundly meaningful essence of our world. This approach expands the spatial awareness within his sculptures, forging a direct connection between the viewer and various sensory dimensions—visual, tactile, and even auditory.
In terms of form, Chang Tzu-lung draws deep inspiration from early 20th-century Western modernist sculpture, emphasizing elements such as volume, spatiality, and the aesthetics of form. However, his works emanate a distinctive simplicity and serenity rooted in Eastern aesthetics. He directs his focus toward idealized representations of nature, resulting in works characterized by extreme abstraction and subtle, understated forms. His preferred materials, including stone, wood, and copper, serve as vehicles to express the vitality inherent in the material and pure forms. Through expert cutting, meticulous polishing, and a fusion of conceptual prowess with diverse textures, he elegantly showcases the graceful curves of his works while simultaneously conveying the spiritual ideas he seeks to communicate.
Cai Zhisong 蔡志松
B. 1972
China
《升2#》
2020
不鏽鋼鍍鈦
146 x 120 x 230 cm
蔡志松的作品展現出深沈的人文價值與生命關懷，卻揉雜西式的現代語言。他以深厚功底勾勒出寫實形體的靈氣與神態，再透過理性的解構逐漸重置到現代語境，最終以前衛時尚的表現性，打破大眾對藝術的既定觀念。
Cai Zhisong's works show profound humanistic values and concern for life, but they are mixed with Western-style modern language. He outlines the aura and demeanor of realistic forms with profound skills, and then gradually resets them to the modern context through rational deconstruction, and finally breaks the public's established concept of art with avant-garde and fashionable expressiveness.
Matthew F Fisher 馬修・費雪
B. 1976
USA
"Twenty Years Before Twenty Years"
2023
壓克力、畫布
24 x 36 inches (60.96 x 91.44 cm)
Matthew F Fisher是一位美國的後現代與當代藝術家，出生於1976年。作品主要是描繪理想化的自然景觀，如波浪、山峰、樹木等，在畫作中。這些作品反映了他在創作過程中的冥想狀態，他運用細膩的筆觸和鮮明的色彩，突顯出紙張質感與潛力。
Fisher從小就對水有著深厚的情感，他曾與祖父一起在西漢普頓的海邊度過許多時光，並在後來跟隨父母搬到西密西根州，長期在水域附近生活的生命經驗，奠定了他日後創作的基礎。他說：「我看這些作品是回想我小時候對這些大水域的敬畏感，不明白水下有著整個生命，水平線另一邊有著整個世界。所以它們是對那種原始好奇心的致敬。」他的創作並非侷限於具體事物，而是透過他對自然景觀的記憶，塑造出新的圖像。他進一步解釋道：「雖然我的作品是對外在世界的不斷參考，但我對直接從它畫畫沒有興趣。相反地，我更感興趣從生活中創造記憶作為未來繪畫想法。回到工作室後，我會費盡心思地把這些記憶轉化成一個新形象。」
Fisher以壓克力顏料進行創作，充分展示了壓克力顏料的優點和可能性。他善於運用這種材料，營造出高度光澤感和飽和度，並利用其快速乾燥和重疊塗層的特性，賦予他的作品獨特的色彩和質感。他強調：「我的創作守則之一是，每一層都需要多次繪製。」
Fisher的作品經常出現水平線、波浪、岩石、樹木等元素，這些元素同時具有普世性和個人特色。他說：「我對這些圖像感興趣，因為它們同時具備普世性和個人性。每個人都能看到水平線，但每個人所感受到的水平線卻不盡相同。」他的作品中故意沒有呈現人物，藉此讓觀者更自由地參與投入，自行想像。他解釋：「我不希望我的作品成為一個故事，而更像是一個情境。」
Fisher的作品不僅深刻探索與記憶相關的議題，也表現出他對自我、生命和世界的敏銳觀察和思考。他認為：「藝術是種冥想，一種與自己對話的方式。」透過藝術創作，他能夠表達內心情感和思想，同時與觀眾分享美好和可能所帶來的感受。
Matthew F. Fisher, a renowned American contemporary artist born in 1976, is celebrated for his postmodern and contemporary artworks, primarily focusing on idealized natural landscapes like waves, mountain peaks, and trees. These pieces reflect his meditative state during the creative process, employing delicate brushwork and vivid colors to highlight the canvas's texture and potential.
Fisher's deep connection with water, fostered during his time spent with his grandfather by the seaside in Westhampton and later living near water bodies in Western Michigan, influences his work. He transforms these memories of natural landscapes into fresh imagery, emphasizing that while he draws inspiration from the external world, he's more interested in creating memories for future artistic concepts.
Working primarily with acrylic paint, Fisher capitalizes on its advantages, creating a high-gloss finish and vibrant saturation. Elements like the horizon line, waves, rocks, and trees frequently appear in his works, combining universality and individuality. Purposefully devoid of human figures, Fisher's art encourages viewers to engage and imagine freely, evoking a sense of situation rather than narrating a story.
Beyond visual appeal, Fisher's artworks delve into memory-related themes, offering profound insights into his self-reflection, life observations, and contemplation of the world. He views art as a form of meditation, conveying inner emotions and thoughts while sharing sensations of beauty and possibility with the audience.
Mia Liu 劉文瑄
B. 1980
Taiwan
《新綠》
2023
壓克力顏料、法國康頌水彩紙
75 x 75 cm
照片由藝術家提供
劉文瑄的作品融合了繪畫和裝置藝術的元素，通過對紙張、繪畫、書寫、空間的巧妙運用，創造出獨特的視覺體驗。劉文瑄的作品關注於當下的心境及身體感知，以紙雕作為基礎，建構出立體空間，呈現出細緻且深思熟慮的作品。
Mia Liu's artworks combine elements of painting and installation art, creating a unique visual experience through the skillful use of paper, painting, writing, and space. Mia Liu's works focus on the present state of mind and bodily perception, using paper sculpture as a foundation to construct three-dimensional spaces, presenting intricate and thoughtfully crafted pieces.
Jeff Robb 傑夫・羅伯
B. 1965
UK
"Unnatural Causes XXIX"
2019
Lenticular Photograph
100 x 100 cm
傑夫．羅伯以⽴體攝影作品而聞名，利⽤垂直排列的多重鏡頭捕捉⼀對對⽴體、沒有玻璃阻隔的3D圖像，其所傳達的視覺衝擊⼒，讓⼈猶如⾝歷其境。
Jeff Robb is best known for his lenticular photographic work. He uses multiple lenses arranged vertically to capture a pair of opposite objects and 3D images without glass barriers. The visual impact it conveys makes people feel like they are in the scene.
Tsai Yi-Ju 蔡宜儒
B. 1980
Taiwan
《超時空遊俠錄 》
2023
丙烯顏料、畫布
194 x 390 cm
藝術家蔡宜儒畫中人物取材於成長中的記憶，將回憶中的動漫英雄人物與東方古代文人雅士做連結，透過角色重塑與時空錯位的手法呈現全新觀點。昔日情懷、當代文化在畫面中互相碰撞，藝術家細膩的剖析網路文化，並將時空交錯的喀通符號病治的不適感，如狂草般狂野的表達。
隨著年紀增長，蔡宜儒對於童年越發懷念，於是將創作目光投向成長階段，尋找全新視點。他的作品中，兒時常畫的元素，如飛機、恐龍、戰車，在他的2019年「搖滾童話」個展中首次亮相。近年，他進一步延伸這些記憶，將兒時難以忘懷的卡通、電玩人物納入創作。他以融合西方造型思考與東方筆墨意趣的方式，描繪這些角色，讓他們在想像馳騁的筆調下穿越時空，進行一場意味深長的旅程。
此外，全球疫情的爆發使得不確定因素籠罩在空氣中。面對未來的不確定性和生命的無常，這成為了蔡宜儒創作的靈感來源。他在這種思維下，逐漸構建起一個概念：「以昨日的角色來演述今日的故事」。透過童趣的筆調，他探討著面對現實世界時內心感受的荒謬，同時寄望於保持初心的視角，對未來保有美好的遙望。
Artist Tsai Yi-Ju draws inspiration from childhood memories, crafting a unique fusion that melds nostalgic animated heroes with ancient Eastern literati. Employing character reinterpretation and temporal dislocation, he offers fresh perspectives where past sentiments collide with contemporary culture. Tsai's art adeptly dissects internet culture while channeling discomfort through wild and expressive strokes reminiscent of chaotic calligraphy.
As Tsai Yi-Ju has matured, his fondness for childhood memories has grown, driving him to explore fresh viewpoints. Elements such as airplanes, dinosaurs, and tanks, once recurring themes in his art, made their debut in his 2019 exhibition "Rock and Fairy Tales." In recent years, he has expanded upon these memories by incorporating beloved cartoon and video game characters into his creations. By blending Western styling with Eastern brushwork aesthetics, he enables these characters to transcend time, embarking on profound journeys within the canvas of his imagination.
Moreover, the global pandemic's outbreak, shrouding the world in uncertainty, became a wellspring of inspiration for Tsai Yi-Ju. He gradually crystallized the concept of "narrating today's story with yesterday's characters." Through whimsical brushwork, he explores the absurdity of confronting the real world while preserving a childlike perspective, fostering a hopeful outlook for the future.
Yang Tzu-Yi 楊子逸
B. 1992
Taiwan
"Land"
2023
水墨絹本
133 x 43 cm
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。
The age-old tradition of using landscape painting as a conduit for emotions and sentiments remains as vibrant as ever. Artists continue to embrace this creative spirit, infusing it with diverse techniques and evolving conceptual frameworks to craft fresh paper landscapes. Yang Tzu-Yi, a rising star in the realm of calligraphy and painting who holds a degree from the National Taiwan University of Arts, boasts a portfolio that includes selection in the prestigious "National Art Exhibition" and participation in exhibitions such as "Taipei Art Freedom Day." His forte lies in fostering a dialogue with the multi-layered landscapes on paper, an endeavor that seeks to unearth the very essence of "truth" and provoke multifaceted contemplations in the minds of viewers.
But is our visual perception of reality an accurate reflection of the truth? Yang Tzu-Yi invokes Jean Baudrillard's discourse, contending that "everything and reality itself has been supplanted by 'simulacra,' ushering in an era defined by simulations that transcend reality." In his creation titled "Seeing Mountains," Yang employs a deliberate blend of blurriness and layering to conjure landscapes. He repeatedly superimposes individual ink blocks, conjuring a scene that hovers between being mountains and not quite mountains, evoking an illusionary quality. This artwork transcends the confines of traditional landscape painting, delving into a realm rooted in Yang Tzu-Yi's contemporary technological contemplations.
Yang Tzu-Yi elucidates, "I endeavor to redefine the landscape through this technique, aiming to trigger contemplation and liberate myself from established patterns of thought." While traditional landscape paintings housed in the National Palace Museum evolve alongside advancements in contemporary technology, the boundaries between reality and simulation blur, particularly within the realm of virtual reality. Within Yang Tzu-Yi's artworks, the visually dynamic layers etched in ink and paper capture the ever-shifting "constancy" of existence. Each block represents a fragment of memory in the relentless pursuit of life's essence. Yang invests his emotions in this creative process while simultaneously delving into the spiritual and philosophical dimensions of calligraphy and painting.
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