Future
Armageddon
Someday
目錄
Contents
Landscape and Memory by
Yeh Jen-Kun
A Kind of Nostalgia: Concerning Yeh Jen-Kun's Paintings by
4
6
Chuan Wei-Tzug
Art Works
15
Catalog
133
Biography
143
葉仁焜
風景與記憶 文
莊偉慈
一種鄉愁： 關於葉仁焜的繪畫 文
作 品 圖 錄
簡 歷
4 6 15 133 143
文
by
葉仁焜 Yeh Jen-Kun
風景與記憶 Landscape and Memory
In 2008, I began to create a series of landscape images that evoke memories of a city. Oftentimes, one’s recollection is not as accurate or precise as that of a picture; it is a general impression and feeling. Therefore, in my works I mostly create landscapes by simulating what lives in my memories through reconstructing and assembling. As for how I select city images, I tend to start from corners that are easily forgotten. Life experiences increase and constantly shift between city and country and visual experiences also gradually expand. This allows for my options to no longer be confined by the lost spaces of city centers. Still, I never stray away from the gargantuan man-made cement buildings and the spaces that they create. The pursuit of intrinsic emotions and its fragments are added to the images. In the depth of my remembrance, trailing the scent of time and following traces of memory, I painstakingly excavate pieces of memories that connect self and space. Similarly, time causes buildings to peel and pare, leaving behind vestiges of life and an ineffaceable vector that carries memories. I visualize a scene that belongs to my memories and, through my work, try to demonstrate the images in my mind that never cease to rearrange and form.
2008 年後，開始創作一系列關於城市記憶的風景圖像創作，對於風 景的記憶，往往不如照片般準確精細，而是一種大概的印象與感覺， 所以在作品中，大多以一種重建與拼湊的方式擬造記憶中相似的風 景，而城市圖像的選取，大部份以城市容易被遺忘的角落為出發點， 隨著生活經驗的增加，不斷的在城市與郊區間來回移動，視覺感受 慢慢地增加，使得取景不再侷限於市中心的失落空間，但是仍然不 脫離巨型人造水泥建築物以及其產生的空間。
畫面中再加入內在情感的追尋與斷片，尋着時間的氣味，嗅着記憶 中的蝶道，刻意地在記憶深處挖掘自我與空間的相互聯結的記憶， 如同因為時間造成建物的斑剝質感，留下不可抹滅的記憶載點，是 生命記憶中的痕跡，所以想像一個屬於自己回憶中的場景，試圖用 作品來呈現腦海中不斷組織的畫面。
由於是一個擬造記憶的場景，將其放置在一個虛假的憂藍時空下， 傳達寧靜與幽淡的氛圍，似乎隨時可以掉入回憶，嘗試讓觀者能感
When I place this simulated landscape of memories under the pretense of a gloomily blue time-space, the serenity and remoteness it conveys seems to lure the audience to fall back into the depth of memories. I attempt to make my audience feel the emotions I experienced when creating work. The temperature emanated by time slowly neutralizes the coldness emitted by great masses of buildings. The silent time-space and dim glimmer pits the anxiety and restlessness that arose in one’s heart against each other. In so doing, some obscure emotional experience is conveyed and the audience is challenged to recall similar or dissimilar memories.
受創作時的情緒狀態，而時間傳達出隱隱的溫度，慢慢淡化了大量 建築體所散發的冰冷，靜默的時空與幽暗的微光，讓內心萌發的不 安與躁動，相互牽制，傳達出某些隱晦的情感經驗，企圖讓觀者能 回想起是否相同的記憶。
我所關注的城市記憶，不同於大眾對於城市的印象，光滑的表皮抓 不住時間的蹤跡，刻意退卻光鮮亮麗的外衣，往城市角落探，如同 傾聽人的內心，那是我所認為最真實、切身、動人的生命記憶。
The memories of cities that I am concerned with differ from the impressions held by the masses. Smooth surfaces cannot grab onto the traces of time. I withdraw from neat and beautiful appearances in order to explore the corners of the city. This is just like listening to the innermost voices of one’s heart and is the memory that I believe to be most authentic, direct, and moving.
5
莊偉慈
by
Chuan Wei-Tzug
一種鄉愁： 關於葉仁焜的繪畫
文
A Kind of Nostalgia: Concerning Yeh Jen-Kun's Paintings
歷史的傳統媒材，但葉仁焜的創作從來就不是墨守
有所在，就學術背景而言，仍以東海大學所培育出
成規的描摩，他曾說，自學習水墨畫之初，即常常
來的藝術家居多，在技法與媒材的鑽研上亦少人能
使用複合媒材於畫面上以創造出不同的效果。無論
出其右，這使得眾人在談到當代的膠彩繪畫時，仍
是追求繪畫性的、物質性甚至於觸覺性的表現，在
聚焦於畢業於東海的年輕藝術家。然而在葉仁焜的
葉仁焜的創作中常常是與圖面上的視覺感具同等重
作品裡，他融合水墨、膠彩與其他媒材的創作方式，
要的地位。從這一點來進入葉仁焜的繪畫作品，我
無論在內容表現或是技巧形式的實驗方面，已跨越
們就不難理解何以在他的畫作中，除了清冷而杳無
了人們對於膠彩畫的認知，在當代繪畫中走出一條
人煙的城市空間，他在畫面上所創造出的質地，總
屬於自己的道路。
讓觀者著迷不已。
葉仁焜在技法上的實驗與創新，讓人想起膠彩畫從
立臺北藝術大學，在學院裡初學水墨，而至研究所
日治時期、戰後直到定名為止，其實有其特殊的歷
時期才開始用膠彩作畫。儘管手上使用的是具悠久
史背景。膠彩畫和水墨畫自進入 20 世紀之後，在藝
Amongst Taiwan’s new generation of painters, there is an abundance of those who employ Eastern gouache as their main medium. In terms of academic background, a large portion of these artists were educated at Tunghai University — a school that excels at the meticulous study of gouache techniques and mediums. Thus, when people speak of contemporary Eastern gouache painting, they chiefly focus on young artists who have graduated from this university. However, artist Yeh Jen-Kun has integrated ink and wash, gouache, along with various other mediums to create works that transcend what the masses perceive as Eastern gouache painting. In so doing, Yeh Jen-Kun has paved a path that belongs to no one else in the realm of contemporary painting.
painting and did not start using Eastern gouache until he attended graduate school. In spite of the long history of Eastern gouache as a traditional medium, Yeh’s ways of creating are never bound by conventional techniques. Yeh’s pursuit of artistry, honesty towards his subject matter, and the expression of his own touch are all as important as the strong visual presence that governs his work. If we were to dissect Yeh’s paintings from this point of view, it would not be difficult to understand why, beyond the bleak and deserted city spaces in his paintings, Yeh Jen-Kun never fails to create textures that mesmerize his audience.
Yeh Jen-Kun graduated from Chinese Culture University and later obtained his master’s degree from Taipei National University of the Arts. He initially studied ink and wash
A Kind of Nostalgia: Concerning Yeh Jen-Kun's Paintings
葉仁焜大學與研究所分別畢業自中國文化大學與國
一種鄉愁： 關於葉仁焜的繪畫
台灣新生代畫家中，以膠彩做為主要繪畫媒材者大
Yeh’s experimentation and innovation in technique call to mind a unique period of time in the historical background of Eastern gouache that occurred between the Japanese Ruling Era and the end of WWII. Since the beginning of the 20th century, it has been apparent that both Eastern gouache and ink and wash painting continue to collide with traditional
7
術思維上即明顯地於傳統與創新之間不斷衝撞，因
下發展出了獨特的風格，並影響到台灣的膠彩畫創
此若要了解葉仁焜作品中的當代特質，不能不從膠
作。而自膠彩畫隨著日本殖民時期傳入台灣，台灣
彩畫在台灣的歷史脈絡談起。
前輩畫家中的台展三少年郭雪湖、陳進和林玉山， 各留下不少精采作品傳世，然而膠彩畫自從傳入台
「膠彩畫」之名，是於 1977 年由台灣膠彩畫家林
灣、經由台灣畫家的重新詮釋後，除承襲現代日本
之助所定。在此之前膠彩畫曾被稱為「東洋畫」、
畫的風格與內涵，亦逐步形成了具有台灣地方特色
「日本畫」，究其在媒材上的演變歷史，可追溯到
的繪畫，無論是取材、內涵到光影表現，漸漸脫離
唐朝時的工筆重彩，以及在同時代傳入日本，而成
日本畫原本的樣貌，而形成屬於台灣膠彩畫獨有的
為大和畫、浮世繪最普遍使用的媒材。由於中國與
特色。事實上，膠彩畫早期在台灣的發展，即摒棄
日本在美術發展概念上的迥異，使得膠彩畫在日本
了臨摹而轉向注重寫實的特色，又或者如藝術家呂
的發展較中國更為成熟且具悠久的歷史。值得一提
鐵州，因具有深厚的水墨畫底子，因而在膠彩畫中
的是從狩野家族，尾形光琳等人早期的青綠風格到
嘗試將中國水墨畫中特有的留白，讓中國與日本畫
近代橫山大觀，膠彩畫在日本幾位重要藝術家的筆
交融，創造出新的風格。二戰後至今，台灣重要的
art and innovative thinking. Therefore, in order to fully comprehend the contemporary qualities of Yeh’s work, we must start from the history of Eastern gouache in Taiwan.
from an earlier era famed for his natural style, and modern artist Yokoyama Taikan. Eastern gouache acquired a unique style under the influence of a few pivotal Japanese artists. Such developments, in turn, influenced Taiwan’s gouache painting. Eastern gouache was introduced to Taiwan during the Japanese Ruling Era and influenced Taiwan’s earliest gouache artists, namely Kuo Hsueh Hu, Chen Chin, and Lin Yu Shan. The trio, also known as the ‘Three Youths of the Art Exhibition in Taiwan,’ bequeathed the world with their wonderful works. Since gouache was introduced to Taiwan and reinterpreted by Taiwanese artists, it not only inherited the style and content of Japanese paintings, but also evolved into paintings that embodied local characteristics of Taiwan. Eventually, the subject matter, content, even chiaroscuro of Taiwan’s gouache painting strayed away from its Japanese model and formed its own unique branch of gouache painting. In fact, the early development of gouache in Taiwan spurned the tradition of copying classic models
The term ‘Eastern gouache’ was established by Taiwanese gouache artist Lin Zhi Zhu in 1977; prior to which, gouache painting was known as ‘Eastern painting’ or ‘Japanese painting.’ The developmental history of Eastern gouache as a medium can be traced back to the heavy colors of the gongbi (meticulous brush craftsmanship) technique in Chinese painting during the Tang Dynasty. In the same period, gouache was introduced to Japan and became the most commonly employed medium for Yamato-e (a genre of Japanese painting ) and ukiyo-e ( Japanese woodblock printing ). Due to the disparate evolution of art history in China and Japan, Eastern gouache matured and was developed more fully in Japan. Names worthy of mentioning are the Kano family, Ogata Kōrin, an artist
的畫作多為描繪城市的空景，畫面中強烈銳利的線
元素，無論是從日常生活取材，或者重新詮釋古典
條、深邃的藍色以及無所不在的水泥建築，是其極
美學中的工筆重彩、青綠山水，甚至於戰後日本畫
具辨識度的元素。觀看葉仁焜的作品時，在未有任
的金箔使用，均讓觀者能清楚地看見膠彩畫自身在
何資訊背景的提點下，很難說清其在媒材類別上的
美學上、技法上的演進與辨證。由此觀之，膠彩畫
標籤，顯然在藝術家的創作概念中，使用何種媒材
在台灣，實際上是具有更為強烈的實驗性格，而創
做為繪畫的基礎並不是最重要的。無論是水墨或膠
作觀念也是與時俱進的。
彩，甚或是其他出現在畫面上的材質，一切的物質
一種鄉愁： 關於葉仁焜的繪畫
膠彩畫藝術家如陳壽彝、詹前裕更積極地吸納各種
都僅是為成就繪畫本身，而最終，這些融合各種元 素所組構起來的，才是藝術家心目中真正所呈現的
更往前推進一步，是從更為本質性的繪畫觀念而作
內涵。換言之，如何從物質層面去界定葉仁焜的畫
為出發點的。他融合了傳統水墨與膠彩畫的技法特
作，如何替他的作品貼上「正確的標籤」並不重要，
質，將屬於當代的藝術思維帶入作品中，發展出不
重要的是觀看繪畫本身，以及藝術家如何擷取與融
同於一般人所認知的膠彩與水墨作品。葉仁焜近年
合傳統水墨和膠彩畫的特質於一張畫裡，並且將自
and turned its focus to realism. Another example is artist Lu Tie Zhou, who received profound training in ink and wash painting and attempted to incorporate the creation of white spaces — a special technique in traditional Chinese painting — into his gouache work. Such an amalgamation of Chinese and Japanese painting methods generated a new style. After WWII, Taiwanese gouache artists, such as Chen Shou Yi and Zhan Qian Yu, began to keenly absorb all kinds of elements through various methods — from gaining inspiration from daily objects to reinterpreting the classic aesthetics of heavily colored gongbi paintings and traditional emerald mountains and blue skies. After the war, even gold foils were incorporated into Japanese painting. These developments allow viewers to bear clear witness to the evolution and expedition Eastern gouache had undergone, both aesthetically and technically. From this point of view, we may gather that Taiwan’s Eastern gouache is, in fact, strongly experimental and always abreast of time’s
developments. In the historical scheme of things, Yeh’s started his journey from an intrinsic notion of painting and pushed his method of Eastern gouache further as his ideolog y for creating evolved. Yeh Jen-Kun has fused techniques of traditional ink and wash painting with gouache. Further, he has also introduced a contemporary line of thinking into his works that result in artworks that stand out from what is commonly perceived as gouache and ink and wash painting. In Yeh’s recent body of works, he mostly depicts empty cities. Strong sharp lines, heavy shades of blue, and omnipresent concrete buildings are the elements that dominate these works and make them readily recognizable. If we were to view Yeh’s works without any background information, it would be difficult to identify the media he uses, making it apparent that the artist does not consider his materials as the most important element of his creation. Be it ink and wash
A Kind of Nostalgia: Concerning Yeh Jen-Kun's Paintings
就此歷史脈絡來看，葉仁焜的膠彩畫在創作觀念上
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身所感受到的當代社會氛圍投射於其中。
意起都市中許許多多人工建物的角落，它們雖然就 矗立在那裡，但卻帶給我一種遺世獨立的孤獨感。」
自 2008 年起，葉仁焜的作品開始大量描繪在生活
大概也因為如此，葉仁焜畫作中的空間，儘管似曾
中可觀察到的建築物，如〈想和你遇見的美好〉中
相識，但卻透著清冷而疏離的感受，而抽除掉了人
裡的建築，即在台灣北部三芝一帶可見到的飛碟屋；
的氣息，建物兀自存在於特定時空的姿態更為鮮明，
〈那天下午只有我一個人的游泳池〉、〈高架橋〉
葉仁焜不刻意指涉特定的時空，卻仍保留了建物給
等作所出現的建物同樣為日常生活隨處可見。關於
予觀者的熟悉感，這種近得比什麼都遠感受，讓葉
何以總在畫面中描繪都市中的建物，甚至於刻意以
仁焜的作品透著淡淡的超現實主義與夢境般的味
廢墟的姿態呈現？藝術家提到，水泥建築的質感對
道。
他而言一直有種特別的吸引力，這些建築物的尺度 巨大而寬廣，儘管是人造的、非自然的，然而看著
有趣的是，葉仁焜作品中這些撤除人跡的畫面，
看著久了竟也習慣起來。「特別是從外地到台北，
是否就能被直接指稱為廢墟呢？廢墟的概念除了
看到這些都市中的場景，在習慣之外，我也開始注
「無人」之外，還能有什麼樣的意涵？在繪畫的發
or gouache, or any other material that might appear on the canvas, all media serve simply to attain the final painting. Ultimately, the combined elements form the meaning that the artist truly wishes to express. In other words, defining Yeh’s paintings from a materialistic point of view or using the ‘correct label’ for his works is of no importance. What matters is for us to view the painting itself; to comprehend how the artist captures and merges traditional ink and wash into gouache; and, to project the emotions we experience in this contemporary society onto his works.
city buildings — especially in dilapidated condition — in his paintings? The artist explained that the texture of concrete buildings has always fascinated him. The buildings may be gigantic or artificial and unnatural. Yet, after some time, we grow accustomed to their presence. He stated, “Especially when traveling to Taipei from other parts of the country, apart from growing used to the buildings, I also noticed the many corners created by man-made spaces. The buildings simply stand erect, yet they bring about a feeling of remaining aloof from the rest of the world and a sense of isolation in me.” Perhaps it is because of this that, while the spaces featured in Yeh’s paintings seem familiar, they also emanate a certain coldness and alienation. After removing all human presence, it becomes clear that the buildings still exist in a specific time-space. Yeh Jen-Kun does not deliberately refer to any one time-space, yet his works retain a familiarity that is experienced by the viewers. This feeling of being so close but so far away exudes a subtly surrealistic and dream-
Since 2008, the majority of Yeh’s work has dealt with buildings we might observe in daily life. For example, the buildings we see in The Wonders I’d Like to Encounter with You are flying saucer-like houses in the Sanzhi township in Northern Taiwan; buildings depicted in Me, Only, At the Swimming Pool that Afternoon and Viaduct are also those we might see on a day to day basis. As for why he also depicts
觀者看到繪畫後所認知的結果才是真實的。在葉仁
匠 普 桑（Nicolas Poussin）、 羅 蘭（Claude Lorrain） 到
焜的畫裡面，如廢墟般的建築物的存在，回應的是
19 世紀畫家羅伯特（Hubert Robert），均分別曾將
現實生活中被忽略冷落的地方，是對於無法被留存
古代羅馬遺跡挪用於畫中，或專注廢墟建築場景的
的美好的憑弔。在他作品中那些細心染著層層水墨
描繪。至於攝影，當代則有美國攝影家費里曼（Ed
的布面或者一筆一筆堆疊的膠彩，其物質性所創造
Freeman）以加州廢棄的建築物為主體，拍攝都會中
出來的痕跡，都在回應著建築物與其所處空間的時
被邊緣化、被遺棄的建物。在繪畫的傳統中，廢墟
間性。那幾乎能引發觸覺感受的顏料效果，正是時
主題的出現除了抒情性的表現，通常也在於讚頌某
間作為一切見證者的證明，或者這麼說，它們就是
個理想時代（如緬懷古羅馬文化），又或者是作為
時間曾經經過所留下的痕跡。
一種鄉愁： 關於葉仁焜的繪畫
展史中，不乏對於廢墟主題的描繪，從法國古典巨
對時間流逝、對人為的摧毀文明的憑弔；廢墟的存 過去數年來，葉仁焜始終專心描繪著大都會所帶給
化的反思，對廢墟的迷戀可被視為一種特殊的鄉愁。
他的種種感受，冷清的、疏離的和充滿寂寥感的美，
希臘哲人柏拉圖認為，繪畫所表現的只是一種幻象，
在水泥般的灰與深邃的藍色中表露無遺。在他筆下，
like ambiance.
humans. The existence of ruins reaffirms the gifts that were bequeathed to us throughout the changing of times; it is also a type of retrospection on cultures. Thus, one’s captivation by ruins can be seen as a unique kind of nostalgia. Greek philosopher Plato believed that paintings can only present an illusion; it is the viewer’s resulting cognition that is real. In Yeh’s paintings, the ruin-like existences respond to the desolate spaces that have been neglected in real life and pay homage to the beauties that no longer remain. The carefully applied layers of ink and the gouache, laid on brushstroke by brushstroke, are mediums that produce marks, all of which correspond with the time in which the buildings exist along with the spaces that harbor them. The effect of the paint, which almost evokes a sense of touch, is proof that time has borne witness to what has passed; one might also say that the paint is the vestige of time.
An interesting question we might propose is: Can the scenes in Yeh’s paintings, scenes from which humans have been removed, be referred to as ruins? Also, apart from being ‘uninhabited,’ what other implications could ruins possess? Throughout the history of painting, there has been no lack of depicting ruins. Masterful French classical artists Nicolas Poussin and Claude Lorrain and 19th century painter Hubert Robert all drew inspiration from ancient Roman ruins or focused on depicting deteriorating buildings. Contemporary American photographer Ed Freeman used ostracised and abandoned buildings seen in California as his main subject matter. In the tradition of painting, when the theme of ruins occurs, it commonly serves a lyric purpose and lauds a certain ideal era (such as classical Roman times). It could also be an homage to the time elapsed and civilizations that were destroyed by
A Kind of Nostalgia: Concerning Yeh Jen-Kun's Paintings
在，證明了時代變遷建購的遺贈，同時也是對於文
In recent years, Yeh Jen-Kun has been focused solely on
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媒材使用是不拘泥於傳統的，「當我接觸到膠彩時，
畫面上；而這樣的作為，就如同那些曾在膠彩繪畫
就覺得膠彩畫是可以不一樣、是可以跳脫那些規矩
中試著開拓新路的藝術家一樣，透過新的創作思維
而被隨意使用的，而或許，（畫面中）某些東西是
對藝術提問並且尋找解答。
可以藉由不同的媒材質地而去突顯出來。」正因為 如此，在葉仁焜 2015 年的新作〈最深的記憶〉中，
「很多事情，大概就像水泥建物那般，可以輕易地
那些貼上銀箔的樹林與植物在畫面上發出內斂又顯
被介入，但我們也總能輕易地轉身離開。」葉仁焜
眼的光芒，就如同從億萬光年外的星球所傳來的光
說起作品中的意象時，在說的是關於現代主義之後
一般、如同被覆蓋已久的記憶一般地存在著，他們
的大都會所予人一種曖昧且難以被釐清的鄉愁，然
閃閃發光，朝向能辨識著這些光芒的觀眾們說著故
而同時也讓人不由得想到，在創作的新與舊之間，
事。從藝術家在創作中不斷地嘗試，以及反覆透過
所謂的新意總是得從傳統中汲取養分，始能生長出
不同媒介於畫作中相互辯證的做法，我們就不難理
屬於當代的樣貌吧。
解，葉仁焜其實在繼承水墨與膠彩畫的傳統技法之 餘，也試著將這兩種不同媒材的特質融合於同一個
depicting the feelings that metropolitan areas give him — coldness, distance, and a feeling of isolated beauty — all of which he expresses, without holding back, amidst the concrete-like grays and the deep and dark blues. With his brush, mediums are not constrained by tradition. Yeh Jen-Kun stated, “When I was first introduced to Eastern gouache, I thought that it could be a different medium that could transcend rigid rules and be used at one’s will. And perhaps different subject matters (in the painting) can be accentuated with different mediums and textures.” It is precisely for this reason that Yeh Jen-Kun incorporated silver foils, applied on forests and plants, in his new work from 2015, Somewhere In the Deepest Memory. The foils glitter in an understated yet brilliant fashion. The brilliance exists just like the light of planets billions of lightyears away. It shines brightly like memories that have long been buried, telling stories to those who are able to recognize the light. Yeh’s constant experiments and perpetual investigations of various
mediums proves that he — beyond continuing ink and wash and gouache techniques — is also trying to amalgamate the two different textures onto one painting. In so doing, Yeh Jen-Kun, similar to the artists who have paved new roads for Eastern gouache, is both proposing questions through new lines of artistic thinking as well as seeking the answers. “Perhaps many things are like concrete buildings. We may interfere easily but, at the same time, we would turn away and leave just as readily.” Regarding the imagery of his work, Yeh Jen-Kun mentioned the ambiguous and tangled nostalgia people experience in metropolitan areas following the modernist era. Yet, simultaneously and surprisingly, so called ‘new’ ideas are often inspired and nurtured by traditions, only then bearing the manifestation of the contemporary time.
13
作 品 Art Works
15
想和你遇見的美好 The Wonders I’d Like to Encounter with You Ink, water color, canvas, cicada xuan
墨・彩・畫布・蟬衣宣
60×60cm×3 2008
17
Ink, water color, enamel paint, canvas, xuan paper
90×90cm 2009
墨・彩・烤漆・畫布・宣紙
我的願望會不會實現 Will My Wishes Come True?
?
那天下午只有我一個人的游泳池 Me, Only, At the Swimming Pool that Afternoon. Ink, water color, enamel paint, canvas, xuan paper
墨・彩・烤漆・畫布・宣紙
90×90cm 2009
19
Ink, water color, canvas, xuan paper
墨・彩・畫布・宣紙
歡樂暫時停止營業 The Temporary Closure of Happiness
91×117cm 2009
21
Ink, water color, canvas, xuan paper
墨・彩・畫布・宣紙
和你分別在這個轉角 The Leaving Moment with You by the Corner
91×117cm 2009
23
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
高架橋 Viaduct
40×80cm 2009
疏洪道 Floodway Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
90×90cm 2009
25
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
河堤 Embankments
40×80cm×2 2009
27
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
AM4:55 I AM4:55 I
80×117cm 2011
29
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
AM4:55 II AM4:55 II
73×117cm 2011
31
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
一方 A Place
75×130cm 2010
33
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
粼粼 Shimmering
90×90cm 2011
35
在離去之後 After the Departure Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
50×50cm×3 2009
37
Ink, eastern gouache, canvas, silk fabric
46×53cm 2009
墨・膠彩・畫布・絹
失落之屋
House of the Lost I
Ⅰ
失落之屋
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
House of the Lost II
Ⅱ
53×66cm 2009
39
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
在城市中我繼續行走 Keep on Walking
73×117cm 2009
41
從未停止的 Never Stops Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
50×50cm×3 2010
43
Ink, eastern gouache, silver foil, canvas, silk fabric
50×110cm 2011
墨・ 膠彩・銀箔・畫布・絹
漠漠
Ongoing Silence I
Ⅰ
漠漠
Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
Ongoing Silence II
Ⅱ
50×110m 2011
45
Ink, eastern gouache, canvas, silk fabric
73×117cm 2012
墨・ 膠彩・畫布・絹
漠漠
Ongoing Silence III
Ⅲ
47
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
島嶼獨白 Soliloquy of an Island
90×90cm 2009
49
Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
遺世 Remain Aloof
120×120cm 2011
51
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
絮語 Whispers
53×66cm×2 2010
53
Ink, eastern gouache, canvas, silk fabric
46×46cm×2 2010
墨・膠彩・畫布・絹
各自的寂寞
The Loneliness We Each Keep I
Ⅰ
55
Ink, eastern gouache, canvas, silk fabric
18×33cm 2010
墨・膠彩・畫布・絹
各自的寂寞
The Loneliness We Each Keep II
Ⅱ
各自的寂寞
Ink, eastern gouache, silver foil, canvas
墨・膠彩・銀箔・畫布
The Loneliness We Each Keep III
Ⅲ
33×18cm 2010
57
Ink, eastern gouache, Black foil, canvas, silk fabric
120×120cm 2011
墨・膠彩・黑箔・畫布・絹
邊陲記憶
The Memory of Boundary I
Ⅰ
59
Ink, eastern gouache, canvas, silk fabric
130×130cm 2014
墨・膠彩・畫布・絹
邊陲記憶
The Memory of Boundary II
Ⅱ
Ink, eastern gouache, canvas, silk fabric
50×50cm 2012
墨・膠彩・畫布・絹
旅途中的風景 Scenery of Journey I
I
63
Ink, eastern gouache, silver foil, canvas, silk fabric
73×117cm 2013
墨・ 膠彩・銀箔・畫布・絹
旅途中的風景 Scenery of Journey II
Ⅱ
65
Ink, eastern gouache, silver foil, canvas, silk fabric
75 ×130cm 2013
墨・ 膠彩・銀箔・畫布・絹
旅途中的風景 Scenery of Journey III
Ⅲ
67
Ink, eastern gouache, canvas, silk fabric
90×90cm 2014
墨・膠彩・畫布・絹
旅途中的風景 Scenery of Journey IV
Ⅳ
旅途中的風景 Scenery of Journey V Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
Ⅴ
90×90cm 2014
69
Ink, eastern gouache, canvas, silk fabric
90×90cm 2014
墨・膠彩・畫布・絹
旅途中的風景 Scenery of Journey VI
Ⅵ
旅途中的風景 Scenery of Journey VII Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
Ⅶ
90×90cm 2015
71
Ink, eastern gouache, silver foil, canvas, silk fabric
60×60cm 2015
墨・ 膠彩・銀箔・畫布・絹
旅途中的風景
Scenery of Journey VIII
Ⅷ
73
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
閃耀的時候 The Shining Moment
53×66cm 2013
那一天 That Day Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
53×66cm 2012
75
Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
One Night One Night
53×66cm 2012
片刻 A Moment Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
50×50cm 2009
77
Ink, eastern gouache, canvas, silk fabric
70×120cm 2013
墨・膠彩・畫布・絹
曈曈
Daybreak I
Ⅰ
79
Ink, eastern gouache, canvas, silk fabric
75×120cm 2014
墨・膠彩・畫布・絹
曈曈
Daybreak II
Ⅱ
81
Ink, eastern gouache, canvas, silk fabric
50×50cm 2014
墨・膠彩・畫布・絹
曈曈
Daybreak III
Ⅲ
曈曈
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
Daybreak IV
Ⅳ
50×50cm 2014
83
Ink, eastern gouache, canvas, silk fabric
70×120cm 2015
墨・膠彩・畫布・絹
曈曈
Daybreak V
Ⅴ
85
Ink, eastern gouache, silver foil, canvas, silk fabric
100×100cm 2015
墨・ 膠彩・銀箔・畫布・絹
曈曈
Daybreak VI
Ⅵ
87
Ink, eastern gouache, silver foil, canvas, silk fabric
60×130cm 2015
墨・ 膠彩・銀箔・畫布・絹
曈曈
Daybreak VII
Ⅶ
89
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
遠方 A Distant Place
30×70cm 2013
NO.24 NO.24 Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
30×70cm 2013
91
Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
屋顏 House face
30×70cm 2014
有月亮的晚上 Moon Nigh I Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
Ⅰ
30×70cm 2014
93
Ink, eastern gouache, silver foil, canvas, silk fabric
90×90cm 2015
墨・ 膠彩・銀箔・畫布・絹
有月亮的晚上 Moon Nigh II
Ⅱ
95
Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
墨・膠彩・銀箔・黑箔・畫布・絹
有星星的晚上 Starry Night
75×120cm 2014
97
Ink, eastern gouache, canvas, silk fabric
50×50cm 2014
墨・膠彩・畫布・絹
遺簡
The Lost Letter I
I
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
遺簡 The Lost Letter II
Ⅱ
73×117cm 2014
99
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
微光 Glimmer
117×73cm 2015
杳杳 Dusky Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
60×60cm 2015
101
Ink, eastern gouache, silver foil, canvas, silk fabric
90×90cm 2015
墨・ 膠彩・銀箔・畫布・絹
漫漫
For a Long Time I
Ⅰ
103
Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
100×100cm 2015
墨・膠彩・銀箔・黑箔・畫布・絹
漫漫
For a Long Time II
Ⅱ
105
Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
昨日 Yesterday
70×30cm×4 2015
107
Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
墨・膠彩・銀箔・黑箔・畫布・絹
那些沒說的話 Those Unsaid Words
100×200cm (diptych) 2015
109
111
Ink, eastern gouache, silver foil, black foil, gold foil, canvas, silk fabric
墨・膠彩・銀箔・黑箔・金箔・畫布・絹
小事時光 Time of Triviality
60×130cm 2015
113
Ink, eastern gouache, silver foil, canvas, silk fabric
130×130cm 2015
墨・ 膠彩・銀箔・畫布・絹
最深的記憶
Somewhere In the Deepest Memory I
Ⅰ
115
Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
120×167cm 2015
墨・膠彩・銀箔・黑箔・畫布・絹
最深的記憶
Somewhere In the Deepest Memory II
Ⅱ
117
Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
120×167cm 2015
墨・膠彩・銀箔・黑箔・畫布・絹
最深的記憶
Somewhere In the Deepest Memory III
Ⅲ
119
Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
120×167cm 2015
墨・膠彩・銀箔・黑箔・畫布・絹
最深的記憶
Somewhere In the Deepest Memory IV
Ⅳ
121
Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
120×167cm 2015
墨・膠彩・銀箔・黑箔・畫布・絹
最深的記憶
Somewhere In the Deepest Memory V
Ⅴ
123
缺口 Fissure Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
46×53cm×3 2015
125
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
霪雨 Raining Day
20×30cm 2013
127
Ink, eastern gouache, silver foil, canvas, silk fabric
墨・ 膠彩・銀箔・畫布・絹
暖暖 Warmth
70×120cm 2013
129
Ink, eastern gouache, canvas, silk fabric
墨・ 膠彩・畫布・絹
之後 After
70×120cm 2013
131
圖 錄 Catalog
133
16
18
19
想和你遇見的美好 The Wonders I’d Like to Encounter with You 墨・彩・畫布・蟬衣宣 Ink, water color, canvas, cicada xuan
60×60cm×3 2008
我的願望會不會實現
那天下午只有我一個人的游泳池
Will My Wishes Come True?
Me, Only, At the Swimming Pool that Afternoon
墨・彩・烤漆・畫布・宣紙 Ink, water color, enamel paint, canvas, xuan paper
21
90×90cm 2009
墨・彩・烤漆・畫布・宣紙 Ink, water color, enamel paint, canvas, xuan paper
90×90cm 2009
24
23
高架橋 Viaduct 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
歡樂暫時停止營業
和你分別在這個轉角
The Temporary Closure of Happiness
The Leaving Moment with You by the Corner
墨・彩・畫布・宣紙 Ink, water color, canvas, xuan paper
91×117cm 2009
26
墨・彩・畫布・宣紙 Ink, water color, canvas, xuan paper
40×80cm 2009
91×117cm 2009
25
36
在離去之後 After the Departure 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
疏洪道
河堤
Floodway
Embankments 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
40×80cm×2 2009
墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
90×90cm 2009
50×50cm×3 2009
77
38
House of the Lost II
House of the Lost I
A Moment Ink, eastern gouache, canvas, silk fabric
失落之屋Ⅱ
失落之屋Ⅰ
片刻 墨・膠彩・畫布・絹
39
墨・膠彩・畫布・絹 50×50cm 2009
49
Ink, eastern gouache, canvas, silk fabric
46×53cm 2009
墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
53×66cm 2009
42
41
從未停止的 Never Stops 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
50×50cm×3 2010
在城市中我繼續行走 Keep on Walking
島嶼獨白
墨・膠彩・畫布・絹
Soliloquy of an Island
Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
73×117cm 2009
90×90cm 2009
52
29
54
絮語 Whispers 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
各自的寂寞 I
53×66cm×2 2010
The Loneliness We Each Keep I 墨・膠彩・畫布・絹
AM4:55 I
Ink, eastern gouache, canvas, silk fabric
AM4:55 I 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
46×46cm×2 2010
80×117cm 2010
135
56
57
33
各自的寂寞 Ⅱ The Loneliness We Each Keep II 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
18×33cm 2010
一方
各自的寂寞 Ⅲ
A Place
The Loneliness We Each Keep III 墨・膠彩・銀箔・畫布 Ink, eastern gouache, silver foi, canvas
31
墨・彩・畫布・絹
33×18cm 2010
Ink, water color, canvas, silk fabric
70×130cm 2010
59
51
AM4:55 II AM4:55 II 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
73×117cm 2011
遺世
邊陲記憶 I
Remain Aloof 墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
44
The Memory of Boundary I 120×120cm 2010
45
漠漠Ⅰ
漠漠Ⅱ Ongoing Silence II
Ink, eastern gouache, silver foil, canvas, silk fabric
50×110cm 2011
Ink, eastern gouache, black foil, canvas, silk fabric
120×120cm 2010
35
Ongoing Silence I 墨・膠彩・銀箔・畫布・ 絹
墨・膠彩・黑箔・畫布・ 絹
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
50×110cm 2011
粼粼 Shimmering 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
90×90cm 2011
47
76
漠漠 Ⅲ
One Night
Ongoing Silence III 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
75
73×117cm 2012
63
那一天
One Night
That Day
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
53×66cm 2012
墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
53×66cm 2012
74
127
霪雨 Raining Day 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
旅途中的風景 I
20×30cm 2013
閃耀的時候 The Shining Moment
Scenery of Journey I 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
50×50cm 2012
65
67
53×66cm 2013
90
遠方 A Distant Place 墨・膠彩・畫布・絹
旅途中的風景 Ⅱ Scenery of Journey II 墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
Ink, eastern gouache, canvas, silk fabric
旅途中的風景 Ⅲ
30×70cm 2013
Scenery of Journey III 73×117cm 2013
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
75×130cm 2013
137
129
91
79
NO.24 NO.24 墨・膠彩・畫布・絹
暖暖
Ink, eastern gouache, canvas, silk fabric
Warmth 墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
30×70cm 2013
曈曈 I Daybreak I
70×120cm 2013
131
墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
70×120cm 2013
68
93
有月亮的晚上 I Moon Nigh I 墨・膠彩・畫布・絹
之後
Ink, eastern gouache, canvas, silk fabric
After 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
30×70cm 2014
70×120cm 2013
旅途中的風景Ⅳ Scenery of Journey IV 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
92
81
90×90cm 2014
82
屋顏 House face 墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
30×70cm 2014
曈曈Ⅱ Daybreak II 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
75×120cm 2014
曈曈 Ⅲ Daybreak III 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
50×50cm 2014
98
99
69
遺簡Ⅱ The Lost Letter II
遺簡 I
墨・膠彩・畫布・絹
The Lost Letter I 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
Ink, eastern gouache, canvas, silk fabric
50×50cm 2014
73×117cm 2014
旅途中的風景Ⅴ Scenery of Journey V 墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
83
61
70
90×90cm 2014
曈曈Ⅳ Daybreak IV
旅途中的風景Ⅵ 墨・膠彩・畫布・ 絹 Ink, eastern gouache, canvas, silk fabric
墨・膠彩・畫布・絹
邊陲記憶Ⅱ
Scenery of Journey VI
墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
97
Ink, eastern gouache, canvas, silk fabric
The Memory of Boundary II
90×90cm 2014
130×130cm 2014
106
Yesterday
Starry Night Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
71
昨日
有星星的晚上 墨・膠彩・銀箔・黑箔・畫布・絹
50×50cm 2014
75×120cm 2014
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
70×30cm×4 2015
旅途中的風景Ⅶ Scenery of Journey VII 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
90×90cm 2015
139
95
103
100
微光 有月亮的晚上Ⅱ
Glimmer
漫漫Ⅰ
Moon Nigh II
For a Long Time I
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
90×90cm 2015
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
墨・膠彩・畫布・絹
117×73cm 2015
73
101
85
Ink, eastern gouache, canvas, silk fabric
90×90cm 2015
曈曈Ⅴ Daybreak V 墨・膠彩・畫布・絹 Ink, eastern gouache, canvas, silk fabric
70×120cm 2015
杳杳
旅途中的風景Ⅷ
Dusky
Scenery of Journey VIII
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
124
60×60cm 2015
115
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
60×60cm 2015
109
缺口 Fissure 墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
46×53cm×3 2015
那些沒說的話 Those Unsaid Words 墨・膠彩・銀箔・黑箔・畫布・絹 Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
最深的記憶 I Somewhere In the Deepest Memory I 墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
130×130cm 2015
100×200cm(diptych) 2015
117
119
105
最深的記憶 Ⅱ
最深的記憶Ⅲ
Somewhere In the Deepest Memory II
Somewhere In the Deepest Memory III
墨・膠彩・銀箔・黑箔・畫布・絹 Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
120×167cm 2015
墨・膠彩・銀箔・黑箔・畫布・絹 Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
120×167cm 2015
漫漫Ⅱ For a Long Time II 墨・膠彩・銀箔・黑箔・畫布・絹 Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
87
123
121
最深的記憶Ⅳ
最深的記憶Ⅴ
Somewhere In the Deepest Memory IV
Somewhere In the Deepest Memory V
墨・膠彩・銀箔・黑箔・畫布・絹 Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
120×167cm 2015
100×100cm 2015
墨・膠彩・銀箔・黑箔・畫布・絹 Ink, eastern gouache, silver foil, black foil, canvas, silk fabric
120×167cm 2015
曈曈Ⅵ Daybreak VI 墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
100×100cm 2015
113
89
曈曈Ⅶ
小事時光
Daybreak VII
Time of Triviality
墨・膠彩・銀箔・畫布・ 絹 Ink, eastern gouache, silver foil, canvas, silk fabric
60×130cm 2015
墨・膠彩・銀箔・黑箔・金箔・ 畫布・絹
60×130cm 2015
Ink, eastern gouache, silver foil, black foil, gold foil, canvas, silk fabric
141
簡 歷 Biography
143
葉仁焜 YEH Jen-Kun
www.yehjenkun.com
1984 出生台灣桃園 2008 中國文化大學美術系畢業 2011 國立台北藝術大學美術創作碩士班水墨組畢業
個 展 2015 「再 ‧ 見」，亞洲藝術中心，台北，台灣 2011 「城市邊境」，典藏創意空間，台北，台灣 2010 「在離去之後」，一票人票畫空間，台北，台灣
聯 展 2015 「台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「嶄新 - 青年繪畫新樣貌」，高雄市立文化中心，高雄，台灣 「Art15 倫敦藝術博覽會」，奧林匹亞展覽中心，倫敦，英國
2014 「好朦朧 III」，德鴻畫廊，台南，台灣 「新 ‧ 島嶼全覽 - 台灣當代水墨」，乙皮畫廊，花蓮，台灣 「台北國際藝術博覽會 Made in Taiwan －新人推薦特區」，台北世界貿易中心，台北，台灣 「台灣報到 -2014 台灣美術雙年展」，國立台灣美術館，台中，台灣 「好朦朧 II」， VT ARTSALON ，台北，台灣 「繹域」，駁二藝術特區，高雄，台灣 「YOUNG ART TAIPEI」，晶華飯店，台北，台灣
1984
Born in Taoyuan, Taiwan
2008
B.A., Department of Fine Arts, Chinese Culture University, Taipei, Taiwan
2011
M.F.A., Program , Department of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan
SOLO EXHIBITION 2015
Hello & Good-Bye , Asia Art Center, Taipei, Taiwan
2011
The Border of City, Art & Collection Inspiration Zone, Taipei, Taiwan
2010
After the Departure , A Piao Piao Gallery, Taipei, Taiwan
GROUP EXHIBITION 2015
Art Taipei , Taipei Word Trade Center, Taipei, Taiwan Spanking New -Appearance of the Newly Emerging Artists , Kaohsiung Cultural Center, Kaohsiung, Taiwan ART 15 - London's Global Art Fair , Olympia Exhibition Centre, London, Britain
2014
Very Hazy III , Der-Horng Art Gallery, Tainan, Taiwan New ‧ Island View- Ink Painting of Contemporary Art , iP Art Gallery, Hualien, Taiwan Art Taipei Made In Taiwan-Young Artist Discovery , Taipei World Trade Center, Taipei, Taiwan 2014 Taiwan Biennial , National Taiwan Museum of Fine Arts, Taichung, Taiwan Very Hazy II , VT ART SALON, Taipei, Taiwan What We Are Mapping , The Pier-2 Art Center, Kaohsiung, Taiwan YOUNG ART TAIPEI , Regent Taipei, Taipei, Taiwan
145
2013 「我為什麼而承受這失溫的進擊」， 20 號倉庫，台中，台灣 「菁典當代 IV- 好朦朧」，當代一畫廊，台北，台灣 「藝質冒泡」天來藝文空間，台北，，台灣
2012 「小人風景」，圍裙，台北，台灣 「第四屆台北當代水墨雙年展」，中正紀念堂，台北，台灣 「飛行熱氣球」，尊彩藝術中心，台北，台灣 「YOUNG ART TAIPEI」，喜來登飯店，台北，台灣 「島嶼人 - 索卡好樣第五屆青年藝術家徵件展」，索卡藝術中心，台南，台灣 「如果是小王子」，尊彩藝術中心，台北，台灣
2011 「那年 - 文大美術系校友邀請展」，大夏藝廊，台北，台灣 「行旅藝創」，淡水漁人碼頭藝文空間，台北，台灣 「城市肖像」，中原大學藝術中心，桃園，台灣 「【i.t. 我題】巴西 X 台灣新秀交流展」，金車藝文中心，台北，台灣
2010 「華岡藝展 - 文化大美」，中正紀念堂，台北、台中市文化局，台中，台灣 「尋覓的一代 - 繪畫語言的失落與發現」，台灣工銀總部，台北，台灣
2009 「第七屆巴黎大獎選拔展」，福華沙龍，台北，台灣
獲 獎 2015
獲台北市政府文化局 104 年度第二期藝文補助，台北，台灣
2014
獲選 台北國際藝術博覽會 文化部「Made in Taiwan- 新人推薦特區」，台灣
2012
獲國家文化藝術基金會 2012 年第 2 期常態補助 美術類創作，台灣
2011
臺灣美術新貌展 - 平面創作系列，第二名，台灣 獲台北市政府文化局 100 年度第二期藝文補助，台北，台灣 獲國立臺北藝術大學碩士獎學金，台北，台灣
2013
Why Do I Have to Suffer from This Attack of Cold Apathy? , Stock20, Taichung, Taiwan Very Hazy , A Gallery, Taipei, Taiwan Arts Bubbling , Art Space @ TPK, Taipei, Taiwan
2012
Little Man with a View , Apron, Taipei, Taiwan The 4th Taipei Contemporary Ink Painting Biennial , National Chiang Kai-shek Memorial Hal, Taipei, Taiwan Exploring with a Balloon , Liang Gallery, Taipei, Taiwan YOUNG ART TAIPEI , Sheraton Taipei Hotel, Taipei, Taiwan 2012 Soka so Young , Soka Art Center, Tainan, Taiwan Le Petit Prince , Liang Gallery, Taipei, Taiwan
2011
That Year , Attilio Exhibition, Taipei, Taiwan Art Journey , Fisherman ´ s Wharf Art Center, Taipei, Taiwan Portrait of the City , CYCU Art Center, Taoyuan, Taiwan i.t. , King Car Art Center, Taipei, Taiwan
2010
Hwa Kang Art Show , National Chiang Kai-shek Memorial Hal, Taipei; Cultural Affairs Bureau, Taichung City
Government, Taichung, Taiwan The Generation of Search , Industrial Bank of Taiwan, Taipei, Taiwan
2009
The 7th Grand Prix de Paris , Howard Salon, Taipei, Taiwan
AWARDS 2015
Department of Cultural Affairs Taipei Cit y Government 104 Annual Arts Grants, Taipei, Taiwan
2014
Art Taipei, Ministry of Culture, Made In Taiwan-Young Artist Discovery , Taiwan
2012
National Culture and Arts Foundation 2012-2norm Subsidies The Creation of Fine Art, Taiwan
2011
Exhibition of the Newly Emerging Artists in Taiwan 2D Creation Series , The 2nd place, Taiwan
Department of Cultural Affairs Taipei Cit y Government 100 Annual Arts Grants, Taipei, Taiwan The Master's Scholarships of the Taipei National Universit y of the Arts, Taipei, Taiwan
147
2010
第三屆台北當代水墨雙年展新秀獎，首獎，台灣 獲國立臺北藝術大學碩士獎學金，台北，台灣
2009
龍顏創作藝術獎，台北，台灣 第七屆巴黎大獎，入圍獎，台灣 獲黃君璧水墨獎助學金，台灣 第八屆彩墨新人賞，新人獎，台灣
典 藏 2015 《最深的記憶 IV》，澳洲白兔美術館，雪梨，澳洲 《最深的記憶 V》，澳洲白兔美術館，雪梨，澳洲
2014 《旅途中的風景 V》，國立台灣美術館，台中，台灣 《邊陲記憶 II》，國立台灣美術館，台中，台灣
2013 《遺世》，國立台灣美術館，台中，台灣 《河堤》，國立台灣美術館藝術銀行，台中，台灣 《疏洪道》，國立台灣美術館藝術銀行，台中，台灣 《島嶼獨白》，國立台灣美術館藝術銀行，台中，台灣 《AM4:55 I》，國立台灣美術館藝術銀行，台中，台灣 《AM4:55 II》，國立台灣美術館藝術銀行，台中，台灣
2011 《城市中我繼續行走》，台中港區藝術中心，台中，台灣 2009 《片刻》，龍顏基金會，台北，台灣
2010
The 3th Taipei Contemporary Ink Painting Biennial Rookie Award , The Lead, Taiwan
The Master's Scholarships of the Taipei National Universit y of the Arts, Taipei, Taiwan 2009
Long Yen Foundation Award , Taipei, Taiwan The 7th Grand Prix de Paris, Selected Prize , Taiwan Huang Jun-Bi Water-Ink Scholarships, Taiwan The 8th Ink Coloring New Rewards , Newcomer Award, Taiwan
COLLECTION 2015
《Somewhere In the Deepest Memory IV》 , White R abbit Galler y, Sydney, Australia 《Somewhere In the Deepest Memory V》 , White R abbit Galler y, Sydney, Australia
2014
《Scenery of Journey V》 , National Taiwan Museum of Fine Arts, Taichung, Taiwan 《The Memory of Boundary II》 , National Taiwan Museum of Fine Arts, Taichung, Taiwan
2013
《Remain Aloof》 , National Taiwan Museum of Fine Arts, Taichung, Taiwan 《Embankments》 , National Taiwan Museum of Fine Arts-Art Bank, Taichung, Taiwan 《Floodway》 , National Taiwan Museum of Fine Arts-Art Bank, Taichung, Taiwan 《Soliloquy of an Island》 , National Taiwan Museum of Fine Arts-Art Bank, Taichung, Taiwan 《AM4:55 I》 , National Taiwan Museum of Fine Arts-Art Bank, Taichung, Taiwan 《AM4:55 II》 , National Taiwan Museum of Fine Arts-Art Bank, Taichung, Taiwan
2011
《Keep on Walking》 ,Taichung Cit y Seaport Art Centre, Taichung, Taiwan
2009
《A Moment》 , Long Yen Foundation, Taipei, Taiwan
149
台北一館 TAIPEI Ι 台灣台北市建國南路二段 177 號
No. 177, Sec. 2, Jianguo S. Rd., Da-an Dist., Taipei 10659, Taiwan TEL +886-2-27541366 FAX +886-2-27549435
台北二館 TAIPEI Ⅱ 台灣台北市樂群二路 93 號
No.93, Lequn 2nd Rd., Zhongshan Dist., Taipei 10462, Taiwan TEL +886-2-85027939 FAX +886-2-85022656
北京館 BEIJING 中國北京市朝陽區酒仙橋路 2 號大山子 798 藝術區
No. 2, Jiuxianqiao Rd., Dashanzi 798 Art District, Chaoyang District, 100015, Beijing, China TEL +86-10-59789709 FAX +86-10-59789708
www.asiaartcenter.org
service@asiaartcenter.org
國家圖書館出版品預行編目 (CIP) 資料。 耒日 . -- 臺北市 : 亞洲藝術中心 , 2015.11 面; 公分 ISBN 978-986-86332-7-8 ( 平裝 )
1. 膠彩畫 2. 畫冊 945.6
SOMEDAY
104024211
耒日
PUBLISHED BY 發行
Asia Art Center Co., Ltd 亞洲藝術中心有限公司
PUBLISHER 發行人
Thomas Lee 李敦朗
DESIGNED BY 設計
Ming-Wei Liu 劉銘維
PHOTOGRAPHER BY 攝影
K.C Liu 劉光智
PRINTED BY 印刷
Jin-Tung Art Printing Co., Ltd 日動藝術印刷有限公司
PUBLICATION DATE 出版日期
November 2015 年 11 月
ISBN
978-986-86332-7-8
Published in conjunction with the exhibition “HELLO & GOOD-BYE: Yeh Jen-kun Solo Exhibition ＂at Asia Art Center 本畫冊隨亞洲藝術中心「再．見—葉仁焜個展」出版 Copyright©2015 by publishers, artist and authors. All rights reser ved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without the prior written permission of the copyright owners. 版權所有，不得以任何形式或方式擅自複製本畫冊的任何部分。
151
Softly in Deeply down There l sway Swinging up the deepest memories