凹凸有誌‧印痕歲月台灣50現代版畫展璀璨系列 by ARKI GALÉRIA 築空間

CONTENTS

眾樂樂之美版畫是最好的分享藝術！

The Beauty of Shared Happiness Printmaking is the best way to share art!

現代版畫在台灣﹣鐘有輝

Modern Printmaking in Taiwan - Chung You-Hui

呂燕卿

周孟德

金炫辰

朱哲良

林昭安

徐明豐

郭榮華

李延祥

潘孟堯

鄭政煌

陳華俊

劉錫權

高春英

潘勁瑞

林仁信

陳韋㕇

黃椿元

Lu Yan-Qing Zhou Meng-De Kim Hyun-Jin Zhu Zhe-Liang Lin Chao-An Hsu Ming-Feng Guo Rong-Hua Lee Yein- Shyang Pan Meng-Yao Cheng Cheng-Huang Chen Hua-Chun Liu His-Chuan Gao Chun-Ying Pan Chin-Jui Lin Ren-Hsin Chen Wei-Li Huang Chun-Yuan

田文筆

廖峻立

Ten Wen-Pi Liao Chun-Li

眾樂樂之美版畫是最好的分享藝術！在過去一年半，台開築空間舉辦了「台灣 50 現代系列畫展」，與國內各專業領域的代表性藝術家建立了友好的情誼，8 檔系列展覽獲得不錯的迴響與評價，從中建立了「台灣 50」品牌與口碑。繼現代繪畫、現代水墨之後，今年我們將觸角延伸至「現代版畫」，邀請到台灣「現代版畫之父」廖修平及其得意門生版畫家鐘有輝擔任共同策展人。邀集台灣當代頗負盛名的老中青三代 39 位版畫藝術家，以「光輝」及「璀璨」兩檔系列展覽，呈現 1970 年至今台灣現代版畫的多樣面貌及優秀作品。相對於油畫、水墨其他繪畫創作，版畫藝術工作者可謂是一群走在人煙稀少幽徑的人！因為間接性，版畫無法立即見到結果，創作者得耐住性子與好奇心經過繁瑣而艱辛的版畫製作歷程，反覆鐫刻、試印、調整，以豐富的想像力預見作品未來的面貌，千辛萬苦才終於見到作品一面。又因為其複數性，它必須挑戰國人購買珍稀畫作的收藏傾向，努力贏得藏家青睞。而這群藝術家卻耐得住行走幽徑的辛苦與寂寞，堅持住自己的路線，全心投入創作，一筆一刀刻畫出繽紛的版畫人生。投注的心力與時間比他人多，得到的直接回饋卻不比他人，所有的堅持只因為真心喜愛這項能激發無比想像力的藝術形式。假使說，心底的月亮只為看得到的人昇起，版畫藝術家在幽徑中戮力綻放光芒，使得更多藝術愛好者能在同一時間不限地方欣賞到作品，並以相對實惠的價格收藏藝術原作，我們真的不得不佩服這群守候月光的藝術家！「分享」是台開集團的核心理念，我們希望藉由築空間落實分享藝術的美好，以豐富的藝術活動充實藝術愛好者的心靈。版畫就是最好的分享藝術，它雖非獨一無二，而每張卻是唯一！藝術並非只能「獨享」才顯現出其價值，如果能讓更多人欣賞並收藏藝術原作，從作品中獲得想像空間，對身為藝術愛好者的我們，何嘗不是一種幸福？且讓我們打破 " 藝術必須是獨一無二 " 的舊觀念，用心欣賞這群藝術家一刻一劃的心血結晶，一同看見創作者心底的月光！

台灣土地開發 ( 股 ) 公司董事長邱復生

序

The Beauty of Shared Happiness Printmaking is the best way to share art! The Arki GalĂŠria has held the "Taiwan 50 Modern Art" series painting exhibitions over the last year and a half, and has established friendships with representative artists in every professional field. The eight exhibitions in the series have met with good feedback and appraisal, and thereby established the "Taiwan 50" brand and its reputation. After modern painting and modern ink painting, this year we will expand our reach into "modern printmaking"; Liao Hsiu-Ping, the "father of modern printmaking", whose proud disciple Chung You-Hui is serving as joint curator for this exhibition, has accepted our invitation to attend it. 39 printmakers from 3 generations have been gathered, and they will present the many faces and many outstanding works of modern Taiwanese printmaking produced between 1970 and now with two series of exhibitions: "Glory" and "Brightness". Compared with oil paint, ink and other painting, artists working in the field of printmaking can be said to be a rare breed! Printmaking's indirectness means that its results cannot be seen immediately, and that the artist must restrain their curiosity throughout the complex, tortuous process of printmaking, repeatedly engraving, printing a test piece, and adjusting, predicting their product's future appearance with rich imagination. It is only after much toil that they finally meet their work. Due to the duplicability of printmaking, it will inevitably challenge the Taiwanese buyer's preference for collecting rare paintings, and strive to win collectors' favor. But this group of artists remain patient throughout the toil and loneliness of walking the path less traveled, keeping to their path, wholeheartedly creating, painting a splendid printmaking life stroke by stroke, cut by cut. They invest more mental effort and time than others, and receive less in return- they persevere only because they truly love this form of art, which stimulates incomparable imagination. Suppose that you said that the moonlight at the bottom of one's heart rises only for others to see, and that printmakers' strive to shine on secluded paths, enabling more art-lovers to appreciate art anyplace at one time, and compared to the relatively generous prices paid for original works, we really cannot but admire these artists awaiting the moonlight! Sharing is the core concept of the Taiwan Land Development Corporation, and we hope to realize and share the beauty of art through the Arki GalĂŠria, replenishing the souls of art-lovers through all kinds of art activity. Printmaking is simply the best art to share, although each design is not unique, every print is! It is not the case that art is valuable only when "viewed alone", if more people can be allowed to appreciate and collect original artwork, finding space for imagination in them, to we art-lovers, is this not a kind of happiness? Let us dispense with the outdated idea that "art must be unique", dedicate ourselves to appreciating each stroke and cut of these artists' crystallized assiduity, and together view the moonlight at the bottom of their hearts!

Chairman of the Taiwan Land Development Corporation, Chiu Fu-Sheng 5

現代版畫在台灣

鐘有輝第二次世界大戰後藝術品的非單一性和複數生產的藝術民主化運動，使版畫在國際藝壇上逐漸受到主流藝術家的重視，世界各地當代藝術家紛紛投入版畫創作。國內藝術家陳庭詩 (1915~2002)、秦松 (1932~2007)、楊英風 (1926~1997)、李錫奇 (1936~)、江漢東 (1926~2009)、施驊等人於 1958 年成立「現代版畫會」，積極思考以團體的力量推動版畫的現代化。 50、60 年代移民國外或出國留學知名版畫家蕭勤 (1935~)、廖修平 (1936~)、謝里法 (1938~) 和陳景容 (1934~) 等人回到台灣在大學任教。 1970 年由方向 (1920~2003)、楊英風、周瑛 (1922~2011)、陳其茂 (1926~2005) 等前輩木刻版畫家發起成立「中華民國版畫學會」，兩年辦理一屆全國性版畫展覽及版畫推廣活動，培育不少優秀青年版畫家，同時於 1976 年起每屆遴選版畫創作金璽獎，獎勵持續創作表現的優秀藝術家，對台灣版畫藝術之推廣與發展具實質的貢獻。 1973 年 2 月，國際知名版畫家廖修平自美返國應聘回母校國立台灣師範大學開設「現代版畫」課程，為台灣的版畫藝術教育樹立完整的現代版畫觀念和技法傳承的里程碑。廖修平自 1973 年春天至 1976 年夏天在臺時間為推廣現代版畫的重要時期，為台灣播下現代版畫藝術的種子。當時廖修平除在台灣師大、也在中國文化學院和國立藝專等學校教導現代版畫，並先後在台北信義路、濟南路自家地下室成立版畫工作室，提供版畫設備和創作空間，指導一些對新媒材有興趣的藝術家從事版畫創作，影響繪畫與設計界甚廣。 1974 年廖修平著作「版畫藝術」專書，並帶領學生積極巡迴全省，舉辦版畫示範和演講。影響所及，國內各大美展如全省美展、台陽美展等都特別增設版畫部門，大專美術科系也陸續開設現代版畫課程，並促成十青版畫會及絹印版畫工作室的成立，將台灣的版畫創作風氣重新推動了起來，形成一股不可擋的版畫運動風潮。 1974 年 2 月，鐘有輝 (1946~)、董振平 (1948~)、林昌德 (1951~)、林雪卿 (1952~) 等十位廖修平台灣師大學生於幼獅藝廊展出版畫成果展，由於對版畫創作的熱忱，在廖修平鼓勵下，決定共同創立「十青版畫會」，展開「十青」在台灣現代版畫藝術發展的開端。 70 年代台灣經濟騰飛，一些有實力的企業相繼組成企業集團，大幅度增加對廣告的投入，廣告市場的繁榮使大部分廣告公司得以發展。當時美國正流行照相絹印製作，而網版絹印原是用在工業或布花的印刷技術，國立台灣藝專和一般高職都有這些課程。1972 年由國立台灣藝專美工科畢業的李朝宗 (1945~) 所營運的「千彩絹印公司」，在廖修平推動版畫

現代版畫在台灣

藝術的鼓勵下，於 1974 年設立「千彩絹印版畫室」開始協助藝術家印製絹印版畫。 1975 年，鐘有輝於台北汀州路日式住宅成立「274 版畫工作室」，作為十青會員創作空間，也是彼此聚會砌磋討論的場所，廖修平教授曾數度於此講授版畫新知與技法，也與國外藝術家在此交流。同時，274 版畫工作室也曾邀請十青會員設計印製絹印版畫賀年卡片，受到好評。 80 年代初，台灣經濟起飛進入成熟階段，政府已有足夠可觀的經濟能力自辦國際性美展，藉以突破藝術文化困境，另創一片天空。1981 年行政院文化建設委員會成立，第一任主任委員陳奇祿博士，率先提出自辦大型國際美展的觀念。 1983 年 12 月我國行政院文化建設委員會在廖修平的大力鼓吹下，首開政府對藝術贊助的新頁，並使台灣現代版畫進入國際交流互動的階段。其積極意義不只讓更多的國際知名藝術家到我國來展出，拓展我國民眾的審美視野，提升我國的文化形象，更能刺激國內的版畫家積極創作，在國際版畫展中大放異彩。十青版畫會會員中董振平、張正仁 (1953~)、梅丁衍 (1954~) 等人率先留學美國，鐘有輝、林雪卿則到日本留學並陸續於 80、90 年代返國。由於留學美、日，國際視野開放寬闊，加上自行努力吸收版畫新知與技法，對版畫創作有自己的思想和風格，回國後除任教於大學校院，並且公開技法，對現代版畫的新觀念與新技法的運用，都有所創新。為兼顧傳統與創新的發展方向，行政院文化建設委員會繼開辦國際版畫雙年展後，於 1984 年亦開始辦理「版印年畫」徵選活動。年畫雖為通俗民間藝術，但能傳達我國勤儉樸實、知足常樂之精神，且具喜慶吉祥意義能與廣大民眾的思想、感情結合，廣為國人喜愛。現代年畫的製作多應用現代版畫創作技法製作，十青會員中劉洋哲 (1944~)、羅平和、林昭安、王振泰 (1963~) 等人多次於「版印年畫」徵選中獲得首獎，十青會員多人陸續擔任「版印年畫」徵選之評審，並受邀委託製作年畫或帶動學生投入版印年畫製作行列等，由於各種版種技法運用手法純熟，內容題材廣泛，帶動了年畫創作新氣象，也把年畫從傳統帶向現代，開創了異於大陸傳統年畫的新風格和趣味。而文建會在籌畫國際版畫雙年展同時，亦成立版畫工作室，廖修平及十青會員鐘有輝、董振平、楊明迭等人曾前往示範演講。台北市立美術館與國立台灣美術館亦因應承辦國際版畫雙年展與版印年畫，均設立版畫教室與版畫講座以推廣版畫藝術，師資亦由十青會員接續擔任。

第二次世界大戰後，世界藝壇隨著經濟復甦與科技進步，嘗試不同媒材、實驗性的呼聲高漲，藝術家捨棄從前單一性的創作形式，開創了前所未有的新藝術形態。藝術創作趨向多元化，現代版畫創作領域也因而寬廣起來，從事版畫創作的現代藝術家，在版種上除了凸、凹、平、孔四種基本版種的表現外，另外混合併用、拼貼組合、立體鑄造和複合版畫等等特殊形式也紛紛出籠。十青會員的版畫創作觀念，受國際現代版畫觀念的啟發，大都呈現複合式的創作形態，從 70 年代起即為台灣複合媒體藝術創作的先驅團體。這批優秀青年版畫家，由於觀念現代、創作熱忱執著，同時趕上台灣經濟起飛時刻，版畫藝術在台灣較先前任何時期更受到重視，這一個在台灣成長的第二代現代版畫藝術團體，便隨著國際版畫雙年展的機制，啟動了台灣現代版畫蓬勃發展的齒輪、成為帶動台灣現代版畫藝術創作和教育的火車頭。四十年來，十青會員藉由彼此策勵、砌磋畫藝，執著於現代版畫及相關藝術創作，默默耕耘，成為國內歷史最久且持續不斷的版畫中堅創作團體。在發展歷程中，憑著年輕的衝勁及執著現代版畫的熱忱，承續廖修平教授的理念，年年舉辦展覽及版畫推廣活動，會員多在大學、高中職及小學等各級學校任教，對台灣現代版畫教育奉獻甚鉅。由於專精各種現代版畫技法，個個成員都在自己的崗位上擔負著承先啟後作育英才的重責。十青版畫會會員在各大學院校教授版畫課程，培養年輕一代的版畫藝術創作者，如今全台北、中、南，皆已培養出第三代、第四代的優秀青年版畫家。此外，在台北的李錫奇和顧重光老師，台中倪朝龍老師，台南地區林智信和潘元石老師與屏東的陳國展老師等，也都受廖修平回台推廣版畫藝術之影響，積極加入創作與推廣版畫藝術行列。從上世紀 50 年代末到現在，在台灣熱衷於創作版畫者不下兩百餘人，愛好版畫、學習版畫者也日益增加，此次展覽，因場地及時間倉促關係，選出 39 位展出者，以仍持續創作，活躍於各地區，容易取得聯繫並應允參與者為優先，尚有許多優秀創作者未能受邀約參與展出，謹此致歉

現代版畫在台灣

Modern Printmaking in Taiwan

Chung You-Hui The movement for the democratization of art after the Second World War produced by the ordinariness and mass production of art led printmaking to gradually receive mainstream emphasis in the world of international art - a procession of artists from all over the world have become involved in printmaking. Taiwanese artists who actively intended to modernize printmaking with their collective strength, including Chen Ting-Shih (1915-2002), Chih Sung (1932-2007), Yang Ying-Fong (1926- 1997), Lee Shi-Chi (1926-), Chiang Han-Tung (19262009), and Shih Hua, founded the Modern Printmaking Association in 1958. Figures who had emigrated or studied abroad, such as the famous printmakers Xiao Qin (1935-), Liao Hsiu-Ping (1936-), Hsieh Li-Fa (1938-), and Chen Ching-Jung (1934-) returned to Taiwan and took up posts in universities in the '50s and '60s. Figures from the previous generation of woodblock printmakers, including Fang Hsiang (19202003), Yang Ying-Fong, Chou Ying (1922-2011), and Chen Chi-Mao (1926-2005) conceived and founded The Printmaking Society of Taiwan in 1970. They held a global printmaking exhibition and activities to promote printmaking over a period of two years, which nurtured more than a few outstanding young printmakers. Each Golden Seal Award for Printmaking Creation, which was first held in 1976, rewarded outstanding artists who continued to work, thereby making a real contribution to the popularization and development of Taiwanese printmaking. In February 1973, the internationally-renowned printmaker Liao Hsiu-Ping took up employment at his alma mater, the National Taiwan Normal University (NTNU), and established a course on "modern printmaking" upon returning from America. In doing so, he planted a milestone in comprehensive modern printmaking concepts and passing on techniques for Taiwanese printmaking. His efforts to promote modern printmaking in Taiwan between 1973 and the summer of 1976 sowed the seeds of modern printmaking art in Taiwan. As well as teaching modern printmaking at the Chinese Culture University and the National School of Arts, Liao Hsiu-Ping established his own basement printmaking workshop, first at Xinyi Road and later at Jinan Road, providing printmaking equipment and creative space and encouraging some artists interested in new media to take up printmaking. He had a wide influence in the fields of painting and design. In 1974, Liao Hsiu-Ping authored "the Art of Printmaking", and led his students on a tour of Taiwan, during which he gave printmaking demonstrations and lectures on printmaking. His influence was such that all of the major Taiwanese art exhibitions, such as the Taiwan Provincial Fine Arts Exhibition and the Taiwan Art Exhibition specially established printmaking departments and major fine arts courses also continued to establish modern printmaking courses. He also spurred the founding of the Evergreen Graphic Art Association and the

Silkscreen Print Studio. This added a fresh impetus to Taiwanese printmaking, giving rise to an unstoppable printmaking movement. In February 1974, ten of Liao Hsiu-Ping's students at the NTNU, including Chung You-Hui (1946-), Dawn Chen-Ping (1948-), Lin Chang-De(1951-), and Lin Hsueh-Ching (1952-) gave a printmaking exhibition at the Youth Gallery. Their passion for printmaking led them to establish the Evergreen Graphic Art Association, encouraged by Liao Hsiu-Ping, which marks the beginning of Evergreen's development of modern printmaking in Taiwan. When Taiwan's economy took off in the '70s, influential enterprises formed a succession of consortia and greatly increasing investment in advertising. In turn, the booming advertising market thus created enabled most advertising firms to develop. At the time, photo silkscreen production was popular in the U.S. and silkscreen printing was originally used in industry or for fabric printing, with the National College of Arts and normal vocational schools in Taiwan all offering these courses. The Qiancai Print Company was run by Li Chao-Zong (1945), who had graduated in fine arts from the National School of Arts. Encouraged to promote printmaking by Liao Hsiu-Ping, the Print Company founded the Qiancai Silkscreen Printing and Printmaking Studio and began to help artists to produce silkscreen prints in 1974. In 1975, Chung You-Hui established the 274 Print Studio as a workspace for members of the Evergreen Graphic Art Association, in a Japanese-style residence in Dingzhou Road, Taipei. It was also a place where they could gather, deliberate, and hold discussions. Professor Liao Hsiu-Ping gave lectures on new developments and techniques in printmaking there a number of times, and also met foreign artists there. Simultaneously, the 274 Print Studio also invited members of the Evergreen Graphic Art Association to design and print Chinese New Year cards on silkscreen, which were well-received. The Taiwanese economy became developed in the '80s, and the government had enough objective economic strength to hold its own international art exhibitions, creating space by breaking out of a difficult artistic and cultural situation. The Council for Cultural Affairs was founded under the Executive Yuan in 1981, and its first Chairman, Dr. Chen Chi-Lu, was the first person to propose holding large international art exhibitions. Encouraged by Liao Hsiu-Ping, the Executive Yuan's Council for Cultural Affairs began a new chapter in government subsidy for the arts in December, 1983, and enabled modern Taiwanese printing to enter a phase of international exchange and interaction. Its significance extended beyond allowing a greater number of internationally-renowned artists to come and give exhibitions in Taiwan, developing the aesthetic horizons of the Taiwanese public,

Modern Printmaking in Taiwan

and improving Taiwan's cultural image: it also stimulated active creation by Taiwanese printmakers, which bore fruit in international printmaking exhibitions. Dawn Chen-Ping, Chang Cheng Jen (1953-), and Mei Ding-Yan (1954-) were the first members of the Evergreen Graphic Art Association to study in the U.S., while Chung You-Hui and Lin Hsueh-Ching studied in Japan, later returning to Taiwan in the '80s and '90s. Their experience of studying abroad gave them a broad, open international perspective, and combined with their own diligence in taking in new knowledge and techniques, they had developed their own printmaking thought and style regarding printmaking. After they returned to Taiwan, as well as taking up posts in universities, they publicized printmaking techniques, all innovating in printmaking concepts and the application of new techniques. In order to attend simultaneously to traditional and innovative development the Executive Yuan's Council for Cultural Affairs also began holding the Chinese New Year Prints Exhibition competition award after 1984, while continuing to hold the International Biennial Print Exhibition. Although New Year Pictures are considered popular art, they express Taiwan's spirit of diligent thrift, simplicity, moderation, and optimism. Furthermore, their celebratory, auspicious meaning is very much in line with popular thought and sentiment, and they very popular in Taiwan. Modern printmaking innovation and techniques are often used in the production of modern New Year Pictures, and many members of the Evergreen Graphic Art Association won first place at the New Year Prints Exhibition, including Liu Yang-Che (1944), Lo Pin-Ho, Lin Chao-An, and Wang Zhen-Tai (1963-). Many members of the Association continued to serve as judges in the New Year Prints Exhibition, and were invited to produce New Year Pictures or led their students to become involved in printing New Year Pictures. Their familiarity with applying all kinds of printmaking techniques and the breadth of themes with which they dealt spurred an atmosphere of creativity in Chinese New Year Pictures, and also modernized these pictures and gave them a style and interest different to traditional Mainland Chinese New Year Pictures. Printmaking workshops were being founded even as the Cultural Affairs Council was planning the International Biennial Print Exhibition, and at which Liao Hsiu-Ping and members of the Evergreen Graphic Art Association including Chung You-Hui, Dawn Chen-Ping, and Yang Ming Dye gave demonstrations and lectures. The Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts also established printmaking classrooms and lectures to promote printmaking in response to the International Biennial Print Exhibition and the New Year Prints Exhibition. Most of the teachers and lecturers who worked in them were members of the Evergreen Graphic Art Society.

After the Second World War, experimentation flourished and the artistic world experimented with different media in the wake of economic and technological development. Artists abandoned previous forms of creation, and created an unprecedented new modern form of art. A tendency towards diversity in artistic creation emerged, and the creative scope of modern printmaking was thereby broadened. Modern artists who work in printmaking developed a succession of special forms such as combination printing, collagraphy, installation printmaking, and composite printing in addition to the four basic types of relief printing, intaglio, lithography, and screen print. The printmaking concepts of the members of the Evergreen Graphic Art Association have been inspired by international modern printmaking concepts. The majority of their work displays a complex creative state, and they have been considered the vanguard of Taiwanese multimedia innovation since the '70s. Printmaking became more important than it had been at any earlier time due to the creative passion and undertakings of this group of outstanding young printmakers and its ability to keep pace with Taiwan's economic takeoff. This secondgeneration Taiwan-grown printmaking group is a gear which has accelerated the vigorous development of modern Taiwanese printmaking, and it has become the locomotive driving creation and education in modern Taiwanese printmaking. The Evergreen Graphic Art Association has become Taiwan's oldest and core printmaking group through its members' mutual encouragement, development of art, work in the fields of modern printmaking and related disciplines, and quiet cultivation of itself. In the process of the Association's development, it has inherited the concepts taught by Professor Liao Hsiu-Ping by means of youthful energy and passion for working in modern printmaking. The Association holds exhibitions and printmaking promotion activities every year, and many of its members teach at a number of different levels: university, senior high school, and primary school. It has made a towering contribution to education in modern Taiwanese printmaking. Due to their expertise in every kind of printmaking technique, every member of the Association bears the responsibility to serve as an excellent teacher in their own workplace, serving as a link between the past and future of printmaking. Members of the Association teach printmaking courses in every major university and school, nurturing a younger generation of printmakers: today, they have already raised the third and fourth generations of outstanding artists in north, central and south Taiwan. Furthermore, teachers such as Li Shi-Chi and Gu Chung-Guang in Taipei, Ni Chao-Long in Taichung, Lin Zhi-Xin and Pan Yuan-Shi in Tainan, and Chen Guo-Zhan in Pingtung were also inspired by Liao Hsiu-Ping's return to Taiwan to spread the art of printmaking and have joined the ranks of those working in and promoting printmaking.

Modern Printmaking in Taiwan

From the 1950s to today, the number of artists devoted to printmaking in Taiwan has not fallen below two hundred. An ever-increasing number of people work in printmaking as a hobby or are studying it. As a result of the constraints imposed by the exhibition's venue and the short notice at which this exhibition was held, thirty-nine exhibitors have been selected, with priority given to those who have continued to work in printmaking, are active around Taiwan, who are easiest to contact, and who consented to participate. We would like to take this opportunity to apologize to the many outstanding artists who were unable to participate in this exhibition.

W O R K S

作品

呂燕卿 Lu Yan-Qing

1948 年生，畢業於國立臺灣師範大學美術研究所，現任為國立新竹教育大學藝術與設計學系所教授。專攻版畫創作與膠彩畫創作，竹師五十載之榮耀與鞭策，榮獲 1997 年中華民國全國畫學會版畫類「金爵獎」及 2006 年中華民國版畫學會版畫教育「金璽獎」、 2014 年國立臺灣美術館委託創作羊年年畫及「真善美之二」作品入選第十六屆國際版畫雙年展等。她的創作擅長運用平版與絹印的套色變化，隱喻潛藏的慾望與禁忌，展現母性生命存在與女性藝術情思，接受生命的倫理是超越一切的準則，存有真誠力量已包含美學理論；直覺性與抒情性的詩意內涵，持續母性沉思系列。 Born in 1948, graduated from the National Taiwan Normal University, Institute of Fine Arts, Lu Yan-Qing is a current professor of Art and Design Department of National Hsinchu University of Education. She has won several awards, and had been commissioned by the National Taiwan Museum of Fine Arts and others. Her pieces are themed around the existence of motherhood, of femininity, and acceptance of life.

真善美二 True Good and Beautiful - 2 絹印 Serigraphy 100 x 70 cm 2014

喜日系列 II Happy Day - II 絹印 Serigraphy 76 x 105.5 cm 2011

呂燕卿

記憶系列 II Remembrance - II 絹印 Serigraphy 71 x 100 cm 2012

周孟德 Zhou Meng-De

1953 年生於彰化，對於美柔汀版畫的打底過程，他與余銀溪師傅合作研發一套自動搖點機，以機械取代手工，突破版畫創作過程的瓶頸，得以更快速地創造新作品。版畫作品多次獲邀赴國外參展，曾獲邀參加東京版畫交流展、日本神奈川國際版畫展、法國 AMAC 版畫展、中加版畫展。為了兼顧作畫與家中經濟，他選擇投入計程車業，而這項工作，使他有許多機會接觸社會底層的人生百態。有別於標新立異的繪畫語言，這是一種體驗；用繪畫藝術把調查結果呈現出來，是真實人生的投射，也折射他對現實人生關切。寫實細膩的線條描繪這片土地上的不同人物與生活方式，筆下有社會各階層人物呈現，都忠實的紀錄在畫面上。 Born in 1953, Zhou Meng-De is known for his developments that help fasten the process of Mezzotint printmaking. In order to balance his art and home finances, he chose to become a part-time taxi driver, exposing himself to society's vicissitudes of life, giving him different experiences, allowing his work to reflect not only concerns of the society, but of his own as well.

值夜班的護士 Nurse on the Night Shift 蝕刻＋美柔汀 Etching + Mezzotint 63.5 x 42.5 cm 2011

挽面 Face Threading 蝕刻＋美柔汀 Etching + Mezzotint 47.5 x 61.5 cm 2007

周孟德

夜晚的 Jazz Jazz of the Night 美柔汀 Mezzotint 41 x 28 cm 1998

金炫辰 Kim Hyun-Jin

1958 年出生於韓國，韓國慶熙大學美術系畢業，之後到台灣留學，1983 年畢業於中國文化大學藝術研究所。舉辦多次展覽，作品在國內外多次獲獎，以獨樹一幟的風格引人注目。以版畫為主要創作媒介，運用一版複印（reduction）的技法，表現單純且帶有故事性的造型；選用木版為材質，以重複刻版及疊色法來展現豐富的色彩變化與和諧，以及如夢似幻般的內心世界，在快樂與驚喜中進行創作。用心閱讀自己周邊的種種事物，可以讀到不同的異想世界，於是藉著版畫媒介來加以敘述。認為藝術是將眼睛看不見的東西表達出來，跟其他人分享的人間樂事。 Born in 1958, Kim Hyun-Jin is a graduate of Kyung Hee University Department of Fine Arts, and after studying in Taiwan, graduated from the Art Institute of Chinese Culture University Master's program. Using reduction, she develops her own unique style, using boards for materials, duplicating and overlapping colors to show rich color changes and harmony. Like a magical inner world, her pieces create a sense of joy and surprise. She believes that art is created out of what the eyes cannot see, and it is a pleasure to share it with others.

夢幻的第二象限 Second Quadrant of Fantasy 木版 Woodcut 61 x 81 cm 2012

剪不斷，理還亂 - 2 Inexpressible Feeling - 2 木版 Woodcut 82 x 61 cm 2013

金炫辰

期待 #2 Expectation#2 木版＋樹脂版 Woodcut + Resin Plate 70 x 98 cm 2013

朱哲良 Zhu Zhe-Liang

1989 年畢業於紐約普瑞特學院藝術與設計研究所，現在是國立臺灣大學建築與城鄉研究所博士候選人。平時常透過教學與講座的場合，積極宣導與推廣版畫藝術，譯有《版畫技法百科全書》。2006 年，他創立臺南科大「版印中心 (Print Art Center)」，進一步推廣台灣版畫藝術教育。參展數十次，分獲第十一、十二、十五屆國際版畫雙年展版畫類入選、第七屆巴黎大獎。他強調色彩感受有其主客觀因素，創作者對色彩的敏感度，有賴長年的培養；色彩本身也有其自律性，需要創作者洞察。過程不用邏輯思考，無需語言討論，只憑眼觀察，用心體會，透過藝術造形手法調整作品，共感與共鳴自然會逐漸孕生，譜出色彩和諧。 Graduated in 1989, Zhu Zhe-Liang is a graduate of the Taipei National University of the Arts, with a master degree from Pratt Institute of Art and Design, and is a current doctoral candidate at National Taiwan University. In 1998, he founded "CHUleon Press" and has translated The Encyclopedia of Printmaking Techniques. In 2006, he founded Print Art Center to further promote Taiwan's printmaking education. His pieces are based on whatever left him with an impression or moved him and his work process is created with just eye observation and from the heart.

版印齋 Chuleon Press 網版 Screen Plate 68 x 96.5 cm 2013

甜蜜家園 Home Sweet Home 網版 Screen Plate 68 x 98.5 cm 2013

朱哲良

午夜花園 Midnight Garden 複合版 Composite Plate 100 x 69.5 cm 2011

林昭安 Lin Chao-An

1962 年出生，畢業於國立臺北藝術大學美術創作研究所，曾任國小美勞教師，長榮大學視覺藝術系、臺南大學美教系、嘉義大學美術系、雲林科技大學視覺傳達設計系兼任講師；全省美展、南瀛美展、全國學生美術比賽、台南縣美展、雲林縣美展評審，現任國立後壁高中美工科教師。參展於台數十次，獲獎無數。創作主要表達文化關懷是一種信念，這一片土地上人們辛勤耕耘留下來深厚的感情，是沈重、是積極、是長遠、是細膩、是豐富的。在大家共同生活的大地有彼此熟悉、共同擁有的記憶，透過石版、銅版特有的質感，創作出一種和諧，秩序的畫面效果，企圖給觀賞者充滿美感的想像空間。 Born in 1962, Lin Chao-An is a graduate of Taipei National University of the Arts, and currently an arts teacher at National Hou-Bi Senior High School. He believes the land has a depth of feelings, is heavy, positive, far, delicate and bountiful and has familiarity, memories, and through printmaking, creates a screen effect attempting to give viewers the full beauty of the imagination.

時空 - 蓮潭記事 II Time and Space - Record of Lian Lake II 併用版 ( 銅版＋平版 ) Combination Printing (Copper Planography) 62 x 81 cm 2001

時空 - 緣起 Time and Space - Green Rising 平版 ( 砂目鋁版 ) Lithographic (Mill Run Aluminum Plate) 83 x 58 cm 2010

林昭安

時空 - 繁衍 Time and Space - Flourishing 銅版 ( 美柔汀 ) Copperplate (Mezzotint) 60 x 60 cm 2006

徐明豐 Hsu Ming-Feng

1962 年出生於苗栗，畢業於國立臺灣藝術大學美術系版畫藝術研究所，中華民國版畫學會監事、現任豐喜堂版畫創意工坊藝術總監、國立東華大學藝術與設計學系兼任講師。版畫創作從東方水墨的氛圍去做延伸表現，不希望僅是墨守成規，所以融入了不同的材質實驗再創新，顛覆傳統東方水墨的表現手法，從中國傳統書意中擷取草書的精隨，將原本書寫性的書法線條，抽離為點、線、面的抽象構成，並且結合版印木版的樸素特質，利用切割凹凸間產生黑白對比的紋理，讓作品不僅帶有厚重、紮實的內蘊，又兼具空靈之韻，呈現優雅而沉靜的山水意境。 Born in 1962, Hsu Ming-Feng is a graduate from the National Taiwan University of Arts, Institute of Fine Arts Printmaking Department. Using different materials to experiment and innovate, his work captures the essence of Chinese calligraphy, drawing from the abstractness in the points, lines and surface. He also combines the simple traits of different wood blocks to create quiet elegances in his compositions.

記憶之一 Memory 1 木刻版 Woodcut 110 x 110 cm 2014

記憶之二 Memory 2 木刻版 Woodcut 110 x 110 cm 2014

徐明豐

記憶之六 Memory 6 木刻版 Woodcut 110 x 110 cm 2014

郭榮華 Guo Rong-Hua

1961 年出生，畢業於國立臺北藝術大學造形研究所。現任為中華民國版畫學會會員。展覽於台數次，近年參加 2014 第三屆上海國際版畫展、上海 2014 年台灣當代版畫上海特展。在 2000 年獲中華民國版畫學會第六屆版畫大獎、2004 年台日藏書票家交流展特選獎、2005 年國際版畫邀請展暨全國版畫展創作獎。版畫創作以水印木刻的技法包括凹版與凸版的版種，表達戲偶的角色與人的互動形式，呈現戲偶與人本身的關係。2000 年成立「二枚腰版畫工房」，是創作與推廣的基地。期望藉由作品讓更多的民眾欣賞，培養對藝術的興趣，進而擁有並挑起對傳統藝術的新發現。 Born in 1961, Guo Rong-Hua is a graduate of the National Taipei University of the Art, Graduate School of Plastic Arts, majoring in printmaking. He has exhibited in Taiwan numerous times in exhibitions such as the 2014 Third Shanghai International Print Exhibition and the 2014 Contemporary Taiwan Printmaking Exhibition in Shanghai. In 2000, he founded his own studio where the base of his creations took place. He looks to create and share his works to allow more people to enjoy and develop an interest in the arts, in turn finding new discoveries in traditional art.

淨 Jing-Painted-Faced Grumpy Martial Arts Mast 水印木刻凹凸併用 Combined Print (Watermark Woodcut, Mixture of Relief & Intaglio) 94.5 x 33.5 cm 2005

陰陽師 Master of Yinyang 水印木刻凹凸併用 Combined Print (Watermark Woodcut, Mixture of Relief & Intaglio) 74 x 94.5 cm 2004

郭榮華

白奸 White-Faced Wicked Man 水印木刻凹凸併用 Combined Print (Watermark Woodcut, Mixture of Relief & Intaglio) 94.5 x 33.5 cm 2005

李延祥 Lee Yein-Shyang

1965 年出生，畢業於國立臺灣師範大學美術系，後赴法國巴黎對位工作室研修，成立「互動版畫工作室」，現任國立東華大學藝術與設計學系兼任版畫教師。在 2000 年編著《版畫》一書。他的創作觀就如同對工作室的期許一樣，是以金屬凹版的創作為主，秉持著在巴黎對位版畫工作室所學之精神。他的創作是尋找對話的窗口，和自己對話，和觀者對話，和大自然對話。有一些感覺、經驗或回憶，不想過於精確地表達出來，所以在創作的過程中，有時過、有時不及，如同數學上「趨近於」，但不盡然「等於」的關係。版畫或單刷版畫的創作，正紀錄此種捕捉或探索的過程，表現並傳播。 Born in 1965, Lee Yein-Shyang is a graduate of the National Taiwan Normal University Department of Fine Arts. He also went to Paris for studio training, and established the "Interactive Printmaking Studio." His creations contain dialogues between himself, the audience and nature, expressing feelings, experiences, or memories, while remaining ambiguous in his creative progress. These prints are record of his progress, journey, and performance.

仲夏夜之夢 A Midsummer Night's Dream 單刷版畫 Monoprint 47.5 x 54 cm 2011

地理的歷史 The History of Geography 單刷版畫 Monoprint 74 x 60 cm 2000

李延祥

書 Book 照相凹版 ( 手工書 ) Photogravure 36 x 198 cm 2014

宣言 Declaration 照相凹版 ( 手工書 ) Photogravure 36 x 144 cm 2014

持咒 Chanting Incantations 照相凹版 ( 手工書 ) Photogravure 36 x 144 cm 2014

潘孟堯 Pan Meng-Yao

1965 年出生於苗栗，畢業於西班牙 SALAMANCA 大學美術研究所，曾任臺中教育大學美教系和新竹教育大學藝術與設計系兼任講師，現任東海大學美術系兼任講師、彩田版畫工作室負責人。參展數十次，並在 1999 年版畫大獎榮獲首獎、2005 年五件版畫作品獲國立美術館典藏、2010 年中華民國國際版畫雙年展入選。各種材質的紋理或隨意的腐蝕所揭發的版趣，造成畫面另一種新的視覺感，輕鬆面對畫面，跨越主題的框架直接面對版印的本質與版趣的呈現。應用鐵砂所產生的黑線和被破壞的版，產生不連貫與凹凸之間的視覺關係，讓畫面具有純靜的視覺與心理溝通，線條有所控制，卻被片段分開好像訓練有素的線條在不同的空間交錯。 Born in1965, Pan Meng-Yao is a graduate from the National Taiwan University of Arts, as well as a graduate from the University of Salamanca in Spain. He is currently a lecturer at Tung-Hai Unversity, and is the executive of Cai-Tian Print Studio. Exhibited dozens of time, Pan has won awards such as the 14th R.O.C. International Biennial Print Exhibition in 2010. Using texture or corrosion of various materials, he creates a new visual sense. Black lines and damaged applications help produce visual relationships between the disjointed, so that the screen has pristine visuals and psychological communications, with the lines in control, appearing to be interlaced in different spaces.

灰色 Gray 實物凹版＋油印木刻凸版 Intaglio + Woodcut 50 x 71 cm 2014

時節痕跡 Traces of Seasons 實物凹版＋油印木刻凸版 Intaglio + Woodcut 100 x 71 cm 2013

潘孟堯

藍色與種子 Blue and Seeds 實物凹版＋油印木刻凸版 Intaglio + Woodcut 71 x 50 cm 2014

鄭政煌 Cheng Cheng-Huang

1965 年出生，畢業於國立臺北藝術大學美術創作研究所。版畫創作對他而言，就像天邊偶然飄過的雲彩，輕輕的劃過心底卻留下永不抹滅的記憶，具有內在心靈的想像，版畫媒材成了他創作形式發展的基底。他對黑色的運用情有獨鍾，以黑色形式做深層的反思，隱喻的手法呈現單純及敘述性的表現，呈現一種直接、沉鬱、厚重帶有一種青澀的酷感。創作偏向於東方精神的延續與擴充，在技法的呈現上使用水墨與版畫這兩種不同媒材的並置，重新詮釋水墨在當代的另一種可能性。將版畫木版與木板獨立出來成為作品，將複數性的形式轉變成為展覽的一部分，將版畫的概念以裝置的形式多樣呈現。 Born in 1965, Cheng Cheng-Huang is a graduate from the Taipei National University of the Arts. Printmaking is the base of his compositions, using black to create direct, gloomy and heavy sentiment. He uses both ink and printmaking, reinterpreting possibilities for the contemporary. Both the prints and the wood blocks become art pieces, a part of the exhibition, creating different ways of presentation for printmaking.

殤 Perished 木刻版畫剪紙 Wood Engraving, Paper Cutting 164 x 123 cm 2006

黑色隱喻 Black Metaphor 木刻版畫剪紙 Wood Engraving, Paper Cutting 124 x 80 cm 2006

鄭政煌

陳華俊 Chen Hua-Chun

1967 年出生，畢業於國立臺北藝術大學造形研究所版畫組，現任火盒子版畫工房負責人、華梵大學美術系版畫兼任教師、歷任中華民國版畫學會理、監事。舉辦多次展覽在台並獲獎無數。創作分為兩條路線：以金屬凹版創作的是關於自己內心深處的私密情感；以凸版油印的方式表達，是對這個社會的看法。另就創作內容來看，以自我探尋來表達對社會的批判，嘲諷在資本主義下的都會型商業行為，以及在都會模式之下所展現的個人生活經歷。之後，他將兩個路線整合繼續沿用下來作為創作元素。 Born in 1967, Chen Hua-Chun is a graduate of Taipei National University of the Arts, Graduate Institute of Plastic Art. Organizer of several exhibitions, he himself has also received numerous awards. There are two main themes in his works: one regards the depths of his private feelings, while the other expresses the views of the society. After, he combines the two together and continues to expand on the concept.

Love Like Jazz, Kiss My Ass 凸版油印 Relief Printing 100 x 71.5 cm 2014

紅男綠女 Red and Green 凹版細點腐蝕 Intaglio, Etching 67 x 98.5 cm 2006

陳華俊

愛，擁擠 The Crowded Love 凸版油印 Relief Printing 73 x 50 cm 2014

劉錫權 Liu His-Chuan

1968 年出生，畢業於英國肯特大學藝術與設計學院平面藝術研究所，曾任中華民國版畫學會秘書長，現任國立臺北藝術大學美術學系教授。對什麼是“真實” 的詢問、到“真實”狀態的詮釋成為創作內容的核心 ; 由單一的墨色進行連作的策略，試著在某種知覺策略裡找到一個適合個人的詮釋形式；物質性的內容是藝術性內容的必然語彙，數位工具扮演的是工具性的角色，不會是作品內容，不管使用的工具是什麼，也不會因為這個工具的價值或認知，而影響對作品的判斷。由於所學背景與攝影相關，故初期曾嘗試將蒙太奇與版畫結合，探究純以手繪為主的圖像語意，並透過腐蝕凹版、照相平版和絹印等媒材作為表象，以發揮版畫紙、油墨和壓印之間關係。 Born in 1968, Liu His-Chuan is a master's graduate from the Kent Institute of Art and Design. He is a current professor at the Fine Arts Department of Taipei National University of the Arts. Liu has attended several exhibitions, winning several awards. Since his studies and photography are related, he combines montages and prints, exploring different printmaking techniques to bring into the play the relationship between the papers, ink and emboss.

原生質 - 7 Essence - 7 絹印數位輸出 Silkscreen Digital Output 72 x 59 cm 2010

原生質 - 2 Essence - 2 數位輸出 Digital Output 54 x 74 cm 2010

劉錫權

原生質 - 1 Essence - 1 絹印數位輸出 Silkscreen Digital Output 74 x 66 cm 2010

高春英 Gao Chun-Ying

1969 年出生，畢業於西班牙 SALAMANCA 大學美術研究所。曾任玄奘大學藝創系講師，現任為中華民國版畫學會會員、苗栗縣藝文深耕美術教學講師。隨著年齡增長以及經歷過死神擦身而過的經驗，對於周遭生與死瞬間交替感到脆弱，在這宇宙裡，不斷的替換，該用什麼來證明曾經存在過，唯有創作。多次展覽並在 2012 年榮獲大墩美展版畫類第一名並獲大墩收藏獎、苗栗美展複合媒材類第一名、台陽美展銅牌獎、新北市美展版畫類第三名；2013 年全國美展版畫類銀牌獎、高雄獎優選獎、苗栗美展複合媒材類第三名； 2014 年國際版畫雙年展佳作獎、台陽美展銀牌獎、大墩美展版畫類第三名、中部美展版畫類第二名、2015 年全國版畫展獲版畫大獎。 Born in 1969, Gao Chun-Ying is a graduate of National Taiwan University of Arts as well as the University of Salamanca. She is a former lecturer at the Hsuan Chuang University, a member of the Printmaking Society of R.O.C., and an arts instructor in Miaoli. Attended several exhibitions, Gao has won numerous awards from 2012 to 2015, such as receiving first place in printmaking in the Da Dun Fine Arts Exhibition, to winning an award in the National Print Exhibition.

回到最初 Back to Original 砂紙凹版凹版墨達文西版畫紙 Intaglio Printing / Sandpaper / Ink 77.5 x 102.5 cm 2014

世間的對應關係 Worldly Corresponding Relationship 砂紙凹版凹版墨達文西版畫紙 Intaglio Printing / Sandpaper / Ink 100 x 67.5 cm 2014

高春英

諾亞方葉 Noah's Leaf 砂紙凹版凹版墨達文西版畫紙 Intaglio Printing / Sandpaper / Ink 82 x 55 cm 2014

潘勁瑞 Pan Chin-Jui

1969 年生於蘭陽平原，畢業於國立臺北藝術大學造型藝術研究所，蘭陽版畫工作室負責人，曾是數屆文建會版印年畫首獎得主，同時在 90 年代中期連續三年獲得台灣省全省美展的版畫大獎，近年來他逐步嘗試著新的創作方式，內容上亦突顯強烈的主題性，在木版上以直接流暢的刀法，藉著刀刻的直接與果決，形成強烈明顯的黑白對比與兼具厚實與動感的圖像，顯示他對環境的關心與人文的深刻情懷。 Born in 1969, Pan Chin-Jui graduated from the Taipei National University of the Arts, Graduate Institute of Plastic Art. These recent years, he experimented new techniques, with strong content regarding themes such as life, or religion. His refined engraving skills create bold lines and strong contrast in his compositions, showing his profound feelings of concern for the environment and humanity.

小島日記（四）重生 Island Diary (4)-Reborn 木刻版 Woodcut 109.5 x 79 cm 2011

小島日記（二）~ 來自島嶼的明信片 Island Diary (2) – a Postcard from an Island 木刻版 Woodcut 90 x 120 cm 2010

潘勁瑞

土地 Earth 木刻版 Woodcut 110 x 79 cm 2006

林仁信 Lin Ren-Hsin

1973 生於宜蘭，畢業於國立臺北藝術大學造形研究所，曾任臺南長榮大學美術系講師，中華民國版畫學會理、監事，現任臺北藝術大學美術系講師，講授版畫創作，亦是台灣版畫藝術綜合平台岩筆模創辦人，目前以版畫為主要創作媒材，包含平面、立體造形及公共藝術，常以探討個人與生活環境的相互關係，為創作題材。作品獲國立臺灣美術館、中華民國版畫學會、關渡美術館、日本佐喜真美術館、法國 Chamalieres 當代藝術館、中國貴陽美術館典藏、國父紀念館、國立歷史博物館，舉辦過數十場創作個展及聯展，並曾與綺響樂團於國家表演廳、成大表演廳、北藝大音樂廳合作即興演出，亦參與多件公共藝術設計及製作。 Born in 1973, Lin Ren-Hsin is a graduate from the Taipei National University of the Arts, and currently a lecturer at Taipei National University of the Arts. With printmaking as his main medium, his work themes surround the exploration of personal relationships with the living environment. Lin has attended dozens of solo and group exhibitions, with works also involved with the design and production of different performance and concert halls.

東方明珠 Shanghai 凹版蝕刻、細點腐蝕 Etching, Aquatint 全開 2008

ㄒ一 ˊ 字 < Ⅰ > The Word / World< Ⅰ > 凹版 / 藍膜版畫 Intaglio / Blue Film Etching 全開 2010

林仁信

ㄒ一 ˊ 字 < Ⅱ > The Word / World< Ⅱ > 凹版 / 藍膜版畫 Intaglio / Blue Film Etching 全開 2010

陳韋 Chen Wei-Li

1975 年出生，畢業於國立臺南藝術學院造形藝術研究所，現任宜蘭縣東光國中美術班教師、宜蘭縣國教輔導團藝術與人文領域輔導員。其創作以木刻、紙版為主，版畫對他來說是自己的延伸，主要表達一個生命的和諧與共榮的思維。展覽於台數次，在 1996 年獲南瀛美展版畫金牌獎、1996 年全省美展版畫金牌獎、 2004、2013、2014 年中華民國版印年畫首獎、2005 年大墩美展版畫大墩獎、2006 年全省美展版畫第一名、2006 年宜蘭美展版畫類第一名。作品典藏於台中市政府文化局、高雄市立美術館、國立台灣美術館、台南縣政府文化局、國立台灣藝術大學美術系、宜蘭縣羅東鎮公所。 Born in 1975, Chen Wei-Li is a graduate from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. He is currently a teacher at Dong Guang Junior High School Art Class, an Ilan County art counselor, humanities instructor, and Ilan Community College class instructor. His pieces have shown in several exhibitions, winning many medals, and are collected by bureaus, museums, and universities.

存有 Existence 紙凹版 Intaglio Printing / Paper 51 x 72 cm 2014

冥想 Meditation 紙凹版 Intaglio Printing / Paper 72 x 55 cm 2014

陳韋㕇

祥龍得魚直上青雲 Auspicious Dragon Catches a Fish Ascending the Blue Sky 紙凹版 Intaglio Printing / Paper 50.4 x 37.2 cm 2011

黃椿元 Huang Chun-Yuan

1977 年出生於台北，畢業於國立臺北藝術大學造形研究所，現任 Tsubaki Print Studio（椿版畫工作室：成立以來致力結合文化創意產業趨勢，研發版印相關作品，近期以承接藝術家及機關版畫委託製作為主要業務。）執行總監、中華民國版畫學會理事、國立臺灣藝術大學美術系兼任講師、私立玄奘大學藝術與創意設計學系兼任講師。其創作以絹印為主，用版畫紀錄周遭所流逝的一些痕跡與景象。多次參與日、韓及兩岸展覽，曾獲中華民國第 22 屆版印年畫徵選首獎，受邀於法國版畫三年展、全國及中日名家版畫交流展、大墩美展、中華民國國際版畫素描雙年展、台灣─加拿大當代版畫與紙上藝術交流展等多項國際展出。 Born in 1977, Huang Chun-Yuan is a graduate from Taipei National University of the Arts, Graduate Institute of Plastic Arts, currently working at Tsubaki Print Studio. He has participated in Japan, Korea and other exhibitions, winning the 22nd R.O.C. Woodblock Print Competition, and invited to numerous other international exhibitions.

Leaf#1~4 絹印 Silkscreen 直徑 30 cm( 四連幅） 2014

Trace#19 絹印 Silkscreen 120 x 80 cm 2011

黃椿元

Trace#20 絹印 Silkscreen 80 x 120 cm 2012

田文筆 Ten Wen-Pi

1978 年出生，畢業於國立臺灣藝術大學版畫藝術研究所。在台參展數次，榮獲中華民國第 20、22、24 屆版印年畫徵選首獎、高雄縣美展、鳳邑美術獎、中華民國第 13 屆國際版畫雙年展文建會主委獎、大墩美展版畫類第一名、全國版畫展銅牌獎、財團法人巴黎文教基金會巴黎大獎得主。作品著重於實驗與試探的精神，喜愛探究各種媒材的特性。作品嘗試從「線」的虛實、有無中，將自己的生活體驗及思想以線條轉化為具體的形象，線性與面積的顯現，構築起一個時間與空間的架構，再現自我生命狀態的痕跡。 Born in 1978, Ten Wen-Pi is a graduate from the National Taiwan University of Arts. He has exhibited in Taiwan several times, winning the 20th, 22nd and 24th editions of R.O.C. New Year prints exhibition of R.O.C, and more. Ten's works focus on the experimental and exploratory spirit, investigating the characteristics of a variety of mediums. His pieces use "line" to create the presence or absence of life experiences into concrete images, building a framework of time and space, reproducing the state of life.

生命自覺 8 Awareness 8 木板拼貼立體型塑 Woodcut Collagraphy Installation 122 x 67 x 5 cm 2010

逝痕 8 Fading 8 木板拼貼立體型塑 Woodcut Collagraphy Installation 102 x 139 x 5 cm 2008

田文筆

生命狀態 j Life Status j 木板拼貼立體型塑 Woodcut Collagraphy Installation 150 x 144 x 5 cm 2010

廖峻立 Liao Jun-Li

1979 年出生，畢業於國立臺灣藝術大學版畫藝術研究所，目前就讀中國中央美術學院造型藝術研究所博士。參展數十次，在 2008 年獲中華民國國際版畫雙年展入選、2010 年全國版畫展優選、2011 年全國美術展銀牌獎、2014 年全國美術展入選、北京虛苑青年版畫創作“新銳獎”優秀獎。他覺得藝術是經由藝術家內心思考後，運用象徵手法表達物象，或是心理情緒的呈現，靠著以內心直覺加上對於所學的美感經驗作為判斷依據。他把所見的物象以內心直覺的觀察抽象化，並將其內心的幻象表現出來，以直線、曲線、或自由的線條來呈現自我的心境。採用多種版種併用的方式，甚至加入數位媒材的運用，使其在創作上更為豐富、多元的表現方式。 Born in 1979, Liao Jun-Li is a graduate of National Taiwan University of Arts and currently studying for his Ph.D at the China Central Academy of Fine Arts. He feels that art is thinking through the heart and his creations are based the inner intuition to abstraction to showcase the heart's wonders. Using straight lines, curves, lines, or the freedom of mind, a variety of materials and techniques, as well as adding the use of digital mediums, he creates creative and diverse manifestations.

城市閱讀系列 - 游離 City Reading Series - Between Planktonic 平版 Lithography 60 x 60 cm 2013

線系列 - 線 No.14 Line Series - Thread No.14 平版 Lithography 42 x 50 cm 2013

城市閱讀系列 - 城市風暴 City Reading Series - City Storm 平版 Lithography 70 x 100 cm 2013

廖峻立

結構 No.5 Structure No.5 平版 Lithography 40 x 120 cm 2013

國家圖書館出版品預行編目 (CIP) 資料凹凸有誌印痕歲月 : 臺灣 50 現代版畫 : 璀燦系列 / 沈欣穎 , 林佳瑩 , 陳運亭文字撰述 . -- 初版 . -- 臺北市 : 築空間 , 民 104.03 面 ; 公分 ISBN 978-986-91144-3-1( 平裝 )

1. 版畫 2. 藝術展覽

937

104001921

展覽期間為民國 104 年 4 月 3 日 ~ 4 月 26 日藝術家呂燕卿周孟德金炫辰朱哲良林昭安徐明豐郭榮華李延祥潘孟堯鄭政煌陳華俊劉錫權高春英潘勁瑞林仁信陳韋㕇黃椿元田文筆廖峻立

發行人

邱復生

Publisher

Chiu Fu-Sheng

總策劃

廖修平鐘有輝邱復生

Art Supervisor

Liao Hsiu Ping . Chung You Hui . Chiu Fu-Sheng

策展執行

沈欣穎陳易靜陳星妤

Curatorial Team

Shen Hsin-Yin . Chen Yi-Ching . Chen Hsing-Yu

主編

沈欣穎陳星妤陳易靜

Chef Editor

Shen Hsin-Yin . Chen Hsing-Yu . Chen Yi-Ching

文字撰述

沈欣穎林佳瑩陳運亭

Copywriter

Shen Hsin-Yin . Lin Chia-Ying . Chen Yu-Ting

特別邀稿

鐘有輝

Curatorial Essay

Chung You-Hui

作品攝影

杜宗尚

Photographer

Dolby Tu

人物照片

藝術家提供李奕儒

Artist Photos

Provided by the artists. Li Yi-Ru

採訪攝影

李奕儒

Photographer

Li Yi-Ru

採訪錄影

陳詩文

Videographer

Chen Shih-Wen

封面設計

林冠名

Cover Designer

Lin Guan-Ming

文字校對

陳星妤陳易靜

Proof-reading

Chen Hsing-Yu. Chen Yi-Ching

翻譯

凱勁中英翻譯服務有限公司

Translator

Kevin Lax

設計印刷

四海電子彩色製版股份有限公司台北市光復南路 35 號之 1 02-2761-8117

Printed ＆ designed by

Suhai Design 5F.-1, No.35, Guangfu S. Rd., Songshan Dist., Taipei City 105, Taiwan 02-2761-8117

佈展單位

山水藝術有限公司台北市恆光街 51 巷 8 號 3 樓 02-8661-2541

Art Handler

Shan-Shui Art Ltd. 1F,No.6-3,Wanlong St. Taipei City, Taiwan 02-8661-2541

出版發行

築空間台北市重慶南路一段 2 號 B1 02-2382-1000

Published by

Arki Galéria B1, No.2, Sec.1, Chongqing South Rd., Zhongzheng Dist., Taipei City 100 02-2382-1000

出版日期

民國 104 年 03 月初版

Date of Publication

Mar, 2015

定價

新臺幣 500 元

Price

NT $ 500

ISBN

978-986-91144-3-1( 平裝 )

ISBN

978-986-91144-3-1

凹凸有誌‧印痕歲月 台灣50現代版畫展 璀璨系列

凹凸有誌‧印痕歲月台灣50現代版畫展璀璨系列