Pulman於2019年冬天周遊中國東北地區，恰在新冠肺炎疫情爆發前夕抵達台灣，近2年繪畫主題《谷關系列》靈感來自於Pulman和藝術家王淑鈴(Suling WANG)偕同探索台灣中部群山時，遇到一群在大甲溪游泳、釣魚和休憩的人群。Pulman在這些人的刺青圖騰中看見與岩層之間靜默的對話關係，Pulman生活於紐約期間，曾於新表現主義藝術家朱利安·許納貝(Julian Schnabel)工作室擔任助手，此經歷間接影響了Pulman發展出一系列顏料混和複合媒材的厚塗繪畫(impasto painting)，過程中Pulman在二維的畫布上反覆研究，將蜿蜒起伏的岩層轉化為有機的三維立體結構，Pulman將山腳下的人群的刺青以豐富的色彩和筆觸層層堆疊，將谷關的溪水潺潺與岩層肌理巧妙的透過抽象的線條與人物融合照應，形成《谷關系列》中壯麗的自然景觀。Pulman的作品曾參與西班牙及英國城市巡迴展覽，包含英國蘭卡斯特Storey 畫廊、威爾斯Wrexham Memorial皇家 畫廊、挪威斯塔萬格Galeri Winther、英國倫敦Royal Academy。Pulman於土耳其、馬其頓、中國等地旅行時亦創作不輟，曾於當地進行繪畫、素描和裝置作品。
Daniel Pulman (b. 1975) was born in Manchester, UK, and received his master’s degree in painting from the Royal College of Art, UK in 1999. He has lived London, Paris, New York and Taichung, and has spent the last few years travelling extensively in China, Japan, South Korea and Taiwan. He specializes in visualizing his observation, perception and memory of natural landscape and cultural characteristics of different places through painting the everyday life of ordinary people. Drawing upon the 19th-century European tradition of figurative and landscape painting, his style demonstrates a mastery of Western oil painting techniques, as well as new interpretations of the three-dimensional and the abstract through the use of lines and colors in figurative themes. Futhermore, influenced by Eastern art and culture, Pulman’s work displays an amalgamation of refined Western painting methodologies and Eastern humanistic landscape.
After spending the winter of 2019 in North East China, Pulman returned to Taiwan on the eve of the pandemic. The works in this exhibition were developed over the last two years in his studio in a small rural township on the outskirts of Taichung. For The Bathers of Guguan series, Pulman draws inspiration from observing scenes of a group of people swimming, fishing and resting on Dajia River when he was on a hiking trip with his partner in life and artist Suling WANG in the mountains in central Taiwan. In Pulman’s eyes, the tattoos on the people’s bodies form a silent dialogue with rock formation a crumbling cliff face.
When Pulman was living in New York, he worked as an assistant at the art studio of the Neo-expressionist painter Julian Schnabel. This experience, in an indirect way, has influenced Pulman’s sculptural approach to painting, which employs impasto painting created by blending paint and mixed media. Throughout the process of making The Bathers of Guguan, Pulman gradually modifies the surface of the flat canvas to convert rolling rock formation into organically three-dimensional structures. The tattoos of these figures at the base of the cliff face are delineated and emphasized through rich colors and heavily textured, built-up areas of paint, whereas the flowing river in Guguan and the natural rock strata seem to merge and echo each other ingeniously through abstract lines, forming the spectacular natural landscape in the painting series.