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➤ YANG Tzu Yi, Shadows in the Mountains, 2025, Ink on silk, 88 x 140 cm
繭之詩
Poetry of the Cocoon
誠品畫廊蛇年開春展覽「繭之詩」2月8日登場，將展出日本藝術家北川宏人與台灣藝術家李明剛、楊子逸、潘麒方、李秉璈，以及香港出生的藝術家張柏林等6位的作品，涵蓋赤陶雕塑、油彩、壓克力顏料、水墨等媒材，他們的作品猶如映照當代生活的鏡子，透過日常的肖像、風景的重建等，揭示當代社會的碎裂感及網路世界的流動性，呈顯人際之間若即若離的疏離感之外，也傳達了無可名狀的內在感性。
ESLITE GALLERY is delighted to present its first exhibition in the Year of the Snake, Poetry of the Cocoon, which opens on February 8. The exhibition features the works of six artists—Japanese artist Hiroto KITAGAWA, Taiwanese artists LEE Ming Kang, YANG Tzu Yi, PAN Chi-Fang, and Bing-Ao LI, and Hong Kong-born artist Ringo CHEUNG—and sees diverse materials such as terracotta sculptures, oil paints, acrylics, and ink. Through daily portraits and reconstructed landscapes, these artworks explore the fragmented nature of contemporary society and the fluidity of the cyber world, revealing the elusive emotional distance between individuals while evoking an ineffable inner sensibility.
楊子逸（b.1992）是台灣藝術大學書畫藝術研究所碩士，以水墨為媒材，「山水」為創作發展的前奏。他的「山水」是以塊面狀為主要基調，繪製出獨樹一格的「自然」，透過墨於宣紙上的寫意和流動暈染，審視物我之間的關係。在經歷磨墨、繃絹、單色墨塊反覆疊加，最後填於上礬的絹布之上的流程後，當觀者凝視著這些塊狀物時，彷彿能穿透表象探見背後的真實，不為表層所蒙蔽，也探討眼見與心視之間的差異。
YANG Tzu Yi (b. 1992) holds a master's degree from the Department of Painting and Calligraphy Arts at the National Taiwan University of Arts. With ink as a medium, YANG draws inspiration from "landscapes", using them as a starting point for creative exploration and development. His "landscape" art is characterized by block-like forms, crafting a distinctive interpretation of "nature." Through expressive ink and fluid blots on xuan paper, he examines the relationship between the external world and the self. Through the meticulous processes of grinding ink, stretching silk, and layering monochrome ink blocks, he applies his creations onto alum-treated silk. When viewers gaze at these blocks, they are invited to look beyond the surface and uncover the truths that lie beneath. This experience challenges them to distinguish between what is seen with the eyes and what is perceived by the mind.
➤ Hiroto KITAGAWA, Kikuyo Shina, 2010, Acrylic on terracotta,158 x 38 x 25 cm
以人物雕塑聞名的北川宏人（b.1967）生於滋賀縣大津市，利用陶土捏塑的人物身形拉長至他心目中的理想美比例，既有西方雕塑的古典氣質，又兼具日本動漫美學的風格，儘管這些人物擁有時尚的外表，神情卻都透露著一股憂鬱疏離的茫然，刻畫出泡沫經濟下日本青年的無奈和苦悶。
Hiroto KITAGAWA (b. 1967), renowned for his sculptures of human figures, was born in 1967 in Ōtsu City, Shiga Prefecture in Japan. Using clay as his medium, he elongates human forms to achieve his ideal aesthetic proportions, blending the classical essence of Western sculpture with the distinctive style of Japanese anime aesthetics. While his figures often exude a fashionable appeal, their expressions emanate a sense of melancholy and detachment, poignantly reflecting the helplessness and frustration experienced by Japanese youth under the bubble economy.
➤ LEE Ming Kang, Punch in Page, 2024, Acrylic on canvas, 50 x 50 cm
李明剛（b.1987）畢業於台灣師範大學美術創作研究所，其創作核心是空間記憶的探索與重構，這次展出疫情期間（2022年）至今的繪畫作品。李明剛以掃描、拼貼和去背等手法，擷取生活場景的片段，將其轉化為介於現實和虛擬間充滿流動性敘事的感知場域，誠如人們透過網路和迷因獲取認知與共鳴，在虛實交錯的視覺空間裡，既反映當代生活的碎裂，也提出新的繪畫語言建立的可能性。
LEE Ming Kang (b. 1987), who earned his master's in art creation at the National Taiwan Normal University, centers his artistic practice on the exploration and reconstruction of spatial memory. This exhibition presents a number of paintings created from 2022, during the pandemic, to the present. LEE employs techniques such as scanning, collage, and background removal to capture fragments of everyday scenes, reshaping them into a sensory realm that hovers between reality and virtuality, enriched with fluid narratives. Much like the way individuals connect and find meaning through the Internet and memes, this liminal visual space—where reality and illusion intertwine—mirrors the fragmentation of contemporary life while suggesting the potential for creating a new visual language.
➤ Ringo CHEUNG, On Speed, 2023, Oil on paper, 51 x 36 cm
張柏林（b.1991）生於香港，澳洲皇家墨爾本理工學院純藝術文學學士，這次展出的作品涵蓋2019年至近期創作的肖像畫，其中人物多散發著聖人般的微弱光環。肖像畫是張柏林探討自我的多重投影，和對自身的觀察及反思的過程，特別彰顯人們被欲望牽控呈現出無力的痛苦與掙扎，他以反覆消抹、塗刮等手法，在畫中記錄和重構人們存在的心理狀態。
Ringo CHEUNG (b. 1991), born in Hong Kong, holds a B.A. in Fine Arts from the Royal Melbourne Institute of Technology, Australia. This exhibition displays portrait paintings created from 2019 to the present, many of which depict subjects radiating a faint saint-like aura. Portraits are CHEUNG's exploration of the multifaceted projections of the self, serving as a medium for self-observation and reflection. They particularly emphasize the helpless pain and inner struggles individuals face when consumed by desires. Utilizing techniques of repeated erasure and scraping, he encapsulates and reconstructs the psychological states of existence within his works.
➤ PAN Chi-Fang, Siamese Lucky Plant, 2024, Oil on canvas, 91 x 60 cm
潘麒方（b.1995）畢業於清華大學藝術與設計研究所，風景是他的繪畫主題，習於在尋常景物中挖掘出被化為氣味、記憶、印象和各種情緒等體驗，及其與景物間的連動關係。這次展出的近兩年畫作，他從回憶和感受出發，回憶總以清晰的姿態出現，卻又迅速消散，因而，他的創作也在清晰與曖昧的記憶間構築而成，成為可見事物的再延伸，以及「不被量化的感性」呈現，同時也藉以提出屬於這個時代風景畫的新見解。
PAN Chi-Fang (b. 1995), who earned his master's degree from the Graduate Institute of Art and Design at National Tsing Hua University, paints sceneries as his artistic pursuit. His works unveil ordinary scenes and transform them into sensory experiences—scents, memories, impressions, and emotions—while exploring their links with the surrounding environment. The works on display, created over the past two years, stem from memories and feelings. These memories emerge vividly but fade quickly, leading PAN to construct his art in the space between clarity and ambiguity. His creations become extensions of the visible and expressions of non-quantifiable sensibility; moreover, they provide fresh perspectives on contemporary landscape painting.
李秉璈（b.1998）目前就讀於台北藝術大學美術創作研究所，在展出2021年《壓馬路》與2024年的《想像藍海》等繪畫新作中，其靈感源自日常生活、網路社群和零星的記憶，從這片破碎的訊息之海捕捉資訊畫面，將它們置放或疊合在一起，創造出似曾相識的感受，就像網路視窗經常並置各種相關或者不相關的訊息。李秉璈在重新審視日常的過程中，也賦予繪畫另一層時代的含義。
Bing-Ao LI (b. 1998), currently pursuing his MFA at the Taipei National University of the Arts, finds inspiration in everyday life, online communities, and fragmented memories for his paintings, such as Wander (2021) and Imagine the Blue Ocean (2024). By capturing and layering imagery from the vast sea of digital messages, LI creates compositions that elicit a déjà vu vibe and echo how Internet browsing screens often display a mix of related and unrelated information. In re-examining the mundane, he infuses his paintings with an additional layer of contemporary significance.
