➤ Photography by Guinness Vanhellemont
身體脈動
Body Pulse
當人們習於頻繁使用語彙與圖像交流，大腦對事物的理解往往優先於身體經驗。這並非一種錯誤，然而精確的定義卻讓我們在不知不覺間佚失對事物潛在可能性的解讀。這或許是藝術家們熱衷於跳脫語言系統，透過材料與實驗性手法探索表現形式的動機之一。
When people grow accustomed to communicating through language and images, understanding tends to precede bodily experience. This is not a flaw; however, precise definitions can lead, without us realizing it, to a loss of our ability to interpret the latent possibilities of things. This may be one of the motivations that drive artists to move beyond linguistic systems and explore forms of expression through material and experimental approaches.
➤ Photography by Guinness Vanhellemont
分別來自比利時與台灣的兩位藝術家：Emily Kelly 和 王瑄琳 Xuanlynn Wang，正在布魯塞爾的 Entry 藝廊展出《身體脈動》系列作品，藉由各具特色的創作實踐，共同探索身體與材料如何在自然中形塑我們的集體感知與生活經驗。
Belgian artist Emily Kelly and Taiwanese artist Xuanlynn Wang are presenting their Body Pulse series at Entry Gallery in Brussels. Through their respective practices, they jointly explore how the body and material shape our collective perception and lived experience within nature.
➤ Photography by Guinness Vanhellemont
➤ Photography by Guinness Vanhellemont
身體作為創作核心，承載材料記憶
The Body as a Creative Core, Bearing the Memory of Materials
Emily Kelly 的創作語彙汲取自解剖學，使「身體」成為實踐中的核心元素，經由展現偏差與不完美痕跡的手工工藝，或是經由本人獨立搬運、組裝與拆解的模組化構造，讓材料乘載接觸的記憶。在這樣的創作邏輯下，雕塑與繪畫皆是「接觸的載體」，能忠實紀錄過程中難以預測的多樣性與矛盾，以及保持創作過程中持續流動的警覺狀態。
Emily Kelly’s artistic vocabulary draws from anatomy, positioning the “body” as a central element within her practice. Through manual processes that reveal deviations and traces of imperfection, as well as modular structures that she personally transports, assembles, and disassembles, materials become imbued with the memory of contact. Within this logic, both sculpture and drawing function as structures of contact, faithfully recording the unpredictability, diversity, and inherent contradictions of the process, while sustaining a continuous state of attentiveness throughout creation.
➤ Emily Kelly-Alter Torso 1.Material_ Cotton, paraffin wax and metal hardware (serie of 4) 59x37x10cm (2025). Photography by Guinness Vanhellemont
這次展出她首次以繪畫為主要媒介的創作，蜂蠟與石蠟在系列新作中扮演了核心角色。結合紙張與織物，在多次手工堆疊、融化、穿孔與組裝過程中，留下了肉眼可見的抵抗與轉化痕跡。從平面作品延伸到雕塑形式，展現出材質從半透明、脆弱，到堅實、具保護性的多重特質，並試圖探究：自然或人為型態的各種對立與邊界，是如何形塑隔閡，卻在本質上具備融合為一的潛力。
In this exhibition, she presents her first body of work in which drawing serves as the primary medium. Beeswax and paraffin play a central role in these new works. Combined with paper and textiles, and through repeated processes of layering, melting, perforating, and assembly by hand, visible traces of resistance and transformation are left behind. Extending from two-dimensional works into sculptural forms, the works reveal the material’s range of qualities—from translucency and fragility to solidity and protection—while examining how oppositions and boundaries, whether natural or constructed, may create separation, yet simultaneously hold the potential to merge into unity.
➤ Emily Kelly-Ruminant Archive (molar). Material_ beeswax, cardboard, cotton, paraffinwax, steel. 31 x 22 x 19 cm (2026). Photography by Guinness Vanhellemont
➤ Emily Kelly-Derma Flexion. Material_ Plaster, paper, beeswax and metal hardware. 17 x 12 x 4,5 cm (2026). Photography by Guinness Vanhellemont
➤ Emily Kelly-Dreamscape 1 (Anomalous Measures). Material_ graphite pencil, paper, canvas on wood, beeswax, paraffin wax, plastic and nails. 30x25x2,5 cm.(2025). Photography by Guinness Vanhellemont
環境如何滲入身體，形塑感知經驗
How the Environment Seeps into the Body and Shapes Perception
Xuanlynn Wang 的藝術實踐，則是基於攝影、材料重塑，以及對「環境意識假說」（Environmental Consciousness Hypothesis）所產生的行為敏銳度。她會透過底片相機捕捉身邊微小且稍縱即逝的瞬間，包含城市與自然的紋理，再將攝影碎片嵌入材料之中，透過重新合成、對空間與材料進行重組，引導人們思索與週邊環境的關係。
Xuanlynn Wang’s artistic practice is grounded in photography, material processes, and a performative sensitivity informed by the “Environmental Consciousness Hypothesis.” Using analogue film photography, she captures fleeting and subtle moments in her surroundings, including the textures of both urban and natural environments. These photographic fragments are then embedded into material forms, which are subsequently reassembled—through the recomposition of space and material—encouraging reflection on one’s relationship with the surrounding environment.
➤ Xuanlynn Wang _“Fragmented, Dense, Dim” _ Inkjet Print, Awagami Paper, Wax, Aluminium. _ 30 x 9 x 1 cm. Photography by Guinness Vanhellemont
她將環境視為無形且無處不在的元素，主動且持續地將微小影響滲入感官，形塑人們的感知。她的作品透過獨特的視覺語言，引導觀者反思有機世界的內在之美，以及我們在無意識中與環境深層的連結。
She regards the environment as an invisible and omnipresent element that continuously permeates the senses, subtly shaping perception. Through a distinctive visual language, her works invite viewers to reflect on the intrinsic beauty of the organic world, as well as the deeper, often unconscious connections that bind us to our environment.
➤ Xuanlynn Wang “Layered, Decaying, Rusting, Captured I,II,III” _ Inkjet Print, Paper, Paper tape _ 30 x 40 cm. Photography by Guinness Vanhellemont
➤ Xuanlynn Wang “Layered, Decaying, Rusting, Captured I” _ Inkjet Print, Paper, Paper tape _ 30 x 40 cm. Photography by Guinness Vanhellemont
與身體同步脈動之後
After the Pulse of the Body
兩人的作品皆試圖透過觸覺工序與材料實驗，突破日常感知經驗之侷限，進而建立一個介於未知與試探的過渡空間。當人們安靜的推門走入，經由直覺、未定義的方式感受作品，這段流淌於內在意識的時光或許已然悄悄移動過往觀看世界的視角。在未來的某個時刻，驚喜將於偶然間浮現。
Together, the works of both artists seek to transcend the limitations of everyday perceptual experience through tactile processes and material experimentation, establishing an intermediate space between the unknown and the tentative. As visitors quietly step inside and encounter the works through intuitive and undefined means, this passage of time flowing within inner consciousness may already have subtly shifted one’s perspective on how the world is perceived. At a certain moment in the future, a sense of surprise may quietly emerge.
➤ Xuanlynn Wang “Aged, Worn, Mottled” _ Inkjet Print, Awagami Paper, Wax, Aluminium. _ 30 x 40 x 3 cm. Photography by Guinness Vanhellemont
