隱風景

Hidden Landscapes

誠品畫廊7月推出展覽「隱風景」，帶來顏妤庭、胡晴雯、黃至正、陳睿淵的作品。這4位都是出生於1985年後的藝術家，皆以水墨、膠彩為主要的創作媒材，從展出的25件近期作品可見到他們一方面承續媒材的傳統技巧，同時也對於媒材展開探索與實驗，並且將個人的感知經驗予以轉化，突破既有框架，繼而創造出別富當代特質的東方藝術新美學。

In July, ESLITE GALLERY proudly presents “Hidden Landscapes”, a joint exhibition featuring the works of YEN Yu-Ting, HU Ching Wen, HUANG Chih Cheng, and TAN Jui Wen. All four artists, born post-1985, primarily engage in ink wash and Asian gouache in their artistic practices. The exhibition showcases 25 of their recent pieces that blend traditional techniques and bold experimentations with mediums. They channel their personal sensory experiences to transcend established norms, crafting distinct contemporary Eastern artistic aesthetics.

顏妤庭1989年生於台北，台北藝術大學美術創作碩士班畢業，主要以水墨作為當代生活經驗的對話與再詮釋。有感於當代社會資訊爆炸，人們顯現感官負載過度、心理脫序的狀態。這次展出5件作品是從網絡媒體蒐集靈感，把新聞傳播的文字、圖像等敘事加以重組，藉由書寫和繪畫不斷地交織，建構出層疊墨色、充滿壓迫感的內在空間，傳達當代社會的集體焦慮與躁動感。繪畫之外，顏妤庭也從事陶瓷雕塑創作，以此延伸並探索不同面向創作的表現性。

YEN Yu-Ting, born in Taipei in 1989, earned her MFA in Artistic Creation at the Taipei National University of the Arts. She predominantly uses ink wash to explore and reinterpret contemporary life experiences. In the face of information explosion in today’s society, signs of sensory overload and psychological disorders are becoming increasingly evident. The 5 artworks on display draw inspiration from Internet media, repurposing the narrative elements of news dissemination, such as text and images. The intertwining of writing and painting builds a dense, layered inner space in ink wash that exudes oppression and speaks to the pervasive anxiety and restlessness nowadays. In addition to painting, YEN also practices pottery sculpture, broadening her exploration into various facets of creative expression. 

➤ 顏妤庭，扭結，2024，水墨／紙本，78 x 60 cm YEN Yu-Ting, Knot, 2024, Ink on paper, 78 x 60 cm

這次參展者中最年輕的胡晴雯1999年生於高雄，目前就讀台北藝術大學美術學系碩士班水墨組，也擅於膠彩創作。這次展出6件作品表現光影流動。映照在萬物表面的光影變化，是胡晴雯日常觀察的對象，然而，中國水墨鮮少討論光影。為了表現光的紋理，胡晴雯使用水墨創作材料之一的銀箔，借用其金屬質地來表現光的存在之外，還利用硫磺水與銀箔產生交互作用，產生線條、筆觸般的效果，此外，銀箔易氧化，緩慢地變化就像是時間在畫面留下了軌跡。

HU Ching Wen, the youngest artist in this exhibition, was born in 1999 in Kaohsiung. She is currently pursuing her MFA in Chinese Ink Painting at the Taipei National University of the Arts and is also proficient in Asian gouache techniques. The six works featured explore the dance of light and shadow. HU closely observes the variations in light and shadow cast across various surfaces as part of her daily routine. Yet, traditional Chinese ink paintings seldom delve into the nuances of light and shadow. To capture the texture of light, HU incorporates silver foil, a material used in ink wash, utilizing its metallic quality to represent light’s presence. She also interacts with the silver foil using sulfur water to achieve effects akin to lines and brushstrokes. Moreover, the propensity of silver foil to oxidize allows it to evolve subtly over time, marking the passage of time within her pieces.

黃至正1988年生於苗栗，高雄人，東海大學美術研究所創作組畢業。受到東海美術系膠彩、水墨訓練的影響，常以金屬箔為基底材、加上墨水、棉線、影像等複合媒材演繹表現的多樣性，關注議題包括家族史、生死、情慾展演等。這次展出7件作品涵蓋「巢」、「蘆笛」和「搖籃」系列，他以樹枝築巢比喻家庭關係的緊密與脆弱；後兩個系列的圖像則源自現實與AI生成的影像交織，在真實和虛擬的邊界遊走，透過墨水在銀箔層層堆疊，和反覆加濕、繪畫、擦拭後終至完成的步驟，縱使虛擬的影像，最後也成了現實世界的一道風景。

HUANG Chih Cheng, born in Miaoli in 1988 and raised in Kaohsiung, earned his master’s in Artistic Creation from the Department of Fine Arts at Tunghai University. Influenced by his training in Asian gouache and ink painting at Tunghai, he often uses metal foil as the base material, combining it with a mix of ink, cotton thread, and images to express diversity in his works. The themes he focuses on include family history, life and death, and the display of desires. This exhibition includes seven pieces from his Nest, Reed Flute, and Cradle series. He constructs twig nests as a symbol of the intimacy and delicacy of family ties. The visuals for the latter two series blend reality with AI-generated imagery, blurring the line between reality and the virtual. Layering ink on silver foil and undergoing a process of moistening, painting, and wiping, even a “virtual” image becomes a scene of the real world.

陳睿淵是馬來西亞華僑，1989年生於麻六甲，來台就讀美術系，畢業於東海美術系研究所。這次展出7件畫作看似油畫，實則為膠彩畫。陳睿淵先以攝影拍攝日常所見的建築物，他特別偏好暮色之際，漸弱的光線和亮起的街燈帶來的魔幻感。之後，將建築的輪廓以複寫方式在紙上堆砌出來，再以金屬箔和礦物顏料層層薄染，再現失焦、飛逝、搖曳不定的身體感知與視覺經驗，外在景致就像映照在視網膜上的幻景，又如海市蜃樓般無法企及。這4位年輕藝術家均致力於水墨、膠彩創作的探究與實驗，他們細膩又豐沛的想像力，也為我們揭示東方傳統媒材立基於當代的無盡可能。

TAN Jui Wen, a Malaysian Chinese, was born in Malacca in 1989. He moved to Taiwan to study, where he graduated from the Department of Fine Arts at Tunghai University. The exhibition showcases seven artworks that resemble oil paintings, but are actually crafted with Asian gouache techniques. TAN first uses photography to capture the buildings he encounters in his daily life, particularly drawn to the ephemeral beauty of the fading light and glowing street lamps during dusk. Afterward, he replicates the building’s outline on paper and subtly layers it with metal foil and mineral pigments, creating a blurred, transient, and unpredictable sensory and visual experience. The external scenery seems like a mirage imprinted on the retina, yet elusive and beyond reach. These four young artists push the boundaries of ink wash and Asian gouache—their rich and delicate imagination unveils the limitless possibilities of contemporary Eastern traditional materials.  

➤ 陳睿淵，暮照 V，2024，礦物顏料、壓克力顏料／鳥之子紙，65 × 53 cm TAN Jui Wen, Twilight V, 2024, Mineral pigments and acrylic on paper, 65 × 53 cm

2024年7月13日～8月10日

誠品畫廊