以「愛」形「光」

劉欣宜 x 黃敏俊聯名作品義賣

**愛 Love**
FRP、油彩、漆 Oil paint, Varnish / 12.5x9.5x25.5cm / 版數Edition：166 / 2022

2022.9.18花東地區發生數次地震，當地嚴重災情頻傳，公路崩塌、車站毀壞，甚至連孩童學習的校園也成了難以重建的廢墟。

《愛》是劉欣宜第一件FRP作品，竭力將溫暖融入創作，從草圖構想到刻畫成形醞釀了2年多的時間。

三件限量聯名款由黃敏俊親手以其獨特「光的三原色」油彩上色，期盼傳遞希望之「光」，特別選出一件（編號No.88) 開放以競標方式義賣，所得將全數捐贈予地震中受創的花蓮縣春日國小。

ART TAIPEI 2022

延續首部曲「存在」為主題，「以詩性探詢」藝術家對於現實世界所留下的註記與痕跡，「發掘與回應」成為下一個進程，不僅是曾經的身體經驗、情感記憶或想像，邁入「存在：二部曲」，藝術家在創作中更融入了對當今與外界的表態及投射，透過詩意的表達方式實現「存在」的當下，將接收到的外在刺激，或事件啟發，或身體共感，利用內在本質與文化符碼轉譯，創作出屬於自我、群體、當今共有的記憶留存，藝術家透過覺察與當代的關係，直面內在與外界的課題，提出各自的創作做為「存在」的決定性例證。

Continuing the theme of《 Existence 》, we inquired artists’ memories and impressions toward realistic world through “the eyes of poetry”. “Discovery and Replication”, as the next process of artists’ creation, not only been personal experiences, emotional memories or imagines but even assimilated the external expression and projection nowadays. The external stimulation, references and personal sympathies accomplished “existence” through poetic presentation, also created memories belonging to themselves, others and those of us nowadays with these internal essences and translation of cultural signs. Artists presented their own works as decisive evidences of “existence” through observed the connection between themselves and environment.

趙延斌 ZHAO YAN-BIN

**都挺好-母親的花園 Everything Goes Well - Mother’s Garden**
壓克力彩、紙本 Acrylic / 150x200cm / 2022

《母親的花園》是“都挺好”系列的第二件作品，是我送給母親的禮物，也是母親送給我的禮物。

母親養的花，並不“好看”，甚至有些潦倒，但放在一起，充滿張力，是非常生動的自然狀態，是非人為壯陽的精英盆栽。作品中，用膠帶繩子修繕壞掉的花盆，用失去功能的漆桶等容器作為花盆，用垃圾桶保護花苗來防止被雞吃掉等細節，不是形式上的需要，而是她生活觀的選擇，是她們這一代大多數人的價值觀。

我希望這件作品可以幫助她實現自我價值，成為一個“有用的人”。借由創作，欣賞和肯定了她的審美及生活觀，如果因為我的畫兒，大家能重視她養的花兒，我覺得這件作品還挺有意義和價值的。

《Mother’s Garden》, as the second work of “Everything Goes Well” series, is a gift for my mother, also a gift she give me.

The flowers that my mother grew were not “good looking” even down-and-out. But they were full of tensile when put them together, performing a natural and extraordinarily vivid look as a non-artificial thrivingly distinguished plant. Inside this work, she repaired the broken planter with adhesive tapes and ropes, using vessels which were out of functional as flowerpots, preventing growing flowers from being eaten by hens by trash cans. Not only in modal need but was her choice for life, also the general value in most of them.

I hope this work can help her achieving self-value, to be a “practical person”. Through creating, I admire and promise her sense of beauty and life value. If people can respect the flower she has grown while looking at my work, this would be quite meaningful and valuable for me.

**等一個好消息no.2 Waiting For A Good News no.2**
壓克力彩、紙本 Acrylic / 45＊60cm / 2022

沒有針的鐘沒個頭，在無望中尋找希望，人類文明的偉大之處在於“明知不可為而為之”，好消息一定會到來！

The clock without hour hand represents nothing. To find hope in despair.

The greatness in human civilization is “Do something while knowing it is impossible.”, no matter what, the good news must come.

黃敏俊 HUANG MING-CHUN

**救世主 The Savior**
油彩畫布 oil on canvas / 45.5 x 65.5 cm / 2022

**早春圖 Early Spring Picture**
油彩畫布 / oil on canvas / 158.3 x108.1 cm / 2022

**谿山行旅圖 Travelers Among Mountains and Streams**
油彩畫布 oil on canvas / 103.3 x 206.3 cm / 2022

陳修橋 CHEN XIU-QIAO

**一把火2 A Torch 2**
樟木、不鏽鋼、油彩上色 Camphor Wood, Oil Paint, Stainless Steel / 30 x 78 x 22 cm / 2022

鬥魚這個符號，在我過去的創作中視為書信的象徵，來源於典故裡的魚書。視覺的書信由形表達內容與情感，而一把火2我嘗試將書法，水墨等技法帶入雕塑形式中，由形式取代符號來體現書信。火焰可以是象徵憤怒感覺，也可以是一個破滅後迎接轉變的契機，對於每個觀者來說都有不同的意義，但對於我創作一把火和一把火2而言，是一種承接經驗，新舊轉變的體驗，薪火或許更貼切一些。

“Betta” as a symbol of “letter” in my former works, derived from missives in classical literary. I presented contents and emotion through the outline of missive’s vision and I tried to add the techniques of Chinese calligraphy and ink painting into sculpture form when sculptured the work《A Torch 2》, replacing form with symbol to represent missive in classical literary.

“Fire” can be a symbol of raging feelings also a moment of transform after destruction, having different meanings to every audience. However, when I created 《A Torch》 and 《A Torch 2》, it was an experience about inheriting, transforming from old to new, so the word “torch” might be much more appropriate in explanation.

我為你綻放 I Bloom for You

24 x 18 x 40 cm 銅、油彩上色 Copper, Oil Paint

Edition：12 2022

粉色玫瑰象徵著初戀的悸動，鬥魚象徵著孤傲，在我的雕塑作品中也是載體，是書信。粉玫瑰，在過往記憶中愛著的過程散發著芬芳，清甜，同時也帶著刺與爭執，充滿矛盾交織著，如今在每個一閃而過的記憶片段中始終綻放著。

A pink rose symbolizes beating of first love; while betta fish symbolizes emotionless also a carrier-missive in my work. The pink rose emanated fragrance from the memory of love in the past, followed by fresh and sweet, barbed and tangle in the meantime. With full of conflicts, it has bloomed in every sight of memory fragments.

林安常 LIN AN-CHANG

無盡的漂流 Infinitely Floating

樟木、胡粉、壓克力上色 Camphor Wood, Oyster Shell Powder, Acrylic / 68 X 35 X 25 cm / 2022

我習慣將建築與動物做結合，而建築已經以幾何的形狀與木材質處理的方式結合在動物軀體上。

“無盡的漂流” 這件作品體現我個人最近生活的狀態，尋找新的居所與新的創作場合，在北漂的過程中，不斷的變換駐足的場所，並且在不同的環境生活。

以木材質作為創作主軸，木材時常出現在生活之中，而這件作品中透過木材的榫接、簍空、組裝呈現出生活的空間與漂流的狀態。

I’ve been used to combine architectures with animals in my woks, letting the former been performed on latter’s bodies through the shape of geometry and specific technic on wood.

The work, “Infinitely Floating”, presents my recent life mode, finding new place and new work space. During the process of northern drifting, I’ve always kept changing my place, living in different circumstance.

As wood being a main material which usually discovered easily in daily life, this work presents my living space and condition of drifting through various wood carving skills such as mortising, sculpting and combination.