沈潛●萌生 - 葉竹盛 個展 | Immerge. Emerge. - The Solo Exhibition of YEN Chu-Sheng

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YEH Chu-Sheng



YEH Chu-Sheng

沈潛。萌生 ︱ 葉竹盛個展 時間:3月24日-4月20日 地點:藝境畫廊(內湖區瑞光路六三九號) 《沈潛。萌生–葉竹盛個展》於3月22日-4月20日在藝境畫廊展出,包括葉竹盛近3年來的 新作。這些作品是葉竹盛創作新系列——《萌》系列的主要作品,也是他在2012年遭受北 投工作室被燒毀之變故後的浴火重生之作。工作室燒毀對於葉竹盛而言是人生一大痛擊, 數百件作品、個人收藏無一倖免,心血盡失。在看似低落的沉寂下,葉竹盛並沒有停止創 作,而是在創作中找到從無常世事回歸到本我生活的正面能量,迸發出更開闊、更強烈的 創作意識。如畢卡索在格爾尼卡被慘無人道的轟炸之後將憤怒轉化為創作的動力而留下載 入史冊的《格爾尼卡》,葉竹盛以《萌》系列回歸,將親歷火災、與火抗爭的沖擊沉潛至 海洋深處積聚能量,最終如種子深紮土地待春日照耀破土而出,在逆流中突破禁錮攪起海 浪與海洋共舞,帶來渡越中陰、更堅強站起的全新葉竹盛。 藝術家簡介 葉竹盛 1946年出生於臺灣高雄,先後畢業於國立臺灣藝術大學美術系、西班牙馬德里最高藝術學 院(馬德里大學),現兼任國立臺灣藝術大學及國立臺北藝術大學教授。葉竹盛在其作品 中以種子、海洋等元素來探討人與自然的關係,是為臺灣首位以藝術探討生態環境現實議 題的藝術家。他以抽象表現主義的繪畫語言形式來探討中國傳統文化理念的內涵,將大自 然提供的素材抽象出來,轉化為主觀的浪漫主義審美產物。其作品曾在國立歷史博物館、 臺北市立美術館、高雄市立美術館、國立臺灣美術館、上海美術館、(北京)中國美術館 等機構中展出。


葉 竹盛

1946

出生於高雄

1970

國立臺灣藝術大學美術系畢業

1977

西班牙馬德里最高藝術學院畢業(馬德里大學)

《伊通公園七週年-藝術家的精神素寫》,伊通公園,臺北 1993 《官林藝術中心開幕聯展》,官林藝術中心,臺南 《南臺灣新風格修褉展II》,臺南市立文化中心,臺南 《邁向巔峰大展》,積禪50藝術空間,高雄 1992 《新生態藝術環境(開幕聯展)》,新生態空間,臺南

個展

《第一屆畫廊博覽會》,臺北國際藝術博覽會,臺北

2015 《沉潛。萌生》,藝境畫廊,臺北

《南臺灣新風格雙年展》,臺南市立文化中心,臺南

2012 《喚心造境-葉竹盛個展》,新畫廊,臺北 2011 《葉竹盛個展-心靈環保系列》,新畫廊,臺北

1991 《現代抽象-七色光譜》,永漢畫廊,臺北 《現代畫聯展》,帝門畫廊,臺北

2009 《歸一。不盈-海洋生態系列》,上海美術館,上海 《禪定。萌生-環境生態系列》,國立臺灣美術館,臺中

《抽象聯展》,阿普畫廊,臺北

《窮。止。常。故-環境種子系列》,中國美術館,北京

《裝置聯展》,誠品畫廊,臺北

2008 《環境生態系列》,國際藝術博覽會,上海

《國際郵遞藝術交流展》,阿普畫廊,高雄

2007 《變遷與共生》海洋.種子.未來 ,臺中由鉅藝術中心

《第二十七回亞細亞現代美術館》,東京都上野之森美術

《松果奇緣-東方v.s西方》,國際藝術博覽會,臺北

館,日本

《戰後臺灣抽象繪畫深耕者》,臺南亞帝藝術中心,臺南

《閱讀狀態》,伊通公園,臺北

2004 《海洋、生態、變奏曲》,臺北縣立文化中心,臺北

1990 《當代畫家素描展》,誠品畫廊,臺北

2001 《瀚海新符象》環境生態海洋系列,華山藝文特區,臺北

《南臺灣新風格雙年展》,市立文化中心,臺南,高雄,臺中

1999 《花禪變》,花禪系列個展,悠閒藝術中心,臺北

《臺灣美術三百年作品展》,國立臺灣美術館,臺中

《蛻變》,國立清華大華藝術中心,新竹 1997 《生態、省思》,鹽埕畫廊,高雄

《微波展》,伊通公園,臺北 1989 《時代與創新現代美術展》,臺北市立美術館,臺北

1995 《秩序與非秩序》,臺南市立文化中心

《中國當代繪畫展》,漢城國立現代美術館,漢城

1993 《秩序、非秩序》,悠閒藝術中心,臺北

《當代藝會聯展》,國立歷史博物館,臺北

《環境與藝術系列五:人與自然的新關係》,臺北縣立文化

《第四回亞細亞國際美術展》,漢城美術館,韓國

中心,臺北

《南臺灣新風格修褉展I(七人)》 ,臺南市立文化中心,臺南

1990 《邀請個展》,臺北縣立文化中心

1988 《南臺灣新風格雙年展》 ,臺南市立文化中心,臺北市立美術館

1990 《個展》,伊通公園,臺北

1987 《中國當代繪畫展》,國立現代美術館,漢城

1983 《個展》,朝雅畫廊

《中華民國現代繪畫新貌展》,國立歷史博物館,臺北 1986 《大高雄畫派86展》,山水藝術館,高雄

聯展

《環境。裝置。錄影:SOCA現代藝術工作室開幕展》,

2011 《2011 Art Taipei》臺北國際藝術博覽會,臺北 《2011 Art Stage》藝術家登陸新加坡展覽會,新加坡

SOCA現代藝術工作室,臺北 1984 《異度空間-空間的主題、色彩的變奏》,春之藝廊,臺北

2010 《臺北雙年展中展》,臺北

1981 《中國畫家聯展》,Santander大學,西班牙

2008 《小甜心-伊通公園二十週年慶》,伊通公園,臺北

1979 《中國海外畫家聯展》,國立歷史博物館,臺北

2005 《關渡英雄誌 臺灣美術發展》,關渡美術館,臺北

1977 《三人聯展》,Galleilia de Art,馬德里,西班牙

2004 《八零年代臺灣美術發展》,臺北市立美術館,臺北

1976 《全歐中國畫家藝術聯盟展》,比利時

2003 《國立臺灣藝術大學教授美展》,臺北縣文化局,臺北

1973 《心象畫展》,高雄

《歌頌生命》心靈重建三部曲百人展,臺北市立美術館,臺北 《64種愛的欲言-在SARS蔓延的年代》,伊通公園,臺北 2002 《多元衝擊的臺灣藝文面貌-衝擊、掙扎與融合》, 加拿大文化交流中心,渥太華 1999 《磁性書寫-念念之間只上作品專題展》,伊通公園,臺北

臺北市立美術館 高雄市立美術館

1998 《線的力量-當代國際素描藝術展》,臺北藝廊,紐約

財訊雜誌

1997 《南臺灣新風格雙年展》,臺南市立文化中心,臺南

國立臺灣歷史博物館

《第十四屆高雄美術展覽會》,高雄市立美術館,高雄 1995 《南方性格》主題展,悠閒藝術中心,臺北 2

典藏 國立臺灣美術館

美國艾克森美孚石油公司 富邦集團


YEH Chu-Sheng

1946 Born in Kaohsiung 1970 B.F.A., National Taiwan University of Fine Arts 1977 Earned Professor of Drawing, San Fernando Royal Academy of Fine Arts

Solo Exhibitions 2015 2012 2011 2009

2008 2007

2004 2001 1999 1995 1993

1990 1985 1983

Immerge.Emerge , ARTDOOR Gallery, Taipei Wonderland of the Heart, Nou Gallery, Taipei Yeh Chu Sheng Solo Exhibition- Eco-Spirit Series, Nou Gallery, Taipei Infinity, National Art Museum of China, Beijing Convergence and Unceasing, Shanghai Art Museum, Shanghai Zen and Creation, National Taiwan Museum of Fine Arts, Taichung Environmental Ecology Series, Shanghai Art Fair, Shanghai Destiny of a Pine Cone – East vs. West, International Art Fair Taipei Change and Symbiosis: Ocean, Seeds, and the Forthcoming, GSR Gallery, Taichung Cultivator of Abstract Art in Post-Second-World-War Taiwan, Arty Gallery, Tainan Ocean, Ecology, and Variations, Taipei County Cultural Affairs Bureau Symbolized Images in the Great Sea – Marine Ecology Series, Hwa Shan Art District, Taipei Flower and Zen Series – Environmental Expressionism, Leisure Art Center, Taipei Metamorphosis, Ching-hua University Arts Center, Hsinchu Order and Disorder, Tainan Municipal Culture Center Order and Disorder, Leisure Art Center, Taipei Environment and Art Series 5: New Relationships Between Humanity and Nature, Taipei County Cultural Affairs Bureau Invitation Exhibition, Taipei County Cultural Affairs Bureau Solo Exhibition, IT Park, Taipei Solo Invitation Exhibition, Jin-chue Gallery, Taipei Solo Invitation Exhibition, Chao-ya Gallery, Kaoshiung

Group Exhibitions 2011 Art Taipei 2011, Taipei Art Stage Singapore, Singapore 2010 Exhibition within Exhibition, Taipei Biennale, Taipei 2008 SWEETIES: Celebrating 20 Years of IT Park, IT Park, Taipei 2005 Affairs Bureau Art Center‘OPEN! Kuandu Extravaganza: Exhibition of Modern Art In Taiwan, Kuandu Museum of Fine Arts 2004 Transitional Eighties: Taiwans Art Breaks New Ground', Taipei Fine Arts Museum 2003 Exhibition of Professors of National Taiwan University of Arts, Taipei County Cultu Affairs Bureau, Taipei Praising Life – Trilogy of Rebuilding Soul – A-Hundred-People Exhibition, Taipei Fine Arts Museum Discourses on Love: 64 Conversations in SARS' Era, IT Park, Taipei 2002 Impact on Art in Multicultural Taiwan – Impact, Struggles, and Integration, Taipei Economic and Cultural Center at Ottawa, Canada 1999 Magnetic Writing / Marching Ideas, Works on Paper, IT Park, Taipei 1998 Power of Lines – Contemporary Exhibition of International Art Sketches, New York Taipei Gallery, U.S.A. 1997 New Style of Southern Taiwan Biennial, Tainan Municipal Culture Center The 14th Kaosiung Fine Arts Exhibition, Kaohsiung Museum of Fine Arts, Kaohsiung 1995 Southern Characters, Leisure Art Center, Taipei A Sketch of the Artists: IT Park Seventh Anniversary Group Show, IT Park, Taipei 1993 Royal Lin Art Center Opening Exhibition, Royal Lin Art Center, Tainan New Style of Southern Taiwan Exhibition II, Tainan Municipal Cultural Center

Heading to the Peak, G Zen 50 Art Gallery, Kaohsiung 1992 New Ecology of Art, New Ecology Art Space, Tainan First Taipei Art Fair, World Trade Center Taipei New Style of Southern Taiwan Biennial, Tainan Municipal Cultural Center 1991 Modern Abstraction – The Seven-Color Spectrum, Yong-Han Gallery, Taipei Modern Paintings, Dimensions Art Center, Taipei Abstraction, Up Gallery, Taipei Installation, Eslite Gallery, Taipei International Postal Art Exchange Exhibition, Up Gallery, Kaohsiung The 27th Modern Asian Art, The Ueno Royal Museum, Tokyo, Japan The Circumstance of Reading, IT Park, Taipei Sorcery Exhibition, IT Park, Taipei 1990 Contemporary Painters Sketch Exhibition, Eslite Gallery, Taipei New Style of Southern Taiwan Biennial, Municipal Cultural Center, Tainan, Kaohsiung, and Taichung 300 Years of Taiwan's Art, National Taiwan Museum of Fine Arts, Taichung Ripples Exhibition, IT Park, Taipei 1989 Eras & Innovations – Modern Art, Taipei Fine Arts Museum Chinese Contemporary Paintings, Seoul, Modern Fine Arts Museum, South Korea Modern Art Group Exhibition, Museum of History, Taipei The 4th Asian Art International Exhibition, Seoul Fine Arts Museum, South Korea New Style of Southern Taiwan Exhibition (7 People), Tainan Municipal Cultural Center 1988 New Style of Southern Taiwan Biennial, Tainan Municipal Cultural Center, Taipei Fine Arts Museum 1987 Chinese Contemporary Painting, Modern Fine Arts Museum of Seoul, South Korea Modern Painting in Taiwan, National Taiwan History Museum, Taipei 1986 Two-Artist Joint Exhibition, Tainan Municipal Cultural Center Kaohsiung School 86 Joint Exhibition, Shan-Shui Art Gallery, Kaohsiung Environment, Installation, and Video: SOCA (Studio of Contemporary Art) Opening Exhibition, IT Park, Taipei 1984 Hetero-Space – Space as Subject, Variation of Color, Spring Gallery, Taipei 1981 The Chinese Painters, Menéndez Pelayo International University-Santander, Spain 1979 Chinese Painters Abroad, National Taiwan Museum of History, Taipei 1977 Three Men, Madrid Galleilia de Art, Spain 1976 Chinese Painters Alliance in Europe's Joint Exhibition, Belgium 1973 Image of Soul & Mind, Kaohsiung

Public Collections National Taiwan Museum of Fine Arts Taipei Fine Arts Museum Kaohsiung Museum of Fine Arts Welth Magazine National History Museum of Taiwan Exxon Corporation Fubon Financial Corporation

3


萌起沉浮,無常總有生 文

朱煜宇

葉竹盛,出生於臺灣高雄,先後畢業於國立臺灣藝術大學美術系、西班牙馬德里最高藝術學院,現兼 任國立臺灣藝術大學及國立臺北藝術大學教授。葉竹盛在其作品中以種子、海洋等元素來探討人與自 然的關係,是為臺灣首位以藝術探討生態環境現實議題的藝術家。 藝境畫廊此次舉辦葉竹盛個展—《沉潛。萌生 葉竹盛個展》,帶來50件抽象表現主義繪畫作品。葉 竹盛此次發表新作,源自他在2012年遭受北投工作室被燒毀之變故後對人、自然以及生命關係的更 深刻體悟。作品付之一炬之後的虛無在《無常》、《萌》系列中並非是葉竹盛對痛失作品的人生唏噓感 歎,而是他在人生節點中對過去一貫秉持的生活態度之延續和思考轉換,也可說是他對「察乎盈虛, 故得而不喜,失而不憂,知分之無常」(《莊子。秋水》)的回應。 《無常》系列作品常以明度較低的黑灰、土黃來描繪,但畫面並不一味沉重,而是以強大而活躍的 形態表現運動中的社會視野。葉竹盛自言工作室燒毀對他而言是人生一大痛擊,從當時作品到個人 收藏無一倖免,對他來說可謂一夜之間變一無所有。也正是在這樣的心緒下,他暫停《種子》系列和 《海洋》系列,透過對人、城市、社會的觀察將個人情感消弭在社會認知思考中。葉竹盛將親歷火災 現場的被動情緒轉化為觀察社會、生活的正面能量,而在逐漸釋懷的過程中,從無常世事回歸到本我 生活,更入心地觀察世界,將萌發新力量的生活軌跡描繪於作品中。也正是在個人情感的轉換中, 《萌》系列作品應運而生。 海洋一貫是葉竹盛的觀察、創作對象,因而海洋也成為其新作《萌》系列的重要元素。他在感歎「無 常」之後回歸自然,將居住海邊所積累的視覺經驗外化,把海洋中動物本體及他們運動的軌跡以冷色 調逐步描繪,使本已符號化的抽象線條和色塊成為動態的記憶影像。魚群穿梭于海洋的群體塊狀形態 以及快速移動的交纏線條置於藍色佈景中,就如他將內心體驗轉化為有意味的抽象圖式的過程一樣, 最終線條和色塊都歸於一元世界之淳樸與平靜。這個歸一的過程從他個人的情感、創作的圖式到畫面 形體都貫穿其中,因而對葉竹盛而言,《無常》、《萌》這些系列代名詞只是一個階段的概念統稱,它 們之間相互穿插、影響,形成連續的過程。 葉竹盛的作品使用表現主義的方法來詮釋現代抽象理論,畫面上的抽象物質都是經由他生活中所觸碰 的物質投射而成。這種由內在經驗轉化而成的抽象符號不僅讓物質實體被抽象化,更重要的是為作 品的表現方式定下基調,追尋精神性的內在符號。在這些抽象符號充滿張力的線條和色塊中,錯落的 疏密筆勢形成動態的構成,而乾淨規整的線條則更具鋒利之勢。葉竹盛近年在單色面中用直線或矩形 塊面來打破整體而構成動態的空間,對時空概念的把握更具衝擊力。細微的小段線條常常隱匿在畫面 中,或打破畫面密閉的空間,或借對比色的強烈反差隨著觀看視角的遠近變化使線條產生動感,仿佛 遊弋於畫面之中。這種表現方式也是他將具象實體轉換到文化理念的切入方式,透過諸如「種子」、 「貝殼」等語彙的提示,賦予具象實物以新的內容。這些語彙或抽象構成在與觀眾的溝通交流中被賦 予新的生命,一如畫面中具動感的細微線條需要觀者的視覺能動,在心與心的交流契合中,葉竹盛的 抽象表現內容便開始了一段新的精神與情感的互動。

4


Sprouting from What Sinks or Floats, There Is Always Life in Impermanence by Stella ZHU

YEH Chu-Sheng was born in Kaohsiung, Taiwan and first graduated from the art department of National Taiwan University of Arts, then the Royal Academy of Fine Arts in Madrid, Spain. He is currently a professor at both the National Taiwan University of Arts and Taipei National University of the Arts. In YEH's works, he investigates the relationship between humans and nature through natural elements like seeds, the ocean, etc. He is also the first artist in Taiwan to explore realistic ecological problems with art. The ARTDOOR Gallery is bringing you 50 paintings of abstract expressionism in what is their first time hosting a solo exhibition from YEH Chu Sheng- "Immerge. Emerge. The Solo Exhibition of YEH Chu-Sheng". This launch of new paintings stems from YEH's profound realizations concerning the relationships between humans, nature, and life that he felt after his studio in Beitou was burned down in 2012. His series, Impermanence and Sprouting, expresses the nothingness which ensued after his works were ruined. YEH is not bemoaning life, in spite of his lost works. Rather, he is at the node of life, extending and transforming an attitude towards living that he had always harbored. The work can also be described as a response to a passage from Autumn Water by Zhuangzi, “They examine with discrimination fulness and of want, not overjoyed by success, nor disheartened by failure: knowing the inconstancy of man's lot.” In the Impermanence series, paintings are often illustrated with grays and low brightness, brownish yellows. The pictures, however, are never invariably heavy. Instead, they express, in powerful and lively forms, a social vision that is in movement. YEH says that the burning down of his studio struck him heavily and painfully. Nothing was spared; neither his current works nor personal collection. For him, it was like losing everything in the course of one night. It was whilst under this mentality that his Seed and Ocean series' were suspended. Through observing humans, cities and society, YEH eliminated personal emotions from his thoughts on social cognition. He was therefore able to transform the passive emotions of experiencing the fire into a positive force of social observation and life. In the gradual dispelling process, the impermanent trials of life enabled him return to his ego. Now, he observes the world with more poignance and his paintings illustrate traces of life in which a new force has sprouted. It is precisely in the transformation of personal emotions that his new series of works, Sprouting, is born- as if to in conform to a destiny. The ocean has always been an object of YEH's creativity and observation and the ocean, similarly, an important element in his new work, Sprouting. After lamenting the “impermanence” of things, YEH returned to nature. He externalized the accumulated visual experiences of living by the ocean by progressively illustrating sea creatures and their tracks of movement with cold color tones. This effectively made the abstract lines and color blocks that he had previously symbolized become a moving image of memory. Schools of fish shuttle in aggregated blocks through the ocean whilst entangled lines move rapidly against a blue backdrop, much like the process of YEH transforming his inner experiences into meaningful, abstract graphics. In the end, all lines and color blocks return to the simple and tranquil world of monism. This process of normalization runs through his personal emotions, graphics, pictures and body. That is why, for YEH Chu Sheng, the names given to these series - Impermanence and Sprout - are simply collective names for concepts from a certain phase. They interlude and influence one another, forming a continual process. YEH's works adopt expressionist methods to interpret modern abstract theories. All abstract substances in his pictures are projected through the things he encounters in life. Abstract symbols transformed from inner experiences can not only allow concrete substances to be abstracted but, more importantly, they can set the basic tone for the expression of painting and how that painting pursues the symbols of inner spirituality. In the powerful lines and color blocks of abstract symbols, disorderly uses of sparse and dense brushes form the structure of motion. Clean and orderly lines, on the other hand, possess a force that is even sharper. In recent years, YEH has been using lines or rectangles in monocolor facades to break up whole scenes and form moving spaces. When rendered with his command of the concept of time and space, the effect is even more impactful. Minuscule sections of lines of are often hidden in the picture, either breaking their enclosed space or borrowing from strong contrast in complementary colors. As the vantage point of observation varies in distance, movement is generated. It is as if one was cruising through the painting. This method of expression is also how he dissects cultural ideals from concrete objects. With various pointers (words like “seeds” and "shells") he bestows a new content upon concrete things. These words, or abstract compositions, are given new life in their communication and exchange with the audience, just like how dynamic, fine lines in YEH's paintings require their visual stimulation. From one heart to another, the content expressed through abstraction in YEH's painting can start a new interaction between the spirit and emotions.

5


我們看到的可是同一道光 沿著視線 光源灑下的那一世 我 無常40

壓克力/畫布 200F

194 x 259 cm

在紅塵中戲遊

2013

崩解架構如何撐起現實 似斷猶連曖昧成尋根底軌跡 星海中打撈叛逆的星火 灼傷的缺口是一幅一幅結痂地圖騰 萌11 壓克力/畫布 6

300F

218 x 291 cm

2014


默劇摸索的那道虛空 勤勤拂拭的那面鏡

你探觸到甚麼 映照你看到了甚麼

對角線上游移著那一絲溫暖 可是可有可無地穿梭虛實測量人生

無常39 壓克力/畫布

150F

182 x 227 cm

2013 7


被催眠的色彩在畫面上行走  扶鸞的符號牽著線條拉扯理智  顛倒思考呼之欲出底真相  似是而非模稜兩可 萌17 壓克力/畫布 8

100F

162 x 130 cm

2014


記得不記得地記憶在畫布上浮沉 迷局中等待迷路的那一塊理想 夢見說夢見夢在夢裡尋夢 辨識非現實現實以一朵蓮蓬底顛倒 無常20

壓克力/畫布

150F

182 x 277 cm

2013 9


拋錨的藝術

如何載我

從此處到達彼岸 癱瘓在人生途中的價值 打氣之後點滴之後在一隻野狗狂吠之後 ...... 萌46 壓克力/油彩/畫布 10

150F

182 x 277 cm

2014


層疊錯置時空捏造記憶  輪迴昨是今非今是昨非輪迴  人類積累的疙瘩教自然撕扯歷史  在更大慾望誤植真相之後 萌41

壓克力/畫布

50F

116.5 x 91 cm

2014 11


藍入鴻濛 意識潛意識成一口黑洞 一張鋪天蓋地的畫布 吐納價值吐納現象 吐納 ...... 吐納 ...... 無常30 壓克力/油彩/畫布 12

300F

291 x 218 cm

2013


淨空的純粹 不若水面倒影

不思思不思 若即若離

不若天空隱現隨機 只由自在自若自然自由……

萌23 壓克力/畫布

100F

130 x 162 cm

2014 13


對分自我如何對話人生 層層覆蓋的歷史童年出土 卸妝後素顏的滄桑難掩 彷彿高遠

彷彿深沉

萌29 壓克力/油彩/畫布

鏡相中我是你

60F

97 x 130 cm

2014

130 x 97 cm

2014

可你是誰啊

看見看不見的存在 游移聖俗之間的價值 這要緊的

甚至無關緊要

萌31 壓克力/油彩/畫布 14

60F


星空裡的細胞在宇宙血液中流動 亙古之前掛在那一彎明月的夢 究竟已孵成熟成圓成 一顆彈珠內的星球冒出氣泡彈出童年的軌跡

萌39

壓克力/油彩/畫布

200F

194 x 259 cm

2014 15


闇默中找尋一盞燈的下落 說不完地行腳安單在文明亮點 似是而非顛倒平衡 可堪撫慰我曖昧無明的不安 萌44 16

油彩/畫布

50F

91 x 116.5 cm

2014


竄出畫布之前

之後

關於一顆種子渡越中陰 ...... 夢載浮載沉

泅泳現實

寂入空白畫布 紅燈亮在畫面上焦慮 內心的雨淋漓現實的挑釁 火舌舔著顏彩一聲一聲地咳出黑痰 . 放空的畫冥想自身底複雜 每一棵樹該不該想著漂流木的身世 思索自己思索著與每一個自己 潛意識沉入潛意識無意識的海牀眠入心 種子輪迴的綻放輪迴著輪迴 . 存在以非存在存在 無可厚非的價值輕輕重重地吼著 ...... 關於一顆種子渡越中陰 竄出心之後

之前

創作理念: 1 詩的形式為ABA'三段式,象徵「沉潛 • 萌生」的主題。 2 文字一字一字(有粗、細體、顏色有深、淺)散置,似一塊一塊的拼圖,非秩序地,隨機地……歪斜、顛倒、重疊、翻轉……零落在A段和A'段,為主題「沉潛 • 萌生」的「沉潛 萌生」。 3 拼圖般排出詩句,還原成一首詩,一幅畫,一生命的狀態,獨立的一首詩,是此詩的B段,也是「沉潛 • 萌生」,也是之間的那一點「•」蛻變…… B段形式本身就是一種輪迴,運用迴文、蒙太奇、意識流種種方式,隱喻、象徵沉潛虛實狀態的隨性,不確定性…… 4 還剩在A段和A'段的大量文字,是「無常、萌」系列17幅畫的17首詩的解體文字,不包含註。 5 涵蓋19首詩的一首詩,是詩中詩,形中形,形式與內容融合,相應「無常、萌」畫作系列,不另訂題目只編號,畫作記憶拼貼式的呈現…… 註:中陰是指「一個情境的完成」和「另一個情境的開始」兩者的「過渡」或「間隔」。 有此生的「自然」中陰、臨終的「痛苦」、法性的「光明」、受生的「業力」、修行的「禪定」、瑜伽的「睡夢」中陰六種。 謝佳樺 時有瘋狂構思與行徑,以行腳寫詩,走遍西藏、喜瑪拉雅山脈諸國。 作品有獨特前衛見解與理念,跨領域,超現實,創意與禪味,深具觀念、藝術、前瞻、與實驗性,並融合宗教哲理與音樂的要素。 出版台灣百大好書詩集「當你唸著108顆詩句串成的念珠」、「時間迴帶108首詩」等三種。


Immerge. Emerge.

沈潛 。萌生

個展

The Solo Exhibition of YEN Chu-Sheng

2015. 3. 22–4. 26

開幕茶會 4/2 (Thu.) pm5:00

藝境文化藝術有限公司 ARTDOOR TAIPEI Co. Ltd. (11492)台北市內湖區瑞光路639號 1F, No.639, Ruiguang Rd., Taipei, 11492, Taiwan Tel: +886-2-2658-5268 Fax: +886-2-2658-5238 Info@artdoor.com.tw www.artdoor.com.tw • 執行長 許文智 • 藝術總監 林慧貞 • 展覽行政 劉美君、朱煜宇、許伯仁 • 美術設計 舞陽美術文化事業有限公司 張淑珍 • CEO: Moses HSU • Art Director: Amanda LIN • Exhibition Assistant: Meichun LIU, Stella ZHU,Paul HSU • Graphic Designer: Sunny Dance Creation Co.


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