展位：H02 展期：2017.10.20 ~ 10.23
藝術家：黃敏俊、陳穎、賴靜、林佑森、黃淼訓、劉欣宜
萬物有各自的特殊性，卻也在依存關係間產生交疊的普遍性，工業化與消費文明所產出的大量物件，亦進入了虛實相生的龐大體系之中，沒有例外。透過細膩的觀察，藝術家看似對現實世界充滿反叛與不滿，卻仍以溫暖的態度冀望環境與未來，淬煉一件件的創作，實踐藝術真理。此次台北藝術博覽會，秋刀魚藝術中心集結了黃敏俊、陳穎、林佑森、黃淼訓、劉欣宜五位藝術家，在充滿變化與未知的時空洪流中，執意揮灑靜謐裡不吐不快的激情。
光與色彩，是黃敏俊創作三十年來，主要研究與突破的課題。2017年的全新創作，更以他獨創的「光色合一」理論，即新的光色三原色「洋紅、黃、青」，真實呈現光影的微妙色調與其映射下的大自然層次。流動的光與虹，再現萬物的生命力與存在感，也照見了一花一草的大千世界；熟練的技法與獨特的用色，凝結了內外空間與溫度，也完美捕捉了時間消逝的瞬間。陳穎筆下的人偶，有著細緻的皮膚、明媚的雙眼和濃密的睫毛，朱唇嬌豔欲滴，絲絲髮梢柔美順滑。然而，美麗的形體在快速發展的工業裡，成了殘破的偶人塑物，赤裸裸地被浮華社會汰換鄙棄，生存的輕重表述從底層浮現，曝露真實生命的無奈與悲涼。穿透暗黑的日光，聚焦在生命的細緻與頑強，停格在虛象和實體之間，看起來荒謬卻也永恆不死，而過場總是暗藏玄機。林佑森的雕塑作品猶如一座微觀的工業叢林：銅管銅線與金屬零件為骨幹，鐵鏽為綠葉，現成物及機械塑成了當代城市的有機景貌，亦點出人類、城市及自然間的關係扭轉與變異。社會制度、道德規範、價值標準等，這些有形無形的框架在黃淼訓的畫面中，轉化成一種具象的限制空間，逐步形塑了自我意識，也壓抑了生命的延展與連續變化，創作者透過規律地重複，企圖把個人意識之形成脈絡，編織進歷史的經緯度之中。回觀過往的生命經驗與溫暖的曾經，劉欣宜以繪畫雕塑的手法，琢磨那時彼刻的情感與絮語。那看似稚嫩的面孔，眉眼之中有著超齡的憂慮及哀愁，身軀在捨不得與放開的回憶裡不停掙扎、跨越。清楚的鑿刻是生命的試煉，輕柔的色彩仿若自我的保護色，每個孩子在撿拾過去與眺望未來的旅程上披荊斬棘，或坐或臥或停駐或前行，提問著也許迷人的風景不在遠方，而在銘刻的矛盾日常。
時間不只在當下，空間之外還有空間。創作者突破了現實的框架與張牙舞爪，具現了腦內的奇幻異想。黃敏俊、陳穎以精準細膩的色彩與筆觸，刻畫出時間倏忽的重量與空間虛實的轉眼變化，既寫實也超現實；林佑森的金屬風景雕塑，因生態及有機物的元素，更彰顯了「生」的細膩與深遠；黃淼訓重新爬梳並審視個人與社會間無法分割的緊密關係；劉欣宜透過成人童話般的語彙，雕塑出衝突的視覺與反差的感受。秋刀魚藝術中心希望藉由這五位藝術家的最新力作、獨特的語言形式，帶領觀眾一同遊走這個「破碎，卻依然美麗」的世界。
Artists: HUANG Mingchun, CHEN Ying, LIM Yausum, HUANG Miaoxun, LIU Shinyi
All things have their own particularities but also appear overlapping universalities in the interdependent relationship. The enormous objects output from industrialization and consumer civilization all enter into the vast system of fictitious-real mutualism, without exception. With careful observation, artists seem dissatisfied and disobedient to the real world. However, the refined works imply that they are still hoping for the future with warm attitude. In Art Taipei 2017, Fish Art Center will feature four artists, HUANG Mingchun, CHEN Ying, HUANG Miaoxun and LIU Shinyi. Amid a time-space deluge of changes and unknowns, the artists persist in expressing out the passion from the tranquil.
Light and colors have been the main subjects that HUANG Mingchun strives to study and break through. His new pieces in 2017 painted based on his unique “ color-light unification” theory, namely the three new primary colors of light and pigment: magenta, yellow, cyanine green, truly present the subtle colors of light and shadows and the dimensions of Nature under the reflection. The flowing lights and rainbows manifest the vitality and existence of everything as well as reveal the universe. Huang’s skillful technique and particular color usage congeal the space and temperature inside and out, and meantime perfectly captures the moment of time passing by.
Dolls in CHEN Ying’s painting have delicate texture of skin, bright big eyes, thick eyelashes, red juicy lips and glassy smooth hair; nevertheless, under the rapid development of industry and in this vanity society the pretty figures became broken plastic dolls and stuff, discarded and despised nakedly and openly. Existent weight and phrase emerge from the bottom of Chen’s painting, disclosing the helplessness and sadness of real life. A light penetrating the vast darkness spotlights on life’s subtlety and tenacity; freezes the fancy and entity. Chen’s show appears to be absurd and never end, but the interludes always fill with surprise.
The sculpture work of LIM Yausum is like a microcosmic industrial forest: the water pipes and abandoned electronic components as the trunks, wires on circuit board as the branches and rust as leaves. The ready-mades and machinery construct a contemporary cityscape with an organic, invigorated life-form. Lim’s works are strong rhetoric on the subtle mutation of our relationship with the habitat.
The visible and invisible frames such as social system, code of ethics and standard of values in HUANG Miaoxun’s painting transform into a concrete restricted space, which gradually shapes self-consciousness and also restrains life’s extension and continuous changes. He performs the painting with a series of conscious body labor, intending to weave the context of self-fashioning into the fabric of human history.
Looking back on the old experiences and warmth in hand, LIU Shinyi sculpts and paints the affections and whispers of those days. The childlike face tells an overage anxiety and sorrow; its figure keeps struggling and breaking through in the memories, staying or letting go. The clear chisel mark is the trial of life; the beautiful sweet colors look as if the protective coloring for hiding real self. On the growing journey, every child will confront and overcome the difficulties. Then, a question raised - maybe the beautiful scenery is not afar, but impress in the contradictory ordinary in the process of sitting, lying, stopping or forwarding at times.
Beyond the present and the earth, the art creators cross the structure of the reality and various thorns; realize their fancy imagination in the artwork. HUANG Mingchun and CHEN Ying depict the weight of swift time and the instant change of real-illusory space through the delicate colors and precise brushstrokes, realistically as well as surrealistically. LIM Yausum’s metal scenery manifests the subtlety and profundity of life while infusing the ecological and organic elements. HUANG Miaoxun once again combs and examines the unbreakable relationship between the society and the individual. LIU Shinyi sculpts the visual impact and contrast feeling through her fairytale but adult art language. By the new excellent creations and distinctive creating forms from the five artists, Fish Art Center hopes to take the viewers to see around this “ broken, but still beautiful world“.
