文｜友梅 Yomei Chen
圖｜養心空間 Artnutri Gallery 提供
2019年的年度台北藝術博覽會將於十月18-21日至台北世貿中心展開，台中、三義的畫廊“養心空間”將在 M04區帶他們代理的重量級與新生代藝術家作品和大家見面！
五位藝術家的簡介如下：
李英偉 -- 山水誤置 Landscape Displacement
人習慣了將自己的意志強加給他人乃至自然山水林木巖石也要在人類意志的把玩之中，將一個自然生態戳圈成一方之地建造供人遊樂的景區，這其中劈山移樹砍伐撅毀滿足了人的享樂需求，但確破壞其它生物的生存環境和生存權力，人依仗生存的優越性在文明發展的今天物欲的極度澎漲用盡一切可能將眼中所視之物都拿來消費，這其中更是權力意志和商人布陷誘導將一個靜然山石冠以名稱，這山石便形成消費之物，這中間使一個群體被命名之物蒙敝在虛幻的概念之中，我們不是在培養精神的審美關照，而是消費虛幻和不實之名，自然生態的潰敗亦是人性貪婪的寫照。
Human beings are used to imposing their own will onto others. The mountains, rivers, trees, and rocks have also been manipulated by the human will, turning the natural world into an artificial playground. The mountains and trees are severed to satisfy the human need for pleasure, destroying the living environment and survival right of other life forces. Human beings have abused the superiority of living and turned all things into objects for consumption in an age of inflated desire for material goods, while the will and decoy of businessmen have turned the mountains and rocks into consumer goods. Objects have become invisible under collective names and categorizations. We are not cultivating artistic appreciation skills but consuming illusory and false titles. The greed of human beings is reflected in the destruction of nature.
藝術家王炳懿
畢業於清華大學美術學院。此最新系列以晚秋荒蕪的大地為主。結合稭稈和多年的老木來表達人生的滄桑和頑強。通過大量實踐一改傳統戧金的平面視效，創造出獨特的刀法‘跳刀’針刻，使光線的微妙變化成為可能，讓近失傳的漆藝巧妙地運用當代漆畫的表現，註入不同新綠。東方水墨藝術的構圖與造境，同時借鑒西方光影繪畫的造型特點，讓畫面不僅營造出深厚的素描造型功底，並使古老的傳統戧金的技藝表現出新的魅力和獨特氣質。
Wang Bing Yi graduated from the Academy of Art and Design of Tsinghua University. This new series centers around the wastelands of late Autumn. The straws and old trees are depicted to convey the vicissitude and resilience of life.
Wang’s works are created with simple elements and tones but result in complicated and profound scenes. Using black lacquer as the base, Wang applies the immensely difficult technique of needle etching to merge gold tones into the work. Whether it’s sunflower fields in late autumn or the decaying lotus pond, all images display a sense of glamour and deterioration, encouraging viewers to ponder the rise and fall of life. The ink-colored land, golden Autumn sunflowers, or withered lotuses form contrasting but vibrant visual effects that seem to be recounting encounters of the past, inspiring endless imaginations.
青年大漆藝術家余潮松
首次於台灣曝光的大漆藝術家余潮松，畢業於廣州美術學院。在創作上選擇以人為主，作者癡迷於人物肢體語言所帶來的隱喻豐富性，站立、彎腰、手腳的伸展與否，都能體現不輸於表情的隱喻效果，以人作為符號所能帶來的思考也遠比靜物風景來得豐富。作品以一種戲劇化、舞台化的方式，重構另一種“真實”，使其猶如舞台劇在某一瞬間停止般，形成凝練而豐富的視覺體驗，而讓描繪對象脫離一般認為的形象約束，進而凸顯作品中內在精神訴求的表達。
For the first time, we represent this young artist, Yu Chao Song who graduated from the Guangzhou Academy of Fine Arts.
His creative process focuses on people. The artist is enchanted by the hidden richness within body language, conveying expressions through standing, bending, and stretching the limbs. As symbols, human beings are much more interesting than still landscapes. By presenting works with a dramatic and staged effect, an alternative “reality” is presented, showcased as a frozen moment in the middle of a play; this creates a concentrated and rich visual experience, liberating the object from previous conventions and further accentuating the inner message of the work.
台灣青年藝術家黃莛㭹
畢業於臺北藝術大學美術碩士班的藝術家黃莛㭹， 從純粹探討空間進而從中勾勒出時間性、生物性，作品依然保留了物件與物件的對位曖昧關係，進而形成視覺距離感的空間。同時也具有寫實與模糊具象邊界的抽象形體。在雕塑創作的造型取材，著重於純粹造形的意義，希望在雕塑中建立一種嶄新的回應，或許是一種充滿內在單純和不具體指涉的曖昧生物性，蘊含著簡潔的流線造形空間與視覺上的直覺觀看。
The current creative development is from purely discussing spaces and then explores the outline of time and biological. The artwork still retains the ambiguous relationship between the objects, forming the space of visual distance. At the same time, it also has the abstract form of realistic and fuzzy boundary. In the creation of sculpture modeling materials, Huang focuses on the significance of pure form, he hopes to establish a new response in sculpture, perhaps it is a kind of simple and full of inner refers to ambiguous biological related, and contains the line form space and visual concise on intuition view.
韓國藝術家李雪華
延續去年虛擬真實的系列，今年在李雪華最新系列裡，她試圖讓觀者探究跟感受她所營造的另一個世界。而這個新的世界其實離真實世界並不遠，這是一個改造既存世界與虛擬之間的關係。虛擬真實的世界，藝術家用電影戲劇般的舞台安排，在她的想象中每個人物與物件都有他們自己所屬之角色。些許怪誕的部分是將平常的物件放置於不同於真實的場景與內容中，同時再加上藝術家自我的想像完成。藝術家將這些角色置入到類似有機體的虛擬空間，激發與背景之間的關係。因而觀者可以感受到畫作中不尋常的情景安排與氛圍感受。 在藝術家所創造的這個虛擬卻又真實的世界裡，這些人物他們沒有表情、性別，而觀者也可以自行給予他們個性。
In the latest series of Sulhwa Lee, she is investigating in the tone, mood, sense, and atmospheres that give the viewer the feeling of being in an otherworld. The idea of the otherworld is not far removed from reality. It is about modifying existing relationship between one to another. The eeriness in the work is generated from placing mundane object in different setting or context. Then, a tint of her imagination comes to complete the image. This series is cinematic in a way that she creates imaginary stage and each element in the scenes has their roles.
The appearance of the figure in her work infuses the virtual spaces with organicism and stimulates a context for place. Lee shapes the figures to be faceless, genderless, reminiscent of virtual reality characters. Therefore, the viewer can permeate themselves in the character.
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2019 台北藝術博覽會 臉書官網
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