2015 ART TAIPEI 台北國際藝術博覽會

2015.10.19 – 2015.11.02

地點Venue: 台北世貿展覽一館(台北市信義路5段5號)

展位Booth:

1. 藝術畫廊展區 D30

藝術家: 李光裕LEE Kuang-Yu、鄧卜君TENG Pu-Chun、周慶輝CHOU Ching hui、許雨仁HSU Yu-Jen、霍剛HO Kan、廖鴻興LIAO Hong-Xing、徐畢華HSU Pi-Hua、蔡士弘TSAI Shih-Hung

2. 藝術前線 F03:

張暉明CHANG Ming Huei、廖祈羽 LIAO Chi Yu

3. 公共藝術區 PA-6:

焦興濤Jiao Xin Tao

今年Art Taipei 2015,「采泥藝術」所策劃的展覽主題與推薦藝術家皆獲入選,分別參加「公共藝術計劃特區」、「藝術前線」及「經典畫廊」三個展區,展現畫廊致力於華人藝術的經營成果。「公共藝術計劃特區」展出大陸知名雕塑家暨四川美院雕塑系系主任焦興濤最新作品「在藝起」。本件作品亦將於「臺北101北方廣場」同步盛大展出。焦興濤以色彩明快的凳子進行創作,看似平凡,實則由青銅鑄成,日常物件經由藝術家的轉化創造了驚喜。「藝術前線」展區則展出由台灣備受矚目的新生代藝術家張暉明、廖祈羽所共同策劃的”MimiLucy”創作計劃,以錄像、複合裝置、數位攝影等形式,探究創作者在現實與虛擬的雙重關係,和影像在生活不可逆現實中所具有的可能性。

「經典畫廊」展區則聚焦「當代水墨」主題,展出知名水墨家許雨仁、鄧卜君、廖鴻興的作品,透過作品的「粗獷極簡」、「暈染詩意」或「魔幻寫實」風格,帶領觀者探索東方水墨所體現的人文內涵與內在超越。台灣知名雕塑家李光裕兩件最新大型作品「心子」、「忘樂」的首次展出,也是本展一大亮點。李光裕以片狀造型結構建構虛實空間的交錯,開創個人創作風格的新頁。線性的流動感賦予對象姿態更為鮮明,母子舉手投足流淌著的幸福美好,親情感動直抵觀者內心。李光裕今年亦屢獲國際邀展,先後參加威尼斯「Open18.國際雕塑裝置展」及紐約「當代當下—台灣藝術計劃」,其精湛的創作實力備受國際藝壇肯定。

【藝術家介紹】

About the Artists

李光裕 LEE Kuang-Yu

1954年生於台灣,70年代中期在台灣完成學院雕塑訓練後,負笈西班牙聖費南度皇家藝術學院及國立馬德里大學美術學院研習西方雕塑技法與理論,師承著名雕塑家托雷多。其創作在雕塑語言的基底層面,以「鏤空」等標誌性技法打開雕塑的封閉結構,形成獨特的「空」的形式、風格與觀念,呈現出一種物我兩忘的「東方空境」,不僅具有美學價值,亦蘊含對當下生命狀態的思考,具有當代的社會意義。曾受邀於紐約、威尼斯、西班牙、奧地利、日本、新加坡等全球多地舉行展覽。2017年,李光裕受到聖馬利諾國家館的邀請,於威尼斯雙年展舉辦「有無之際-李光裕大型個展」。台灣三大美術館包括台北市立美術館、國立台灣美術館及高雄市立美術館典藏其多件作品。台大醫院捷運站、市民大道及高雄大學亦可見其多件大型公共藝術作品。

Lee Kuang-Yu was born in 1954 in Taiwan. Following graduation in Taiwan in 1975 , he went to Spain to study western sculptural technique and theory in Real Academia de Bellas Artes de San Fernando and Universidad Complutense de Madrid respectively and studied with celebrated sculptor Toledo. On the level of sculptural language, his work opens up the enclosed structure of sculpture with his characteristic techniques. It creates the unique form, style, and concept of the “void,” and demonstrates “the concept of silent void in the Oriental culture” that embodies the state of unifying the object and the self. It not only displays aesthetic values but also reveals the artist’s contemplation on the state of life at that moment, conveying contemporary social implications. His work has previously been exhibited in New York, Venice, Spain, Austria, Japan and Singapore. This year, Lee was invited by the National Pavilion of San Marino to hold the exhibition To Have and Have Not in 2017 Venice Biennale. His works can be seen in the public spaces or National Taiwan University Hospital MRT station, on Civic Boulevard, and at National University of Kaohsiung. Within Taiwan, three major galleries have collected many of his works.

鄧卜君 TENG Pu-Chun

鄧卜君,1957年生於台灣,1984年畢業於國立藝專(現今台灣藝術大學的前身)。自小從父親的工作中耳濡目染,經常觀察石才的紋理與樹種的構造,讓他在剛硬的肌理中敏感的感受隱藏的細節。生性傲骨,敏銳早熟,學校的教育對他而言只是過程而不是學習的目標,畢業後也不戀棧台北的藝術生活,自得其樂生活在東台灣,享受自然無拘束的生活。

鄧卜君長期以水墨創作,卻不拘泥於唐、宋、元、明的水墨筆畫基礎,畫中的林木山水或者是超乎現實的景觀挪移與多重視點都是他跳脫傳統水墨,自成一格的氣派,有別於文人雅士的風雅,多了個人的瀟灑。尤其他所自創的「搓點皴」成就了現代魔幻水墨語彙。鄧卜君的水墨筆法細膩精緻,純粹中帶有娟秀,但是卻又具有卓然大氣,雖然多以山、水、樹建構渾然天成的古樸景致,在奇幻迷離的視感中更超越眼界所見的山水意象,以超乎現實之境成為迷幻的當代山水意境。

Teng Pu-Chun was born in Taiwan in 1957. He graduated from National Taiwan Academy of Arts (now National Taiwan University of Arts). Because of his father’s profession, Teng often observed patterns of stones and structures of trees since childhood, which gave him the sensitivity to perceive hidden details in solid texture. Unyielding, sharp and mature at an early age, Teng considered academic education a part of the learning process rather than the goal. After graduation, he bid farewell to the art circle in Taipei and has built a joyful life in eastern Taiwan to enjoy unfettered freedom.

The artist has been creating ink paintings for a long time. However, he does not confine himself to the artistic traditions of the Tang, Song, Yuan, and Ming dynasties. His ink landscape that appropriates realistic scenes with multiple perspectives demonstrates his unique style and sets him apart from traditional ink art. Different from the elegance embodied by traditional literati painters, his work displays a sense of individual carefreeness; in particular, the unique technique of “rolled wrinkle strokes” created by himself has formed a unique vocabulary of modern magical ink painting. Teng’s work is created with refined and remarkable skills. Pure and delicate, his paintings demonstrate unexpected majesticness. Although the artist mainly portrays natural scenes of mountains, waters and trees in an archaic atmosphere, his fantastical and illusory representation seems to transport viewers to a surreal, magical realm of contemporary landscape beyond what is seen by the naked eyes.

周慶輝CHOU Ching-hui

生於1965年,畢業於世界新聞專科學校,退伍後進入媒體工作,之後並開啓了幾個窮年耗月的專題攝影計畫,包括:「停格的歲月—痲瘋村紀事」(現稱為「行過幽谷」)、「消失的群像—勞動者紀事」、「野想—黃羊川計劃」等。早期攝影作品以「報導攝影」風格為主,以紀實且帶有詩意的影像語言,傳達個人對於主題人物的觀點與想法。「人的莊園」為個人首度以「編導式攝影」方式進行的創作主題,透過精緻細膩且色彩飽滿的影像,結合超現實的景境氛圍,開創個人獨特的攝影語境。周慶輝曾先後榮獲了「自立報系台灣新聞年度攝影獎」、「映像與時代—中華民國國際攝影藝術大展」的「報導類銀牌獎」、「台北攝影節報導類特別獎」、「金鼎獎」等榮譽獎項。同時,周慶輝也以攝影藝術家的身份多次受邀參加國際攝影大展,包括:「廣州國際攝影雙年展」、「香港攝影節━四度空間—兩岸四地當代攝影展」、「首屆長江國際影像雙年展」、「2014台北雙年展」、「陌生的亞洲—北京國際攝影雙年展」等。周慶輝希望自己成為一位用相機說故事的人,「我想讓影像如文字般,本身就能敘述故事」,每個看過圖片的人,如同聽他說完故事一般,自影像中得到豐富的感受。

Born in 1965 following graduation from Shih Hsin University, Chou devoted himself to both the efficiency-orientated news photography industry and to beginning several time-consuming specialists photography projects, including: Out of the Shadows, Vanishing Leagues: Images of Workers and Wild Aspirations: The Yellow Sheep River Project. His photographic works arise from social realities, and combine artistic representative techniques. Animal Farm was his first creative venture to make the switch from documentary photography to directed photography. Through delicately exquisite yet vibrantly colored images, he conjured a kind of hyper-real atmosphere, creating his own photographic language. Chou Ching-Hui has successively been awarded the Independence Post Group Annual Taiwan News Award, a silver medal in the Reportage category at the ROC International Photography Art Exhibition, the Taipei Photography Festival Reportage Photography Award Gold Medal among other honours, and has been invited to participate in international photography exhibitions many times. These include Sightings: Searching for the Truth – 2009 Guangzhou Photo Biennial Exhibition, Four Dimensions – Contemporary Photography from Mainland China, Hong Kong, Taiwan & Macau, The First Yangtze International Photography & Video Biennale, the 2014 Taipei Biennale and Unfamiliar Asia—The Second Beijing Photo Biennale. Chou Ching-Hui wishes to use his camera to tell stories. “I want to make images that, just like words, relate stories by their very nature.” He hopes that everyone who sees his pictures gains a rich feeling from the images, just as if they had heard him tell a story.

許雨仁HSU Yu-Jen

1951年出生於台灣,1975年畢業於國立藝專。在其創作生涯中,許雨仁突破水墨畫原本的框架,以個人的鮮明風格獨步藝壇。擅用幾何造型組成水墨的基本構圖,從舊有筆法中開創嶄新的表現與思維方式,以極簡卻粗獷有力的視感體現不容侵犯的生存場域,蘊含生生不息的生命能量,傳遞個人內在意志、生命視域,以及對於生存環境的思考與反省。許雨仁的「細筆系列」,以類似素描感的剛硬細筆畫點與短小的斷線構成,完全使用乾墨入筆; 而「粗筆系列」則為寫意水墨的體現,刻意打破過往架構,使用了少見的狹長直幅的構圖方式,呈現出傳統水墨所無法獲致的現代感;「彩墨系列」以豐富的色與彩之間型塑台灣氣候與地理的潤澤與豐饒;「彩筆系列」則將水墨與油畫結合,即保留了油畫的質感與色彩的表現力,又保留了筆墨的尖銳與細膩,表現了色彩與形體融入自然的蓬勃與活力。許雨仁對於細筆、粗筆、彩筆、彩墨的四種筆法有其原創性的貢獻,並以構圖的奇崛與極端的變形,讓筆墨獲得了現代性審美的個體品格與深沉情韻。作品曾多次於科隆、香港、北京、上海、臺北等地展出。美國、香港、台灣等多所美術館皆收藏其作品。

Hsu was born in Taiwan in 1951, graduating from the National Academy of Arts in 1975. In a creative career almost 30 years long, Hsu has broken through the existing boundaries of ink painting and is adept at using geometric patterns for the basic composition of his paintings. From old brush technique he developed a new way of expressing and thinking, with a minimalist but uninhibited and powerful visual sense expressing a domain of existence space that cannot be infringed on, implying endless life energy; with the precondition of freedom and liberation, he conveys his personal inner will, life horizon and his thoughts and reflections with regards the environment in which he exists. Hsu Yu-Jen’s Thin-brush Ink Painting Series adopts solid dots and short, fragmented lines painted with thin brush and dry ink, which are reminiscent of sketch drawings. His Rough-brush Ink Painting Series, on the other hand, adopts the method of freehand ink painting, and replaces the traditional ink painting structure by employing a rarely seen composition of long, vertical form to demonstrate a contemporary quality unseen in that traditional ink painting. The Aquarene Painting Series employs rich colors to portray Taiwan’s lush and ample climatic and geological features. Besides, Hsu Yu-Jen’s Color Painting Series reveals an integration of ink and oil painting, preserving the texture and expressive colors of oil paintings while retaining the sharp and exquisite characteristics of ink painting. In the unique and extreme transfiguration in Hsu’s composition, his ink painting has gained individual characteristics and a profound charm of modern aesthetics. Hsu’s works have been shown on many occasions in places including Cologne, Hong Kong, Beijing, Shanghai, and Taipei and his works are in collections in many art museums, including ones in the US, Hong Kong and Taiwan.

霍剛Ho Kan

1932年生於中國南京,曾遠赴米蘭50年,現定居於台北。曾師事「台灣現代藝術導師」李仲生學習現代藝術,思想畫藝受其影響至為深遠。1956年,霍剛與李元佳、吳昊、歐陽文苑、夏陽、蕭勤、陳道明、蕭明賢組成「東方畫會」,對於台灣美術現代化具有相當影響力。

1964年前往義大利米蘭,作品受到硬邊抽象等西方藝術概念影響,結合東方書法、金石印刻等創作元素,以極簡且饒富詩意的語言發展出特有的東方抽象。其抽象語法以「減法」運行,簡約也蘊含詩意,建構了一個更具包容性的抽象世界,也呼應東方哲理主張萬物相容再生、孕育無限。2016年於臺北市立美術館舉辦個人大型展覽「寂弦激韻」,作品亦曾於義大利、瑞士、台灣、中國等多國展出。

Born in Nanjing, China in 1932, Ho Kan lived in Milan, Italy for fifty years, and now lives in Taipei. He studied modern art under “the master of Taiwanese modern art,” Lee Chun-Shan, whose thinking and artistic techniques had a great and lasting impact on him. In 1956, Ho and other seven artists, including Li Yuan-Chia, Wu Hao, Oyan Wenyung, Hsia Yan, Hsiao Chin, Tommy Chen, Hsiao Ming-Hsien, co-founded “Ton Fan Art Group,” which was extremely influential to the development of modern art in Taiwan.

In 1964, the artist travelled to Milan. Influenced by Western artistic concepts like hard-edge abstraction, Ho incorporated Eastern elements such as calligraphy and seal carving to develop his unique Eastern abstract painting that was minimalistic yet rich in poetic expression. Ho introduced the method of reduction in his abstract ar t, rendering it minimalistic as well as poetic. He has constructed a more inclusive abstract world; it responds to the oriental philosophical idea that all things are mutually embracing and nurturing, which, in turn, gives birth to an infinite world. In 2016, the Taipei Fine Arts Museum presented the artist’s large-scale solo exhibition, Reverberations–HO KAN. His work has been exhibited in Italy, Switzerland, Taiwan, China, etc.

廖鴻興 LIAO Hong-xing

廖鴻興平日喜讀詩書,及鑽研藝理書論,廣臨歷代碑帖,具有深厚而紮實的水墨基礎及詩書藝理之資,故其作品亦經常呈現「詩中有畫,畫中有詩」之面貌。綜覽廖鴻興作品,無論是大寫意;或工筆精鉤細染;或呈現古今中西合一之貌,作品風格變幻雖多,卻始終秉持著「盡心當下」及「誠敬」的精神為原則。喜悅自在、虔誠狂熱的作畫態度,讓他在古往今來之中,創造出屬於個人獨特的藝術美感。

Liao Hong-xing is an avid reader of poetry and books on aesthetic theory, studies historical stone inscriptions, possesses a deep and solid foundation in ink painting and the aesthetic principles of the Book of Songs. For these reasons his works frequently display a characteristic quality of “painting in poetry, poetry in painting”. In exhibitions of Liao Hong-xing’s works, in his profusion of styles one can always find a thoroughgoing spirit of “striving for immediacy” and “sincere veneration”, no matter whether the work is freehand, or a piece done in gongbi realist technique, or is an amalgam of Chinese and western styles. Unconstrained joy and a zeal for painting is the basis of an individual aesthetic sensibility rooted in the traditions of the present and the ancient past.

徐畢華 HSU Pi-Hua

徐畢華,父母來自中國福建,1957年生於台灣, 1979政大教育系畢業,在福爾摩沙的好山好水好文化薰陶下,涵泳出她樂天知命的靈性氣質。1987負笈美國,在加州柏克來大學藝研所主修藝術史,1989又前往波士頓美術館學院主修繪畫。
1993歐美歸國後,簡居台北半山,「自然山水是她的修行導師,畫布與田園生活是她的修行道場」,是一位樂活的當代藝術行者!

其飽滿的創作心靈來自音樂、舞蹈、游泳、寫作、花道、色彩、冥想、自然山水、文化經典、、、等多方滋潤。卻以「減法」的創作與生活哲學「養」出她別具女性能量,與東方逸趣的「文人抽象畫」。 她善於活用周遭元素及西方媒材,色彩澄明,極富當代時尚思潮;用筆卻獨具中國的法書勁道及氣韻生動精神,更融合抽象表現主義、立體派及色域繪畫風格,在奔放、凝練之間收放自如,在動靜之間細微觀照「天、地、人」間之微妙聯結,作品流露出大器、逍遙、正向的能量。

1982首展迄今,個展數十回,並參展於紐約、巴黎、東京、首爾、台北、北京、上海、倫敦、比利時等國際大展。三十年的專業創作,如今以繪畫、跨界藝術、錄像、裝置,深得各界青睞與收藏。

Jessica Pi-Hua Hsu’s parents come from Fujien China, but she was born in Formosa, Taiwan in 1957. In 1979 she received her Degree in Education from National Cheng-Chi University, Taiwan. In 1987 she did graduate study in the History of Art at the University of California, Berkley, U.S.A. In 1989 she majored in painting at the Museum School of Fine Arts in Boston, U.S.A.

Hsu’s arts have multiple cultural visions that reflect both Eastern and Western aesthetic vigor, as well as traditional and contemporary sustenance. Hsu’s uninhibited creativity is inspired by music, dance, meditation, natural scenery, and classical culture. Her life philosophy and creative style which emphasizes “reduction” provides energy to her “literary abstract paintings” which are grand, carefree, and spacious.

Hsu is a prolific abstract artist who specializes in mixed media creation and cross-disciplinary collaboration. She often channels her originality through Chinese flower arrangement research , writing essays and poems on nature and humanity, and body art performance. Her work onsistently displays sophisticated execution of concept and exuberant passion for life. Her style contains western minimalism, bright colors, and the energetic rhythm of Chinese calligraphy..Her works are shown in many major international art fairs and exhibitions in Asia, U.S.A. and in Europe. Her paintings, cross-media artwork, and video media are highly valued and collected all over the world.

蔡士弘 TSAI Shih Hung

1979 年生於台灣,畢業於台北藝術大學研究所,十餘年創作生涯中獲獎無數,亦曾兩度 獲選代表國家赴洛杉磯與香港駐村創作。

藝評曾形容其畫作猶如「帶著哲思的詩,誨暗卻富深意」,他關切著當代生活中種種的 廢棄與虛無;擅長以旁觀者的姿態,以諷刺的方式來形塑被遺棄的邊緣感,也探索著真 假的界線。在幽默的作品表象下常帶有嚴肅的社會觀察,矛盾的對立性是其創作中的迷 人之處。

Tsai Shih-Hung was born in Taiwan in 1979. He holds an MFA from Taipei National University of the Arts, and has won various prizes and awards throughout his decade-long career. He has been twice selected to represent Taiwan for residencies in Los Angeles and Hong Kong.

An art critic once described his painting as “philosophical poetry, dark yet profound.” Paying attention to different outcast and empty existences in contemporary life, Tsai excels in delineating the sense of marginality of things abandoned and exploring the boundary between the real and the unreal. Beneath the humorous images of his work, he often delivers serious social observations. The conflicting opposition in his work is what makes it so captivating.

張暉明CHANG Ming Huei

對鏡像/影像、身體/空間/速度的研究與實驗,是其目前創作的主要內容。透過將物件特異化地加上高速震動的手法,試圖喚醒被忽略習慣的視覺能力之外,其震動及令人無法明確對焦的狀態,讓其進一步思考如何來表現動態影像中某些特質—時間與速度。不同於早期我們認知的動力藝術範疇,此震動並非要表現某些節奏、韻律與運動,其高速的震動已經單純化為一個視覺失焦狀態,並帶來特殊的時間與速度經驗;而此體驗,對比於平凡無奇的日常物件,更顯得令人著迷。

The main subject of my work is the investigation and experimentation of the relationship between mirrors, images, bodies, space and speed. Installing the high-speed motor on the objects is to revive the ignorant visual ability. Also the vibration and blur images caused by the high–speed motor urge me to think about how to represent the duration and speed, the two characteristics of moving images. Different from the category of Kinetic Art in early days, the vibration I create is not trying to represent tempos, rhythms or movements. It is simplified to be the status of losing focus and also brings the extraordinary experience of time and speed. This kind of experience just from an ordinary objects provide viewers more illusion.

廖祈羽 LIAO Chi Yu

1986 年生於台南,現居台北。是備受矚目的台灣錄像藝術家。畢業於台北藝術大學科 技藝術研究所,不僅多次入選「臺北美術獎」,也是 2010 年台北數位藝術獎音像類首 獎、2012 年台北數位藝術獎首獎;亦榮獲 2013 年立陶宛考納斯雙年展競賽評審團特別 獎肯定。

Born in Tainan in 1986, Liao Chi-Yu lives in Taipei now. Liao is a highly anticipated video artist in Taiwan. She holds an MFA in New Media Art from Taipei National University of the Arts. Liao has twice won the Judge’s Award of Taipei Arts Award. She also won the First Prize in Digital Audio-Visual Category of Taipei Digital Art Awards in 2010 and the First Prize of Taipei Digital Art Awards in 2012. In 2013, she was awarded the prize of Special Mention in UNITEXT- Kaunas Biennial, Lithuania.

作品曾赴德國、奧地利、葡萄牙、新加坡、中國、韓國等地展出。以錄像作為主要創作 媒介,擅於將現實生活的觀察,轉化為自己在影片中的種種角色扮演,藉此探討生命中 細膩複雜的感受。

Liao’s works have been shown in Germany, Austria, Portugal, Singapore, China, and Korea. With video as her chosen medium, she specializes in transforming her observations of real life into performances of role-play in her video works, through which she discusses the subtle yet complex feelings in life.

焦興濤 JIAO Xin Tao

1970 年生於中國四川成都,中國當代雕塑重要的 代表性藝術家之一。畢業於四川美術學院並獲碩 士學位,現任四川美院雕塑系教授。1999 年以廢 棄銅片焊接的作品《魂韻》得到第 9 屆全國美術 作品展覽銅獎,於中國藝壇嶄露頭角;2005 年 以 「愛馬仕領帶盒」為靈感的雕塑創作,在藝壇內 外都帶來廣大迴響;2008 年,以 38 歲之齡成為中 國最年輕的雕塑系主任,於學界與藝界皆有相當 程度的影響力,作品曾赴英國、荷蘭、瑞士、法國、 義大利、韓國等多國展出。

藝術與生活的關係,是他關切的議題,不僅教學 上力求讓藝術生活化,在創作上亦以日常物品 作為創作題材,以擬真作為創作語彙,曾言: 「做像現成品一樣的雕塑,是想表達『眼見不為 實』。」透過再現具有社會意涵的特定物品,焦 興濤讓觀者反思人與物之間的關係,亦使生活與 藝術融合為一。

藝術不僅僅是形式的冒險和視覺聯繫,觸動的遊 戲,它必須要和我們的日常經驗建立直接的聯繫 觸動人們最敏感部分的刺點。或許,在網絡和信 息氾濫的時代,藝術只有與公共性相聯繫,才有 可能重新成為今天社會化生活的主角。

Born in Chengdu, Sichuan, China in 1970, Jiao Xing Tao is one of the representative sculptors in China. He holds an MFA from Sichuan Fine Arts Institute, and is currently a professor at the Institute’s Department of Sculpture. In 1999, he won the Bronze Medal in the 9th National Art Exhibition with the work, Soul, Rhythm, which was made with disposed copper plates. The winning of the award marked an outstanding debut in the Chinese art scene. In 2005, his sculptures inspired by the Hermès tie box received highly positive feedback. In 2008, at the age of 38, he became the youngest chair of an academic institute’s sculpture department in China, making him remarkably influential in both academic and artistic circles. His works have been shown in various countries, including the UK, the Netherlands, Switzerland, France, Italy, and Korea.

Jiao pays attention to the relations between art and life. He not only strives to connect art and life in teaching, but also uses daily objects as his artistic subject and delineates them with realistic sculptural vocabulary. He once stated that “to create sculptures that resemble ready-made objects is to express the fact that ‘what we see might not always be real.'” By representing certain objects that carry social implications, he urges viewers to reflect upon the relationship between people and objects, merging life and art as one.

Art is not simply an adventure in form that triggers visual connection. To touch people’s heart, it must produce direct association with our everyday experiences in order to have an impact on the most sensitive part in people’s mind. Perhaps, in the age of the Internet and information explosion, art could only play a main part in the socialized living by rendering itself public.

李光裕 LEE Kuang-Yu 忘樂 Great Merriment, 169×123.5x237cm, 2015, 銅Bronze

鄧卜君Teng Pu-Chun, 抱山擁水石擎天Rock mountains and embraced by the water , 96x217cm,  2015, 紙上水墨Ink on paper

徐畢華HSU Pi-Hua , 飛瀑行書Flyinging Script in Waterfal , 130x97cm, 2015, 複合媒材、畫布 Mixed media on canvas

霍剛 Ho Kan , HK NO. 63, 132x162cm(x2)(L),   油彩、畫布 Oil on canvas 2015

周慶輝Chou Ching hui , 人的莊園 No.9 Animal Farm No.09, 194.25x148cm, 純棉無酸相片紙Inkjet Print  2014

張暉明Chang Ming Huei、廖祈羽 Liao Chi Yu , MimiLucy Portrait Mimi(Left) Lucy(Right),

數位攝影、壓克力水晶裱褙 digital photography, acrylic crystal backing , 各100x100cm, 2015

焦興濤Jiao Xin Tao , 在藝起Art Together , 銅、漆Bronze and Paint , 2015

 

展場照

Installation View