時空造境－新古典平行劇場 詹喻帆畫冊集Formation of Space and Time-New Classic Parallel Theatre. Protfolio of Yufan CHAN

詹 喻 帆 C H A N Y U- FA N

時 空 造 境 新

古

典

平

行

劇

場

Format ion of S pa ce and T im e Ne w Cl a ssi c Pa r a l l e l The a t re

目錄 CONTENTS

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序言 / 李宜洲 Preface / Gary Lee

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詹喻帆簡介 Introduction of Chan Yu-Fan

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創作解析 Analysis 論詹喻帆創作之「構圖思維」與「視覺語彙」 / 李宜洲 , 青雲畫廊總監

創作符號表 List of Artistic Symbols

藝術評論 Art Critics

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The Composition Thinking and Visual Vocabulary of Chan Yu-Fan / Lee Yi-Chou, Director of Cloud Gallery

個人神話與文化同化—談詹喻帆近作 / 陳貺怡 , 台灣藝術大學美術學系副教授 Self-Myth and Culture Assimilation：The Recent Works of Chan Yu-Fan / Chen Kuang-Yi, Associate Professor of Graduate Program in Fine Arts, National Taiwan University of Arts

作品系列 Series

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島嶼系列 Island Series

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社會定格 Freeze-Frame of Society

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實驗室 Laboratory

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Reflection and Pursuit － Psychoanalysis of Chan Yu-Fan's artworks / Chu Ting-Yi, Associate Curator of Asia University Museum of Modern Art

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平行世界 Parallel World

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「缺席」的「空白對話」帶給觀者的自由想像 / 青雲畫廊 The Blank Dialogue in Absence Brought Free Imagination For the Observers /Cloud Gallery

融古入今的形象造景 Images Blending the Past with the Present

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映射與追求－從拉岡精神分析看詹喻帆的創作 / 朱庭逸 , 亞洲現代美術館副館長

樂園系列 Amusement Park Series

訪談 / 陸潔民 , 詹喻帆 , 李宜洲 Interview / Lu Chieh-Min, Chan Yu-Fan , Gary Lee

文化戲謔 Cultural Banter

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報導 Media

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詹喻帆展歷年表 Biography

序 言 Preface / 李宜洲 , 青雲畫廊總監 / Gary Lee, Director of Cloud Gallery

李宜洲 , Gary Lee

回首仰望台灣畫廊的成形，猶如是一段台灣藝術史的爬梳，台灣的畫廊產

The formation of galleries in Taiwan resembles an exploration of Taiwan

業自 1960 年代開始，逐步引進西方制度，產生了藝術家代理制，透過這

art history. In 1960's, the gallery industry in Taiwan started to introduce

樣的正規平台以及畫廊對於藝術家的推崇，許多的藝術家在這數十年來，

western systems and thus develop artist agency. In the past decades,

於藝術史上有了定位；而在十餘年內藝術家的經紀制度也逐漸成熟，經紀

Taiwanese artists began to gain a position in art history because of

制度的成熟代表著台灣的畫廊已經開始與國際接軌，這些年來市場歷經了 亞洲金融風暴、SARS、921、金融海嘯等，市場上每每的重大事件都將藝

and gradually integrated with international markets. These years, due to the influence of the financial turmoil in Asia, SARS, 921 earthquake

術家的市場位置重新洗牌，在大環境的急劇變動下，藝術家的經紀制度正

and global financial crisis, the art market has been going through its

考驗著畫廊的策略與推廣技術。

fluctuations. Under the rapid change of the international environment,

在過去千年的人文歷史中，東方與西方各自發展了獨特的藝術史脈絡，不 僅在媒材、觀念與文化上各自表述，藝術家面對創作所追求的目標，也同

the system of artist agency has been challenging the strategies and promotion techniques of galleries.

中 有 異、 異 中 有 同； 時 至 今 日， 全 球 化 的 影 響 下， 無 論 是 何 種 形 式 的 創

Both the east and west formulated its unique art history context in

作，藝術家創作的走向往往朝向「自身文化性」與「國際性」兼蓄的方向；

the past millenniums. The two cultures not only differ in its materials

詹喻帆亦是如此，他的作品不斷地在面對自身文化的探討，並觀察現今的

and concepts but also vary in the artist's pursuit. Up till now, under the

國際發展情勢，當下的時代是劇烈變動的，我們呼吸的空氣中充斥著大量

influence of globalization, artists tend to integrate their own cultural

的資訊，活在當下的瞬息萬變中，何謂永恆？何謂瞬間？地球村時代的來

and international viewpoints no matter in what form of creation. Chan

臨，促進著文化的相較與交融，當代藝術家的社會責任，勢必要去反映出

Yu-Fan is no exception. He continues to discuss and explore his own

我們這個當下的時代性，為藝術史的脈絡留下些什麼。

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these formal platforms. At the same time, the agency system matured

culture in the works and observe current international situation. Our time changes drastically; people absorb large amount of information

若論及詹喻帆為何可以在藝術界受到很高的矚目，我認為這全都要歸功在

every day. Questions such as “What is eternity?” and “What is a

他是一個天生的藝術家，巧婦難為無米之炊，沒有藝術家精湛的創作，即

moment?” are thus brought out. With the coming age of global village,

使經紀人再厲害也無力可施；而藝術家之所以是藝術家，我認為須符合以

the responsibility of artists is to reflect the characteristics of time and to

下三點：（1）須在「藝術的世界」裡存在的「專業創作者」；我所謂的

leave traces for art history.

藝術世界，也許是藝術收藏界、學術界、藝術平台或在市場上活躍，無論

To probe the reason why Chan Yu-Fan takes a high-profile position in

其定位的不同，皆必須是將大部分的精神與心力投注在創作上，如此才能

art world, one can attributes it to his innate talents. If it were not for

夠進入這個藝術的世界；反之，眾多的創作者，即使在部分的作品上能夠

the artist's genius, the agent would not have the possibility of success.

達到相當的藝術性，但沒有在藝術的世界被看見，也沒有全心的投入在創

As a genuine artist, one has to meet three standards: (1) one needs to

作上，因此無法進入這藝術的世界。（2）須有藝術家的本質；藝術家的 本質須有兩個很重要的關鍵，即是「精神上的修為」與「對事物的感受

be a “professional creator” in the “art world” such as the fields of art collection, academia, art platforms or art markets. Moreover, one must put his/ her heart and soul into creation to meet the criteria.

力」，有別於其他的社會角色，藝術家關注的項目是創作，是由對藝術追

Those whose works reach some degree of artistry but never get the

求的熱情所驅動的，其耐得住寂寞與突破創作的痛苦，絕非是因為喜愛藝

attention in art world and seldom wholeheartedly focus on creating

術家的生活模式與頭銜；藝術家面對事物的感受力高於一般人許多，因此

cannot be counted as real artists. (2) “The practice of spirit” and

相對感性，也時常能在生活點滴中產生自己的見解與哲學。（3）須有知

“sensibility of things” are two key essences that a genuine artist

識結構的支撐；藝術家並非只是思想家，即使是觀念藝術也是基於藝術家

should possess. Different from other social roles, artists' concerns on

之存在而存在，而知識結構即是「藝術之理解」與「創作藝術所需之技

creation and their ability to withstand loneliness and pain of making

術」，藝術創作無論是何種形式，皆須有每位藝術家追求的理念，也須有 理論的支撐；再者，藝術創作需要轉化，作品的呈現也須要準確，作品的

breakthrough in creation are not because of their admiration for the “artist lifestyle” and fame but because of their passion for art. Their exceptional sensibility enables them to develop their own perspectives

誕生是否讓藝術家滿意，考驗著藝術家對自我的真誠與技術。

當代藝術是個進行式，台灣的藝術環境孕育出了多元的當代藝術創作，透 過詹喻帆的雙眼，我們看見了台灣 80 後當代藝術家的思維，也看見了時 代的變遷脈絡；2010 年詹喻帆退伍，其創作作品的走向，有別於美術研 究所時期的學生作品，更加地反照自身的文化與思維，其作品中表露出許 多對於藝術的看法，與身為一個藝術家的情緒表達，無論以何種角度去閱 讀其作品：符號學、歷史學、社會學、文化人類學、心理學、精神分析學， 皆發現其創作的敏銳度與傳達性皆非常出眾。

《向未來前進》人形的煤炭火車象徵對家人的感激與不捨，日復一日地繞 行軌道，漂浮在空中的小女孩手持兩個物件，一個是對家庭扶持的渴望， 另一個則是對回憶的珍惜，《溫室 1》溫室內的小女孩天真地追求創作的 純粹，而自身的投影卻獨自站立在戶外的馬戲台上，是對社會、文化、創 攝於詹喻帆工作室 , 2014

Shot in Chan Yu-Fan's studio

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作的陳述，《無題》作品主角的角色設定為外科醫生，在進行手術前的準

demonstrated by his works. No matter from which perspectives

備工作，凝視畫面外的觀者，緩緩戴起與病人隔絕的橡膠手套，透過畫面

(iconography, historiography, sociology, cultural anthropology,

的冰冷色系，唯一的光源僅是天花板的日光燈源，外科醫生的動作與眼神

phycology and psychoanalysis) people see his creation, the acuity and

是藝術家精神層面的傳遞，《維納斯 2》將歷史名著的古典構圖轉化成獨

communicability are extraordinary. The human shaped coal train in

特的「詹式風格」，畫面中慣用的衝突手法，令人聯想到現今的國際情勢 與媒體效應；詹氏利用畫面的構圖，將「人物」與「元素」串聯，形成一

Advancing to the Future represents Chan's gratitude and memory of family by making a detour on the track every day. The gensture of the floating girl holding two objects symbolizes respectively the desire

敘事性的場景，畫面中的不同事件連結觀者的過往經驗，使觀者在欣賞畫

for the support from family and the value of memory. The little girl in

作時，也能進行思考的遊戲，我想這是其希望達到的效果。

Greenhouse 1 innocently pursues the pureness of creation while her own reflection is actually standing alone on the outdoor circus stage.

現今的當代，接受得起時代的考驗，則會變成以後的經典，如何經得起考

This expresses the artists’narration of society, culture and creation.

The main character of Untitled is a surgeon preparing for the operation.

驗，我想必須深入人心，作品必須傳遞出「普世價值」，因此創作系列的

She fixes her eyes on viewers while putting up the surgical gloves. The

脈絡十分重要，身為藝術家的經紀人，透過我對詹喻帆的瞭解，我對他有

picture is composed mainly of cool colors, with the fluorescent lamp as

十足的信心，未來必定是在國際的舞台上發光發熱。

the only source of light. The eyes and action of the surgeon convey the spiritual expression of the artist. Venus 2 transfers classical composition

and philosophy in daily lives. (3) Artists have to be supported by

into typical “Chan Style” which emphasizes the contradiction of the

knowledge structure. They are not solely thinkers, but also the base

picture, suggesting the international situations and media influence.

of the existence of conceptual art. Knowledge structure is composed

Chan connects figures and elements in a composition to from a narrative

of “the understanding of art” and “the techniques needed when

scene. Different events in the picture are linked to previous experiences,

creating”. No matter what kind of art, artists have to pursue their

enabling viewers to think while admiring the works.

own ideas as well as the support of theory. Nevertheless, art creation needs to be transformed, and the demonstration of works needs to be

Those who can withstand the tests nowadays must become the classic

accurate. Whether the creation of a work satisfies the artist challenges

in the future. Being emotionally touched and expressing the universal

an artist's loyalty to him or herself and his/her techniques.

values are two key factors on the road to a masterpiece; thus, the context of creation is very important. As an art agent, I'm confident that Chan is

Contemporary art is in a continuous state. The artist environment in Taiwan has given birth to diverse creations of contemporary art. Through the eyes of Chan Yu-Fan, we witness the thinking of contemporary artist after 1980's and the context of temporal vicissitude. Discharged from the army in 2010, Chan's ways of creation, different from his original style in graduate school, emphasizes more on self-culture reflection and thinking. His perspectives on art and emotional expression are

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far more than qualified to be an internationally renowned artist.

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詹喻帆 C HAN YU-FAN

詹喻帆，1983 年生於台北，對藝術的熱誠，開啟了他堅定不移的繪畫生

Born in Taipei in 1983, Chan's artist career can be traced back to his

命，一路成長經過國立台灣藝術大學的奠基、及國立台灣師範大學美術研

persistent passion for art. His solid art foundation is based both on

究所頂尖藝術學府的淬鍊，為他的創作生涯有了美好的開端。在求學期間

National Taiwan Art University and top notch Fine Art porgramme at

積極參與各大、小型比賽累積實力與經驗，第六屆大墩美展第一名、第九

National Taiwan Normal University. When being a student, he actively

屆新莊美展第一名、奇美藝術獎…等，都受到評審及藝術界的肯定。並於 2011 年台北國際當代藝術博覽會 (YOUNG ART TAIPEI) 中榮獲新潮賞人

took part in all sorts of art competitions to accumulate experiences. His capability is further assured by winning the first prize of 1st Da Dun Fine Art Exhibition, champion of 9th Xinzhuan Fine Art Exhibition and Chimei

氣獎第一名，是新生代中頂尖的新銳藝術家。

Art Prize… and so on. Besides, he came in first in 2011 YOUNG ART

不滿於現狀的他積極研究自身與環境的關係、釐清真實與虛幻的糾纏；兼

TAIPEI, becoming one of the top ranking young artists in Taiwan.

具紮實的寫實描繪技法，及對生活有極高的洞察力與敏銳度，造就他獨特 的繪畫語言。擅以細膩的層次堆疊、精準的構圖配置、與純而不淤的色彩

Never satisfied with his current achievement, Chan continues to explore the connection between him and the environment to figure

表現，運用深厚的古典技法融入當代議題，畫面具有浪漫柔美的超現實風

out the tangle between reality and fantasy. His unique artistic language

格，其將「超現實世界」最底層的境域轉換而尋求自我的詮釋。他的「超

constitutes his solid painting skills and perception of life. Famous for his

現實世界」，企圖發現並揭示比真實背後的世界更為真實的意義。以自身

accurate composition, pure color expression as well as encompassing

經驗做為出發，將最為貼近生活的人、事、物轉換為虛擬世界的線索，不

classical skill into contemporary issues, Chan successfully turns the

論是樹、火車…等的元素以及人物造型、眼神…等寫實的描繪，由個人意

bottom of Surrealist into his seeking for self-interpretation. His surrealist

識的投射隱喻或暗示在畫面當中。虛與實的交錯直接衝擊觀者的感官，虛 實之間，間接探討著心靈層面最根本的問題：現實的虛幻和未知的現實。

world attempts to demonstrate a more realistic meaning compared to the real world. Based on self-experience, the artist transfers the daily lives into the clues of virtual worlds. He consciously implies elements

藝術品之所以能夠撼動人心，是創作者必須觸碰自己內心深層的感受，將

such as tree and car or the depiction of figures and eyes in his paintings.

欲傳達的內容精確地表現出來，而他正是藉由藝術創作真實記錄，一步步

The interlock between virtual and real world challenges viewers’

打造屬於詹喻帆與眾不凡的藝術故事。

senses, indirectly discussing the most basic question in heart: the illusion of reality and the unknown reality.

The artist needs to dig into the deepest feelings in his own heart to touch viewers and precisely convey his thoughts. Chan is the one who uses the record of his creation to gradually establish his unique art world.

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創作解析 Ana lys is

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論詹 喻 帆 創 作 之 「 構圖 思 維 」 與 「 視 覺 語 彙 」 The Composition Thinking and Visual Vocabular y of Chan Yu-Fan / 青雲畫廊總監 李宜洲

C l o ud G al l e r y Direc to r, Gar y L ee

受到學院派影響的藝術家，在其正規的學習階段中，往往將許多藝術史上經

Under great influence of academic art, it seems that the composition

典名作的圖像潛移默化的置入腦中，而對於畫面中「構圖」及「語彙」的掌

and vocabulary of classic works have been deeply rooted in Chan Yu-

握往往也內化成慣性的思考模式，這也是為什麼常常會看見，詹喻帆對坐在

Fan's way of thinking. That explains why it is normal for people to find

空白的畫布，不發一語的沈思著，想必腦海中正思索著非常科學又縝密的構

him sitting in front of the white canvases, meditating.

The artist adores the western classical painting compositions. He

圖。 在其創作中不難發現，大部分的作品皆是以人物為主體，並且置身於大場景

tends to place main figures in large scenes with exquisite geometrical composition. Creation of works resembles the construction of a building;

中，詹喻帆所學的繪畫是承襲西方的，尤其喜愛古典的構圖，因此在作品中

thus, artists are architects to some degree. They have to combine,

可以發現有許多設計感的幾何形構圖；畫面的構圖經營就如同是在建造一個

arrange and organize the objects on the picture and tackle with various

建築物，建築師必須針對畫面中的物象有所組合、配置和整頓，在完成設計

painterly problems. Chan Yu-Fan, the “Architect of Oil Painting”, is

圖後還要進行建造的

not only talented in creating but also excellent at implementing. He

部分，然而建造中會

successfully concludes the art up to now in his own unique way.

遇上各式各樣的繪畫 性問題，這些也都是 在繪畫過程中逐項進

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It is necessary for the creator of scenario realism, like the director of a play, to have better ability of integration than other realistic artists.

行調整的，詹喻帆這

For example, the setting of scenes and viewpoints, body languages of

位油畫的建築師，除

figures, costumes, facial expressions, objects, environmental factors, and

了有創造性的才氣，

the atmosphere as a whole need to be taken into consideration.

也有實際手做的能

The work, What Do You Believe?, depicts a fashionable single woman

力，他的繪畫總結了

warming herself in front of a television on a round-shaped island. The

始自古典主義，延續

tidal waves and dark sky behind her foreshadow the upcoming storm.

至現今當代的總總。 《你相信的是什麼？》, 112 x 112cm, 2011 What do you believe?

I. Composition and Emotion

Her body line and television constitute a triangle composition. However, her sight focusing only on the electric appliance seems to ignore the personalized boat and the hanging earth god. The extended line of the

一、構圖與情感

paddle which points to the direction of the earth god implies the sense

情境寫實的創作者，許多時候往往需要比其他寫實類型的創作者，擁有更高

of powerlessness.

段的整合能力，例如：場景的設定、視角的設定、人物肢體語言、服裝造型、

Dawn on the Moon portrays four members of a band facing the dawning

臉部情緒、圖像指涉的物件、環境因素、整體的氛圍等皆須考量，宛如是一

sunlight, symbolizing their unifying goal. Besides, the diverse seats,

位舞台劇場的導演，如其作品《你相信的是什麼？》，一位時尚的單身女子， 在「圓形構圖」的孤島中面對著復古電視機中的火源取暖，海中的大浪與遠 方逼近的烏雲，有種風雨欲來之勢，背對烏雲的女子其目光停留在火源，而

attires and musical instruments of them at the same time demonstrate their disparate personalities.

Advancing to the future creates a sharp contract among the three girls floating in the air and the slowly moving coal train. The floating girls

瑟縮在地上的身軀與電視機形成了「三角構圖」，電視機的光芒照耀著女子，

suggest the artist's uncertainty about the future and his desire for family.

同時刻意忽略了無力的神明—「土地公」，擬人化的小船，握在手中的划槳

The human-shaped train meandering on the endless paths expresses

延伸線所指的位置，剛好是土地公，表露出土地公與擬人小船也是同樣的無

Chan Yu-Fan's memory of his policeman father.

力感。《月球上的曙光》畫面中樂團的成員皆以正面的方向迎接畫面中左前 方的曙光，團員的眼神均朝同一個方向，象徵團體的目標一致，團員的身體 方向與電影座椅的方向呈現水平，在構圖中造成視覺向兩旁展開，而其高低 不同的動態起伏，與所持的樂器及衣著不同，也體現出不同的個性特色。《向 未來前進》三位漂浮在空中的女孩，與在地面緩慢前進的煤炭小火車，強烈

II. The Classical Geometrical Composition The artist adapts Rule of Thirds in The Rescue Mission . This technique divides vertical and

形成對比，漂浮的女孩猶如藝術家對於未來的不確定性及對於家庭的渴望，

horizontal surface into three

而人型的煤炭小火車，在蜿蜒無盡的巡邏道路中遙向遠方，是藝術家對於警

parts and thus produces four

察父親的形象記憶。

co n vergin g p oin ts, causing viewers to focus on the figures’

二、古典之幾何構圖 《救援任務》中以「井字構圖法」將垂直與水平面各分三等分，因此產生四 個交會點，將觀者聚焦於人物的目光處，同時也關注肢體語言，讓觀者按照 他構思的線索來瀏覽畫面；除此之外也採用了「輻射線構圖」，以被捆綁的

《沉睡的月光》, 91 x 116.5 cm, 2013 Sleeping Moonlight

eyes. Chan Yu-Fan also cleverly arranges the figures’ body language, allowing viewers to follow the traces of his thinking.

In addition, he forms a radical

雙手為輻射線的軸心，讓視覺在瀏覽完肢體的動作後，注意力最後皆集中到

composition on the bound

捆綁的雙手，營造出整體畫面的緊張感。《沈睡的月光》可說是典型之「造險、

hands in order to build a sense

破險」的構圖，位於畫面的中央有棵大樹將畫面一分為二，本屬於過分對稱

of nervousness.

且缺乏變化的構圖，但若透過置中的水平與垂直線，將畫面分割為四個部分：

Sleeping Moonlight can be

海洋、森林、營火、 人物各據一方，則有種類似分鏡圖的趣味性，若將畫面

regard as a masterpiece out

《救援任務》, 130 x 162 cm, 2010 The Rescue Mission

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以「黃金分割線」劃分，發現其線段貫穿臉部、月球、森林線與人物的腰部， 而再將中間的場景以黃金分割線再次劃分時，發現內部的垂直線貫穿後方的 女子，水平線恰好切齊帳篷繩。《無聲之島》畫面中是一虛幻的災難現場， 受難的六名女子代表不同的社會角色：1. 領導者 2. 給予者 3. 被給予者 ( 沈睡者 ) 4. 自私自利者 5. 求助者 6. 落寞者，求助者的目光望向給予者與領導者，而三 者的眼睛可連成一條直線，但給予者的目光停留在「被給予者」（沈睡者）， 而領導者的目光始終遙望遠方，三者的眼睛連線與後方海面上的夕陽餘暉交 叉成兩條對角線；畫面中重要的圖像符號—燈火，象徵方向的指引與救贖，

《無聲之島》,182 x 227 cm, 2011 Voiceless Island

of a hazardous composition. Chan Yu-Fan divides the picture into two using the tree on the center. This ought to be an over-symmetrical and

此燈火照明了周圍的三名女子，同時也聚焦了無私奉獻的「給予者」；除了

conservative composition, but the center alignment lines (both vertical

「領導者」以外的五個女子，面向不同角度，處境也截然不同，五名女子的

and horizontal) separate four parts of the painting, respectively the

頭部連線可形成一個往前傾的五角星；後方失事的飛機與前方的彈簧床墊，

ocean, the forest, the campfire and the figure. The composition thus

形成了此作品中最大的「三角構圖」，在搖晃的海象中為畫面增加了穩定感，

creates an intriguing effect which resembles storyboards.

而在失事飛機的左側天空，有個渺小的降落傘，與「給予者」及「落寞者」 的頭部連線，恰好形成與右側的三角形完全平行的小三角形，而降落傘（死 裡逃生）、落寞者（瀕臨死亡）、給予者（救世主）則形成畫面中強烈之對比。

Voiceless Island forges an imagery disaster scene. The six victims represent different social roles: the leader, the giver, the receiver (the sleeper), the selfish one, the help seeker and the loner. The help seeker rests her sight on the giver and the leader, aligning the three roles' eyes

三、物體與空間的關係

sights into a line, while the giver looks at the receiver. The leader always

俄羅斯美術教育家—契斯恰科夫（1832-1919）：「任何立體的形都是由許多

fixes her eyes on a long distance. The line composed of their looks and

相互聯繫的透視變形的平面組成。」因此任何物體的立體感除了透過亮部、

the sunset together generate two diagonal lines. Moreover, the lamp,

中間層次、明暗交界線、反光、投影等基本調子的呈現外，還要考慮到物體

symbolizing the ideas of guidance and rescue, sheds its light on the

與空間中的彼此交互關係。而創作者依據視點的角度關係，如：「平行透視」、

surrounding three girls and emphasizes the selfless giver. Also, the heads

「成角透視」、「傾斜透視」等，有一定的透視規律。特別在戶外的自然光，

of the five girls correspond to a forward five-pointed star. The wrecked

透過空氣中的光線阻擋，物體會出現本身清晰度及輪廓上的差異性，因此「空 氣透視法」的因素也要考慮周全，最後透過人類的雙眼特性，物體之形體邊

aircraft and spring bed form the biggest triangle composition, creating stability among the roaring waves. Lastly, the tiny parachute in the sky, together with the heads of the giver and the loner constitutes a parallel

緣的控制則至關重要。

yet smaller triangle. The images of the parachute, the giver and the loner

詹喻帆是一個大場景構圖的藝術家，因此「空間塑造」顯得十分重要，時常

cause massive contrast themselves.

需要透過主觀的觀察來處理客觀的事物，《皇冠爭奪戰》中三名女子與背景

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之間的空間關係，即是透過背景與人物輪廓的虛實處理，人物的部分刻劃的

III. The Relation between Objects and Spaces

細膩，而輪廓線外的背景則透過覆蓋、降調子、模糊輪廓，或藉由體感、質感、

Pavel Petrovich Chistyakov (1832-1919), a Russian painter, once said

量感特徵的「弱化處理」，以達到空間之遠近，而物體遠近的不同則藉由弱

that, “Any three-dimensional forms are composed of many connected,

化處理的程度差異來表達，且背後物體的顏色也向背景色靠近。《維納斯 1》

twisted and transparent surfaces.” Aside from the highlights,

此件作品強調的部分為「空間塑造」，透過不同物體本身的形體透視，來表

intermediate levels, light and dark boundary line, reflection and

現「體積感」，而藉由物體與物體之間的透視關係來表現「空間感」，畫面

projection, people have to consider an object's relation with its existing

中的主角為雕刻中的男子及兩個維納斯石雕像，周圍的水池、工廠、森林及 小配件等則為配角，主賓之分則藉由投射燈的照射來區分，觀者在觀賞畫作

space to create the three-dimensional effect. According to the various viewpoints, the usage of parallel perspective, angular perspective or oblique perspective has its own rule. The implementation of atmospheric

初時首先會注意到左半部巨大的維納斯石雕像，但由於左方的物件較複雜且

perspective needs careful evaluation because the uncertain factors of

色彩較重，因此觀者的視覺會自然的往右邊空曠處尋找空間，並被明度較高

air and sun. Finally, considering the traits of human beings’eyes, the

的右方石膏像及布幕所吸引，視覺將水平的游移於兩者不同的石膏像間。

control of an object's brink is not to be neglected.

四、筆觸及色彩的節奏感

The huge composition in Chan Yu-Fan's paintings highlights the

在詹氏的創作中時常探討到永恆與瞬間的議題，因此針對許多自然場景的呈

importance of “space shaping”. He often needs to deal with objective

現手法，常出現流動性的筆觸，象徵永恆時間的瞬間捕捉，並運用不同疏密 的筆觸，在畫面中產生節奏感，而雖是間接畫法，但也在必要的部分留下了

objects through subjective observations. The Crown Battle utilizes different kinds of contours to tackle with the relation between the three girls and their background. The figures are depicted in refined details

個人風格的特殊筆觸，也就是畫家的「精神情感」；《黃色的船》中藝術家

yet the background are blurred, covered or weaken in some elements to

刻意留了大片前景的水面空間作為個性表現的舞台，並運用了類似印象派的

establish the sense of perspective.

互補配色方式，結合豐富變化的流動性筆觸，將峽灣內傍晚的寧靜氛圍充分

Through Venus 1 , viewers are able to observe the artist's interest in

表達。《過客》為空無一人的海岸場景，正在建造中的建物基座，彷彿一座

“space shaping”. He constructs the sense of space and volume by

座的深井，沿著洞口旋轉的流

adapting the technique of perspective. The spot light underlines the

動筆觸，表面帶有些許怪手移

main characters, the man and his sculpture, and leaves others in shadow.

動後的痕跡，工程中止的場域 彷彿時間靜止般，將觀者的視

It is natural for viewers to be attracted by the left part first and then turn to the right part to seek a relatively empty space. This leads to the swinging of their looks between the two statues.

覺透過漩渦般的流沙筆觸帶入 這深不見底的洞穴中。

IV. The Rhythm of Brush Strokes and Colors The issue of eternity and moment is what Chan Yu-Fan often discusses

仔細研究詹喻帆的創作，會發

in his creation. Therefore, he adds many flowing strokes to the

現他特別的去經營畫面中光源

demonstration of natural scenes to signify the instant sketch of the

的位置，若為自然光源則是：

everlasting time. The density of strokes at the same time constructs the

日、月、星辰，若為人造光源

sense of rhythm.

《過客》,45.5x53cm, 2011 Passerby

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則為：檯燈、閃光燈、火把、火堆、噴射器等；康斯塔伯把天空稱為「感性 的主要器官」，因此光源就如同是畫面的靈魂，《溫室 1》筆者巧妙的安插一 個小貓化身成的檯燈，成為夜晚室內的溫暖照護，也藉由光線的照射使觀者 聚焦於主角的臉部，與背景藝術家的自身投影形成強烈對比，此件作品巧妙 運用室內溫暖燈光照射後的色彩變化，搭配物體結構上的透視線條，來捕捉 觀者的視覺焦點。

五、藝術語言

《溫室 1》,91x116.5cm, 2012

Greenhouse 1

康斯塔伯（John Constable, 1776~1837）：「風景不過是情感的代名詞。」

The water in the foreground of Yellow Boat can be interpreted as an

因此風景畫是先成立於「人」之存在而後存在的，詹喻帆大場景式的創作，

expression of the painter's characteristics. He combines complementary

有獨特的「語言符號」與「再現系統」，往往透過人物的故事行為將觀念呈現，

colors which are often adapted by impressionist and rich strokes to

許多的場景是其創作出來的「金蘋果園」，有諸多的故事性正在上演。創作

fully express the tranquility of the bay in the evening. The Passerby

的視覺呈現受到三個面向的影響：1. 感受媒介 2. 表現要素 3. 風景元素；感受

actually depicts a building in construction beside an empty coast. The

媒介是謂：認知、感官、科學等，詹氏將其生命歷程中的重要意義透過許多 圖像化的素材呈現給觀者，觀者可透過主角的動作與人物神情了解內容感受； 表現要素是謂：主題、空間、氛圍、調子等；風景元素是謂：星體、雲彩、光線、

architecture basements are similar to one well after another. The flowing strokes on the cave represent the traces of excavators. Time seems to stop on the construction site, bringing the viewers' sight into the bottomless pit by the swirling strokes.

河海、山巒、植被、建築…等。 提香 (Tiziano Vecellio,1488~1576) 的名作《沈睡的維納斯》一開始由喬爾喬

If we observe Chan Yu-Fan's previous works carefully, it is not difficult

內 (Giorgio o Zorzi da Castelfranco, 1477~1510) 所畫，過世後由同學提香完

to discover his special arrangement of lights. Natural lights such as sun,

成景觀與天空，提香並把本身對於家鄉的回憶加入了畫面中，把喬爾喬內進

moon and stars as well as artificial lights like lamps, spot light, flashlight,

行到一半的畫作進行「再詮釋」，時至今日當代藝術家詹喻帆透過當代的角

torches and gas injection often appear in his paintings. John Constable

度進行美神維納斯的再詮釋，並加入了更多的元素與風景，詹喻帆的創作《維 納斯 3》是人物結合幻想的風景，因此有強烈的「戲劇感」，畫面中即將要進

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regards sky as the main organ of sensibility; therefore, light resembles the spirit of a picture.

入隧道探險的男子，也隱晦的暗示着「性」的原始吸引力—力比多（libido），

In Greenhouse 1 , the artist ingeniously arranges a “cat lamp” to

洞穴上方的巨大女子帶著神秘面具，猶如女神般的臥躺在床上，也象徵接受

become the warm illumination at night. Via the light, the viewers are

男性的崇拜。

able to put their focus on the face of the main character which contrasts

一件傑出的作品之所以耐看，往往是因為創作者在畫面佈局的巧思上，設計

the projection of the artist in the background. The work catches viewers'

了「視覺的遊戲」，藉由視覺的遊戲，使觀賞者無法把目光從畫面上移開，

eye by the subtle transformation of the light color and the perspective

而詹喻帆的創作除了有觀看時視覺焦點游移的娛樂性，更結合了圖像學的寓

technique on the objects.

意性，在超現實的畫面中進行著觀者的再詮釋。

“representation system”. His visual creation is influenced by feeling

全球在改變，台灣也在改變，在這塊歷經多重文化殖民的島嶼上，台灣的當

media, expression elements and scenery factors. Feeling media means

代藝術面貌也漸漸清晰，網路時代的來臨，加劇了創作的交互影響效應，詹

cognitive, sense and science. The artist displays a series of images about

喻帆透過非直述的個人表現，以台灣為地理坐標的全球化文化探討，將台灣 面對全球化下的集體經驗呈現在畫面中。

meaningful elements in his life. Viewers are able to decipher the feeling by looking at the interaction of the main characters and their facial expressions. Expression elements contain theme, space, atmosphere and tone, while scenery factors signify the stars, clouds, light, sea, mountain,

V. The Language of Art

plants and architecture.

John Constable (1776-1837) once wrote, “Scenery is nothing but the pronoun of emotion.” The existence of scenery is based on the presence of human beings. Chan Yu-Fan is good at conveying the concepts by portraying the stories and behaviors of figures. This kind of creationcontains many of his unique “language marks” and

One of Titian's(1488~1576) masterpiece, Sleeping Venus , was first painted by Giorgione(1477~1510). After he passed away, Titian continued to complete the scenery and sky. He integrated his nostalgic feeling into the painting, and to some degree, “reinterpreted” Giorgione. Nowadays, Chan Yu-Fan as the contemporary artist redefines the beauty of Venus and adds more elements and scenery. Venus 3 is the artist's combination of illusionist scenery and figures; hence, it has a strong “sense of drama”. The man entering the tunnel implies the original attraction of sex – Libido. The woman above the cave wears a mysterious mask, receiving the worship of males. The visual games

提香《沉睡的維納斯》 108.5 x 175 cm, 1510 Tiziano Vecellio, Sleeping Venus

plotted by the painter create one masterpiece after another. Through these cleverly arranged elements, viewers find hard to move their eyes from the paintings. In addition to the entertainment resulted from the wobbling of eye focuses, the artist also combines the meaning of iconography, proceeding the reinterpretation of viewers in surreal paintings.

The world and Taiwan both undergo rapid changes. On the island which is colonized by several cultures, the face of our contemporary art gradually becomes clearer. With the birth of the Internet, the interaction among artists turns to be more frequent. Through indirect self-narration, Chan Yu-Fan discusses international culture based on Taiwan, exhibiting

《維納斯 3》,130 x 162 cm, 2014 Venus 3

the collective experience of Taiwan under globalization in his own works.

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我試圖在古典寫實中，創造屬於我自己的當代性。 I tried to create my own “contemporary” out of classical realism.

—詹喻帆 Chan Yu-Fan

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作品系列 Series 島嶼系列

Island Series 社會定格

Freeze-Frame of Society 實驗室

Laboratory 平行世界

Parallel World 融古入今的形象造景

Images Blending the Past with the Present 樂園系列

Amusement Park Series 文化戲謔

Cultural Banter

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島嶼系列 Island Series

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台 灣 四 周 環 海， 高 山 多 雨 的 地 理 環 境， 為 典 型 的 季 風 海 島 國 家。「 島 嶼 系 列 」 出 自 對 自 然 的 觀 察， 詹 喻 帆 充 分 表 達 對 台 灣 土 地 的 認 同， 並 且 描 繪 島 國 人 民 的 心 靈 狀 態， 河 流、 海 洋、 海 岸 線 等 元 素 的 運 用， 隱 含許多當代繪畫的在地論述。 Su rro u n ded b y s ea an d with the mo u n tain o u s ch ar acter istic, Ta i w a n i s c h a r a c t e r i z e d w i t h r a i n y a n d m o n s o o n c l i m a t e .

C h a n Yu - Fa n ’s I s l a n d S e r i e s d i s p l a y s t h e o b s e r v a t i o n o f nature. In addition to presenting a strong belongingness t o Ta i w a n , h e i l l u s t r a t e s t h e m e n t a l i t y o f Ta i w a n e s e a n d e m p l o y s e l e m e n t s s u c h a s r i v e r, o c e a n a n d c o a s t l i n e . H i s paintings imply lots of local discourses in contemporar y pain tin gs .

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向未來前進 油彩畫布 112 x 162 cm 2011 私人收藏 Advancing to the Future Oil on canvas Collected by private collector

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旅人 1 油畫 116 x 116 cm 2011 私人收藏 The Voyager 1 Oil on canvas Collected by private collector

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過客 油畫 45.5 x 53 cm 2011 私人收藏 Passerby Oil on canvas Collected by private collector 25

黃色的船 油畫 60 x 60 cm 2011 私人收藏 Yellow Boat Oil on canvas Collected by private collector 26

旅人 2 油畫 70 x 140 cm 2011 私人收藏 The Voyager 2 Oil on canvas Collected by private collector

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白日夢 油畫 91 x 116.5 cm 2014 國美館典藏 Daydream Oil on canvas Collected by NTMFA

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夏令營 油畫 72.5 x 91 cm 2014 私人收藏 Summer Camp Oil on canvas Collected by private collector 31

燈塔 1 油畫 72.5x91cm 2015 私人收藏 Lighthouse 1 Oil on canvas Collected by private collector 32

燈塔 2 油彩畫布 72.5 x 91 cm 2015 私人收藏 Lighthouse 2 Oil on canvas Collected by private collector 33

島嶼夢遊 1 油畫 91 x 116.5 cm 2014 私人收藏 Sleepwalking on the Island 1 Oil on canvas Collected by private collector 34

島嶼夢遊 2 油畫 116.5 x 91 cm 2014 私人收藏

Sleepwalking on the Island 2 Oil on canvas Collected by private collector

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目的地 2 油畫 91 x 116.5 cm 2014 澳洲白兔美術館典藏

The Destination 2 Oil on canvas Collected by White Rabbit Gallery

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島嶼紀錄 2 油畫 91x116.5cm 2015 私人收藏

Record of the Island 2 Oil on canvas Collected by private collector

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島嶼紀錄 1 油畫 80 x 116.5 cm 2015 澳洲白兔美術館典藏

Record of the Island 1 Oil on canvas Collected by White Rabbit Gallery

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島嶼紀錄 3 油畫 116.5 x 91cm 2015 私人收藏

Record of the Island 3 Oil on canvas Collected by private collector

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社會定格 Freeze-Frame of Society

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媒體、資訊的影響力，不僅控制每個階級、家庭與社會，「 社會定格」 抨 擊 僵 化 的 社 會 現 象， 也 符 合 了 居 伊· 德 波 (Gu y- Ern es t D ebord） 對 文 化 同 質、 資 訊 洗 腦 等 觀 察 相 符 合。 此 系 列 表 達 即 使 被 定 格 的 社 會 大眾，仍然處於被動且毫無抵抗的實際現況。 T h e i n f l u e n c e s of m e d i a a n d i n f o r m a t i o n c o n t ro l t h e w h o l e society and families. This series criticizes the ossified rules o f s o c i e t y. I t a l s o c o r r e s p o n d s w i t h t h e o b s e r v a t i o n s o f culture assimilation and information brainwash by GuyErnest Debord. It conveys the phenomenon in which the p u b lic is pas s ive an d u n ab le to res is t.

46

47

訊息 2 油彩畫布 112 x 145.5 cm 2011 私人收藏

Message 2 Oil on canvas Collected by private collector

48

訊息 3 油彩畫布 65 x 80 cm 2011 私人收藏

Message 3 Oil on canvas Collected by private collector

49

50

51

你相信的是什麼 油彩畫布 112 x 112 cm 2011 私人收藏

What do you Believe Oil on canvas Collected by private collector

52

53

目的地 1 油彩畫布 112 x 162 cm 2012 私人收藏

The Destination 1 Oil on canvas Collected by private collector

54

55

牙醫 油彩畫布 106 x 133 cm 2017 私人收藏

The Dentist Oil on canvas Collected by private collector

56

57

彩虹噴泉 1 油畫 91 x 116.5 cm 2013 私人收藏

Rainbow Fountain 1 Oil on canvas Collected by private collector

58

59

你所需要的是光芒 2 油彩畫布 130 x 162 cm 2015 私人收藏

All You Need Is Light 2 Oil on canvas Collected by private collector

60

61

彩虹噴泉 2 油彩畫布 130 x 162 cm 2015 私人收藏

Rainbow Fountain 2 Oil on canvas Collected by private collector

62

63

製鞋者 油彩畫布 130 x 162 cm 2016 私人收藏

Shoemaker Oil on canvas Collected by private collector

64

實驗室 Laboratory

65

當 代 社 會 朝 著 現 代 化 發 展， 藉 由 資 本 主 義 區 別 了 新 的 階 級 制 度， 在 這 新 的 社 會 分 層 之 下 ， 新 的 價 值 觀 與 判 斷 方 式 造 成 人 性 的 冷 漠，「 實 驗 室 」 以 暗 喻 手 法 表 達 社 會 有 如 冰 冷 的 實 驗 場 所， 藝 術 家 刻 劃 人 與 人 之 間疏離的心理狀態。 Th e s o ciety n o wadays is develo p in g to wards mo de rnization.

Through capitalism, the new hierarchy is born. Under the n ew s o cial ran ks , th e valu e an d metho ds of ju dgment cause i n d i f f e re n c e i n h u m a n i t y. T h i s s e r i e s h i n t s t h a t t h e s o c i e t y i s l i k e a n i n d i f f e r e n t l a b o r a t o r y. T h e a r t i s t i l l u s t r a t e s t h e men tal s tates of alien atio n .

66

實驗室 2 油彩畫布 54 x 54 cm 2018 私人收藏 The Laboratory 2 Oil on canvas Collected by private collector 67

實驗室 1 油彩畫布 116 x 116 cm 2012 私人收藏 The Laboratory 1 Oil on canvas Collected by private collector 68

馬拉之心 油彩畫布 38 x 45.5cm 2012 私人收藏 Marat's Heart Oil on canvas Collected by private collector 69

留白的記憶 油彩畫布 91 x 91 cm 2011 私人收藏 Blank Memory Oil on canvas Collected by private collector 70

無題 油彩畫布 45.5 x 53 cm 2011 私人收藏 Untitled Oil on canvas Collected by private collector 71

回聲 油彩畫布 41 x 31.5 cm 2011 私人收藏 Echo Oil on canvas Collected by private collector 72

平行世界 Parellel World

73

詹 喻 帆 的「 平 行 世 界 」 宛 如 印 表 機 列 出 不 同 以 往 的 視 覺 影 像， 此 系 列 著 墨 於 藝 術 家 的 想 像 力， 在 各 種 天 馬 行 空 的 空 間 配 置， 產 生 了 詹 喻 帆 式 獨 一 無 二 的 創 作 特 色， 企 圖 在 平 塗 技 法 充 斥 的 當 代 畫 壇 中， 找 回 三 度空間的繪畫手法，營造超現實的想像世界。 T h i s s e r i e s i s l i ke a p r i n t e r p r i n t i n g d i f f e r e n t i m a g e s . T h e i m a g i n e d o rg a n i z a t i o n of s pa c e s e s p e c i a l l y re p re s e n t s t h e u n i q u e c h a r a c t e r i s t i c o f C h a n Yu - Fa n . H e s t r i v e s t o p a i n t i n a 3 D t e c h n i q u e i n s t e a d of t h e f l a t t e c h n i q u e , c re a t i n g a hyp er- realis tic wo rld.

74

溫室 1 油畫 91 x 116.5cm 2012 奇美博物館典藏

Greenhouse 1 Oil on canvas Collected by Chimei Museum

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76

溫室 2 油畫 116.5 x 116.5 cm 2012 私人收藏

Greenhouse 2 Oil on canvas Collected by private collector

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78

春天 油畫 91 x 116.5 cm 2013 私人收藏

Spring Oil on canvas Collected by private collector

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80

你所需要的是光芒 1 油畫 130 x 162 cm 2014 私人收藏

All You Need Is Light 1 Oil on canvas Collected by private collector

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82

月球上的曙光 油畫 130 x 194 cm 2013 私人收藏

Dawn on the Moon Oil on canvas Collected by private collector

83

84

小宇宙廣場 ( 局部 ) 油畫 Oil on canvas 162 x 390 cm 2013 私人收藏

Little Cosmic Plaza (partial) Oil on canvas Collected by private collector

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86

87

88

小旅行 油彩畫布 60.5 x 72.5 cm 2013 澳洲白兔美術館典藏 Little Trip Oil on canvas Collected by White Rabbit Gallery 89

採蜜人 1 油彩畫布 91 x 116.5cm 2013 私人收藏 Honey Collector 1 Oil on canvas Collected by private collector 90

沉睡的月光 油彩畫布 91 x 116.5 cm 2013 私人收藏 Sleeping Moonlight Oil on canvas Collected by private collector 91

野生劇場 1 油彩畫布 91 x 116.5 cm 2016 私人收藏 Wild Theatre 1 Oil on canvas Collected by private collector

92

野生劇場 2 油彩畫布 91 x 116.5 cm 2016 私人收藏 Wild Theatre 2 Oil on canvas Collected by private collector 93

泉 油彩畫布 95.5 x 130 cm 2016 私人收藏 La Source Oil on canvas Collected by private collector 94

95

平行宇宙 油彩畫布 91.5 x 233 cm 2016 私人收藏

Parallel Universes Oil on canvas Collected by private collector

96

日出之月 ( 局部 ) Sunrise of the Moon (partial) 97

98

日出之月 油彩畫布 72.5 x 91 cm 2013 私人收藏 Sunrise of the Moon Oil on canvas Collected by private collector 99

樂活月球 3 油彩畫布 72.5 x 91 cm 2017 私人收藏 Lohas Moon 3 Oil on canvas Collected by private collector 100

樂活月球 1 油彩畫布 72.5 x 91 cm 2017 私人收藏 Lohas Moon 1 Oil on canvas Collected by private collector 101

樂活月球 2 油彩畫布 72.5 x 91 cm 2017 私人收藏 Lohas Moon 2 Oil on canvas Collected by private collector 102

融古入今的形象造景 I m a g e s B l e n d i n g t h e Pa s t w i t h t h e P r e s e n t

103

師 承 西 方 繪 畫 的 藝 術 精 隨， 詹 喻 帆 挪 用 了 經 典 的 西 方 名 作， 加 進 自 己 的 創 作 當 中 ， 「 融 古 入 今 」 的 系 列 作 品 意 圖 翻 轉 單 一 詮 釋， 也 內 含 藝 術 家 對 當 代 議 題 的 重 視 、 國 際 事 件 的 觀 察 、 與 當 代 社 會 的 反 諷， 透 過 系列闡述社會關懷的態度。 C ha n Yu-Fa n c om bine s c la s s ic pa int ings f rom t he Occi d ent i n his own works. This series intends to reverse the simplified i n t e r p re t a t i o n s . I t a l s o i n c l u d e s t h e a r t i s t ’s c o n c e r n s a b o u t the social issues, obser vations of international events, and t he irony tow a rds s oc ie t y.

104

無聲之島 油彩畫布 182 x 227 cm 2011 私人收藏

Voiceless Island Oil on canvas Collected by private collector

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106

維納斯 1 油彩畫布 112 x 145.5 cm 2010 私人收藏

Venus 1 Oil on canvas Collected by private collector

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108

維納斯 2 油彩畫布 130 x 162 cm 2012 私人收藏

Venus 2 Oil on canvas Collected by private collector

109

11 0

111

維納斯 3 油彩畫布 130 x 162 cm 2014 私人收藏

Venus 3 Oil on canvas Collected by private collector

11 2

11 3

浮生 油彩畫布 130 x 162 cm 2015 私人收藏

Floating Life Oil on canvas Collected by private collector

11 4

遺忘的居所 油彩畫布 112 x 162 cm 2016 私人收藏

Forgotten Residence Oil on canvas Collected by private collector

11 5

11 6

穿著紅衣的熊主教 油彩畫布 35 x 27 cm 2018 私人收藏 The Bishop Bear in Red Oil on canvas Collected by private collector 11 7

拿著貂娃娃的貂少女 油彩畫布 35 x 27 cm 2018 私人收藏 A Mink Girl Who Holds a Mink Doll Oil on canvas Collected by private collector 11 8

樹懶酒神 油彩畫布 35 x 27 cm 2018 私人收藏 Sloth Bacchus Oil on canvas Collected by private collector 11 9

大衛兔拿著玩偶兔的頭 油彩畫布 35 x 27 cm 2018 私人收藏 David Rabbit with the Head of a Rabbit Doll Oil on canvas Collected by private collector 120

戴珍珠耳環的鸚鵡少女 油彩畫布 35 x 27 cm 2018 私人收藏 Parrot Girl With a Pearl Earring Oil on canvas Collected by private collector 121

企鵝公主 油彩畫布 35 x 27 cm 2018 私人收藏 The Penguin Princess Oil on canvas Collected by private collector 122

皇冠爭奪戰 油彩畫布 130 x 162 cm 2010 私人收藏 The Crown Battle Oil on canvas Collected by private collector 123

燭光 2 油彩畫布 72.5 x 60.5 cm 2015 私人收藏 Candlelight 2 Oil on canvas Collection by collector 124

燭光 1 油彩畫布 72.5 x 60.5 cm 2015 私人收藏 Candlelight 1 Oil on canvas Collected by private collector 125

燭光 3 油彩畫布 72.5 x 60.5 cm 2015 私人收藏 Candlelight 3 Oil on canvas Collected by private collector 126

與紅鞋的約定 油彩畫布 60 x 84 cm 2011 私人收藏 A Promise with the Red Shoes Oil on canvas Collected by private collector 127

女孩 5 油彩畫布 53 x 65cm 2016 私人收藏 Girl 5 Oil on canvas Collected by private collector 128

女孩 1 油彩畫布 72.5 x 60.5 cm 2012 私人收藏 Girl 1 Oil on canvas Collected by private collector 129

女孩 4 油畫 72. 5 x 60.5 cm 2014 私人收藏 Girl 4 Oil on canvas Collected by private collector 130

女孩 2 油彩畫布 72.5 x 60.5 cm 2014 私人收藏 Girl 2 Oil on canvas Collected by private collector 131

女孩 3 油畫 72. 5 x 60.5 cm 2014 私人收藏 Girl 3 Oil on canvas Collected by private collector 132

午茶時光 1 油彩畫布 65 x 53 cm 2017 私人收藏 Afternoon tea 1 Oil on canvas Collected by private collector 133

午茶時光 2 油彩畫布 65 x 53 cm 2017 私人收藏 Afternoon tea 2 Oil on canvas Collected by private collector 134

樂園系列 Amusement Park Series

135

樂 園 理 應 是 許 多 人 心 中 擁 有 美 好 回 憶 的 所 在， 但 就 如 國 際 知 名 的 匿 名 藝 術 家 B a n k sy(1970’s ) 2015 於 英 國 濱 海 韋 斯 頓 廢 棄 樂 園 的 大 型 展 覽 核 心 理 念 一 般，「 樂 園 系 列 」 雖 為 樂 園， 卻 是 以 反 烏 托 邦 社 會 為 主 題打造一座暗黑樂園，揭露現實社會的一面。

Amusement parks are supposed to be wonder ful memories t o m o s t of t h e p e o p l e . H o w e v e r, t h e i n t e r n a t i o n a l l y f a m o u s a n o n y m o u s a r t i s t B a n k s y ( 1 9 7 0 ’s ) h e l d a n e x h i b i t i o n o f an abandoned amusement park in Weston super Mare in England. Although the amusement park was the mainly concept of the exhibition, it was a dark and negative a m u s e m e n t pa r k a n d u s e d a n a n t i - u to p i a n to b e t h e t h e m e , e xpos ing t he re a lit y of s oc ie t y.

136

非常樂園 1 油彩畫布 91 x 116.5 cm 2017 私人收藏 Abnormal Amusement Park 1 Oil on canvas Collected by private collector 137

非常樂園 3 油彩畫布 91 x 116.5 cm 2017 私人收藏 Abnormal Amusement Park 3 Oil on canvas Collected by private collector 138

非常樂園 2 油彩畫布 72.5 x 100 cm 2017 私人收藏

Abnormal Amusement Park 2 Oil on canvas Collected by private collector

139

140

141

非常樂園 4 油彩畫布 116 x 116 cm 2017 私人收藏

Abnormal Amusement Park 4 Oil on canvas Collected by private collector

142

143

打獵季節 油彩畫布 91 x 116.5 cm 2018 私人收藏

Hunting Season Oil on canvas Collected by private collector

144

145

造夢者 1 油彩畫布 91 x 116.5 cm 2017 私人收藏

Dream Creator 1 Oil on canvas Collected by private collector

146

147

餘灰中顯現出亞洲地圖

The ashes form a trace of map of Asia.

造夢者 2 油彩畫布 91 x 116.5 cm 2018 私人收藏 Dream Creator 2 Oil on canvas Collected by private collector

148

文化戲謔 Cultural Banter

149

「 御 宅 文 化 」 的 次 世 代 現 象， 透 過「 文 化 戲 謔 」 可 以 看 出 早 期 卡 漫 元 素 對 藝 術 家 的 影 響， 詹 喻 帆 發 展 出 新 的 視 覺 圖 像， 反 映 當 代 年 輕 族 群 的觀點，透過在地元素的挪用，造就出不同以往的文化衝擊。

T h ro u g h t h i s s e r i e s w e c a n s e e t h e i n f l u e n c e of a n i m e a n d otaku culture on the ar tist.

C h a n Yu - F a n d e v e l o p s n e w

v i s u a l i m a g e s t o p r e s e n t y o u n g g e n e r a t i o n ’s p o i n t s o f v i e w. A l s o , h e u s e s l o c a l e l e m e n t s to c re a te c u l t u re s h o c k s differen t fro m the pas t.

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151

流彈小心 油彩畫布 112 x 162 cm 2009 私人收藏

Caution of the Stray Bullets Oil on canvas Collected by private collector

152

瞄準射擊 油彩畫布 130 x 162 cm 2008 私人收藏

The Aimed Shot Oil on canvas Collected by private collector

153

154

155

救援任務 油彩畫布 130 x 162 cm 2010 私人收藏

The Rescue Mission Oil on canvas Collected by private collector

156

東方明珠 3- 參見 油彩畫布 直徑 120 cm 2009 私人收藏

The Pearl of the Eas t 3 - Greetings Oil on canvas 120 cm (diameter) Collected by private collector 157

東方明珠 1 油彩畫布 直徑 80 cm 2009 私人收藏

The Pearl of the Eas t 1 Oil on canvas 80 cm (diameter) Collected by private collector 158

制服三美神 油彩畫布 112 x 145.5 cm 2009 私人收藏 Three Goddesses of Uniforms Oil on canvas Collected by private collector 159

逗貓 油彩畫布 116 x 116 cm 2009 私人收藏 Teasing Cat Oil on canvas Collected by private collector 160

161

創作符號表 Li st of A r t i st i c Sy m b o l s

162

角色材料 The Material of Characters 符號＆圖示 Symbol ＆ Diagram

來源 Source

詹喻帆 Chan Yu-Fan

訊息 2、訊息 3、旅人 1、

意涵 Implication

溫室 1、溫室 2、維納斯

畫家、自我、互動、互相觀看

1、維納斯 2、目的地 1、

Artist, ego, interaction,

彩虹噴泉、小宇宙廣場、

interactive observation

遺忘的居所 ...etc.

畫面配置 Placement of the image

中景之主角或配角 Main character and supportive role in medium shot

表現 Portrayal method

以縮小之自我（衝突手法）來 與周圍環境對照 To shrink the ego (conflicting technique) to reflect with the surrounding

影響、效果 Effect

引導觀賞者隨同藝術家角色 進入作品 To lead obser ver s into artwork with artist

有時是探討女性，但有時 女孩 Girl

以甜美之女孩，來映射藝術家

旅 人 1、 黃 色 的 船、 旅

的內心

人 2、溫室 1、溫室 2、

藝術家自我內心深處的本我

中景之主角

維納斯 2 、春天、採蜜

The identification (ID) inside

Main character

Through the sweetness of a

人、 女 孩 1、 非 常 樂 園

of an artist

in medium shot

girl to reflect the artist's inner feelings

1~4

是藝術家的內心，也反映 時下文化 Sometimes probing females, sometimes probing an artist's heart, sometimes, probing the current trend

心臟人 The Heart Man

藝術家自我的化身、真誠、對

以擬人化造型，活靈活現的

馬拉之心、實驗室 1、

事物追求的熱忱、使命、等候

實 驗 室 2、 心 臟 人 1、

A r t i s t ' s e g o , s i n c e r i t y,

主角

心臟人 2、 心臟人 3、

passion, determination

Main character

心臟人 4、 心臟人 5

and patience of pursuing

成為故事主角 Personalized character, actively become the main character of a story

something

為創作脈絡多增加一虛擬角 色，並提供故事性的主角 Increase a virtual character in the flow of creation, and provide a main character in the story

讓人聯想是否藝術家創作時， 太空人 Spaceman

是否為一人的對白，進入創作 日出之月、樂活月球

探索未知的領域

1、樂活月球 2、樂活

Explore the unknown

月球 3

territory

中景之主角

以 kuso 的方式，置入作品中

Main character in

To inser t into the works

medium shot

with a creative method

時是否進入一無人之境 ?

It makes people wonder when artists create, is it like a solo dialogue, entering an area of no one during the creation process

163

符號＆圖示 Symbol ＆ Diagram 創作者與作品 Creator ＆ The Creation

來源 Source

意涵 Implication

溫室 1、馬拉之死、

對創作的執著

維納斯 1 、小宇宙

The persistence

廣場、遺忘的居所

of creation

演奏者、表演者 Player, Performer

畫面配置 Placement of the image

中景之主角或配角 Main character and supportive role in medium shot

表現 Portrayal method

代表藝術家的創作者，在獨自 一方默默創作 The creator representing the artist, solely, quietly create

小宇宙廣場、月球上

Probing the common

的曙光、野生劇場 2

place of creator and different creation,

中景之主角 Main character in medium shot

1、熱活月球 3

者、影響者、神秘者

中景之配角

High level promoter,

Supportive role in

hypnotizer, influencer,

Implying the dialogue between the creator and the works

作共通性的聯想

者的互動

Increasing the colorfulness

Joyfully portray the creators

of the scheme, also creating

and their interaction

the imagination of interconnection

高境界的傳播者、催眠 訊 息 2、 熱 活 月 球

的對話

以愉悅的創作群來表現，創作

united creation

外星人 Alien

暗示創作者與作品之間

增添畫面的熱鬧性，也提供創

探討創作者、不同創作 之共通性、聯合創作

影響、效果 Effect

a medium shot

以親切的迷你人，來跟畫中主角互動 Interact with the main character in the painting with a benign miniperson

增添神秘性，但又可愛親切 Creating mysteriousness, but still cute and kind

mysterier

場域材料 The Material of Places 符號＆圖示 Symbol ＆ Diagram

來源 Source

森林 Forest

向 未 來 前 進、 你 相 信 的 是 甚 麼、 留 白 的記憶、旅人 1、無 聲之島、黃色的船、 旅人 2、溫室 2、春 天、採蜜人 ...etc.

意涵 Implication

畫面配置 Placement of the image

自然、生命、原始 神秘、動物棲息地 Nature, life, wild, mysterious, animal's shelter

中景 Medium shot

表現 Portrayal method

影響、效果 Effect

帶有神秘性的寫實手法，以多層次

森林場景是人類熟知的場域，

的罩染法完成

但卻是都會人嚮往處所

Mysterious and realist technique,

Forest scheme is familiar for

completed with multi-layered

people, but cities are the

glazing method

places people yearn to be.

164

符號＆圖示 Symbol ＆ Diagram

島嶼 Island

沙漠、沙灘 Desert, Beach

河流、海水 River, Ocean

來源 Source

意涵 Implication

黃色的船、島嶼夢遊 1、

隱喻所居住的台灣、孤單

島嶼夢遊 2、目的地 1、

的居所、心中的居所

目的地 2、島嶼紀錄 1、

I m p l y i n g t h e c u r re n t

中景

島嶼紀錄 3、你相信的是

l i v i n g Ta i w a n , l o n e l y

Medium shot

什 麼、 無 聲 之 島、 白 日

residence, the shelter in

夢、夏令營

the heart

畫面配置 Placement of the image

表現 Portrayal method

影響、效果 Effect

以孤立之小島，並居中

台灣島國人民自幼以來的潛

構圖，呈現於畫面中

意識文化思想

A solely island in

The subconscious concepts

t h e m i d d l e of t h e

of t h e Ta i w a n e r s s i n c e

painting

childhood

猶如遊樂場的沙堆般，乾

聯想到廣闊無盡的場景，是

訊息 2、旅人 1、旅人 2、

荒蕪、純潔、時間的洗禮

中景、背景

淨的描繪此場域

千萬年後的都市遺址

訊 息 3 溫 室 1、 過 客、

Barren, pure, the baptism

Medium shot,

Like the sand hills in

Reminding of wide and

野生劇場 1

of time

background

a theme park , clearly

endless scheme, city ruins

portraying this area

after thousands of years

你相信的是甚麼、旅人 1、 旅人 2、無聲之島、黃色 的 船、 過 客、 維 納 斯 1、 維 納 斯 2、 目 的 地 1、 春 天、小旅行、非常樂園 1、 造夢者 1、造夢者 2

猶如神秘的記憶流般，以緩

生命、流動、神秘、變 動、隱藏、慾望、匯流

中景

Life, flow, myster y,

Medium shot

慢的流動感，在畫面呈現 As if the mysterious flow

change, invisibility,

of memory, slowly flowing

desire, confluence

in the image

生命的源頭，同時也是生命的 盡頭，流動性的畫面效果，也 暗示時間 The origin of life, also the end of life, the imagery effect of flowing, also implying time

以冷暖色互補的配色，並以節 湖泊 Lake 沉睡的月光、浮生、野

沈澱、積累

生劇場 1、島嶼紀錄

Precipitation, cumulating

中景 Medium shot

奏感筆觸，來表現寧靜之湖面

寧靜感的場域，慢慢紀錄事

Complementar y colors

件的過程

of cold and warm colors,

Territory with sereneness,

and rhythmic brush stroke,

slowly record the procedure

portraying the sereneness

of the incident

of the surface of the lake 以月亮本身的陰柔特質或空 月球 Moon

陰柔、神秘、孤獨之境、逃 日出之月、沉睡的月光、

離一切的無名地

月球上的曙光、樂活月

Feminine, mysterious,

Supportive role in

球 1、樂活月球 2

lonely place, running away

a medium shot

from an unknown place

中景 ( 配角 )

曠 感， 來 表 現 一 無 名 地（ 暗

地球人對於未知的探求，或

示創作的世界）

想移居的渴望

Using the soft and barren

The desire to explore the

traits of the moon to

u n k n o w n of p e o p l e o n

represent an unknown

earth, yearning to move

place (implying the world of creation)

165

符號＆圖示 Symbol ＆ Diagram

來源 Source

莊園 Manor

意涵 Implication

畫面配置 Placement of the image

以歐式圍籬與樹種，來增添場

神秘上流社會的憧憬 目的地 2、製鞋者

表現 Portrayal method

The yearning of

中景、遠景

mysterious upper

Medium shot,long view

class of society

景之豐富性 Create fullness of scheme with European fence and seeds of trees

影響、效果 Effect

中產階級夢想中，高級感 的住宅 Dreams of middle class, high class residence

藉由溫室的框架來守護內心珍藏 溫室 Greenhouse

的人事物或回憶，也增添畫面之

受保護的空間、內心 溫室 1、溫室 2、 平行時空

珍貴的部分 Protected space, the precious area

故事性 中景

The structure of the green

有種被呵護的感受

Medium shot

house is to use protect what

Feeling of being protected

is hidden in the heart, people,

in the heart

o b j e c t s , o r m e m o r y, a l s o creating story to the image.

浴缸、泳池、人造水景 Bathtub, Swimming pool, Man-made water landscape

現今的世界或社會，已非亙 訊息 2、旅人 1、 維 納 斯 1、 溫 室

空間、慾望、人造範 圍內的水

2、彩虹噴泉、白

Space, desire, man-

日夢、造夢者 1

made area of water

古時代由上帝所創造的環境 中景 Medium shot

營造出一個場域

Current world and society

Create a territory

is not what it used to be when God created the environment

宇宙、銀河 Universe, Milky way

維 納 斯 2、 春 天、 日 出 之 月、 小 宇 宙 廣場、樂活月球 1、 樂活月球 2、樂活月 球 3、非常樂園 4

石油、噴泉 Gasoline, Fountain

虛 幻、 廣 大 無 垠、 銀 河、

以繁星閃爍的浩瀚星雲，被濃縮在

星空、四度空間

小畫面中，來表現對於空間的錯覺

人類意象中最浩瀚也最宏觀

Vir tual, wide with no

背景

Creating illusion of space by

的投射

boundary, milky way, the

Background

shrinking and condensing shiny

The widest and greatest

sky with stars, and the

and starr y nebula in a small

reflection in human's mind

4th dimensional space

image

自然能源、歌頌能源 浮生、泉

Natural resources, worshipping resources

中景 Medium shot

以美術史中出現的題材，結合不間斷

對於能源的需求，也對於便

的細流石油，強化深遠流長的歲月感

利性的歌功頌德

With the material in art history,

The need for resources,

connecting with endless flow of oil

also the convenience of

to strengthen the feeling of aging

the of resource

166

符號＆圖示 Symbol ＆ Diagram

意涵 Implication

來源 Source

畫面配置 Placement of the image

舞台、劇場 Stage,Theater 無聲之島 、小宇宙廣

事件上演的平台、人生如戲

場、 野生劇場 1、非常

Stage of the incidents, life

樂園 1、牙醫

is like drama

火車月台 Train,Platform

中景 Medium shot

維 納 斯 2、 平 行 宇 宙、 牙醫

Waiting, platform of back and forth, journey (life)

影響、效果 Effect

魔幻的超現實劇場，又或非現實的側

象徵人生如戲，有開幕也會

面光源來創造出畫面的視覺張力

有落幕

Magic and unrealistic theater, also,

Symbolizing life as drama,

unrealistic light from sideway to

with opening and ending

create the expansion of the image

ceremony

寂靜空曠的月台以水平式的構圖向畫

等 候、 來 去 過 往 的 平 台、 旅途（人生）的轉運站

表現 Portrayal method

面左右展開，象徵時間的過去與未來

暗示這世間（人生）就像是

前景

Lonely and empty platform expands

個過繼站

Foreground

horizontally from the left and right

Implying life like a passing

of the image, symbolizing the past

station

transport station

and future of time

物件材料 The Material of Objects 符號＆圖示 Symbol ＆ Diagram

鐵軌 Rail

意涵 Implication

來源 Source

畫面配置 Placement of the image

表現 Portrayal method

道路、直線、向前、進步、 維納斯 2、小旅行、平行 宇宙、非常樂園 2

載運 Path, straight line,moving for ward,improvement,

前景 Foreground

往兩側平行展開的水平構圖 A horizontal image that expands from two sides

transporting

實驗瓶 Experimental bottle 留白的記憶、實驗室 1

167

生命液、能量 Flow of life, energy

影響、效果 Effect

對於現代人而言，是緩慢 而直通的道路 For modern people, it is a slow and straight path

裝著詭異顏色液體，猶如生命液般

如科幻片般的器材物件

Foreground,

Filled with liquid of strange color,

Equipment as if in sci-fi

background

just like the flow of life

movies

前景、背景

符號＆圖示 Symbol ＆ Diagram 床、病床 Bed

留白的記憶、無聲之島、 馬拉之心、實驗室 1、訊 息 3、白日夢

電視機、收音機 Television, Radio

相機、投影機 攝影機、望遠鏡 Camera, Projector Video, Telescope

意涵 Implication

來源 Source

畫面配置 Placement of the image

睡眠、夢、潛意識、休息、疾 病、束縛 Sleep, dream, subconscious,

極為冷調的畫面處理，將觀者 中景、背景

由超現實的場景中，拉回現實

Medium shot,

A cold atmosphere in the

background

image pulls the observers

rest, sickness, bounding

back to reality

一方面成為畫面中光線配置的角色，

你相信的是甚麼、訊息 2、

訊息、資訊、影像、光線、投射、

訊息 3、日出之月、彩虹

傳播、媒體 ( 第四權利 )、催眠

噴泉、月球上的曙光、 島

Message, data,image,light,

Foreground,

嶼 夢 遊 2、 燭 光 I、 彩 虹

projection, broadcast, media

medium shot

噴泉、燭光 2、燭光 3

(the fourth estate), hypnotizing

前景、中景

二方面也成為夜幕來臨時的氛圍工具 To become the role placed by the light in the scheme. Also become the tool of atmosphere when the night is coming

搭配故事性，有輸入、輸出、保

影像、記憶、回憶、補捉、

存的功能，並暗示主題

你 相 信 的 是 甚 麼、 旅 人

回顧、視覺、媒體 ( 第四權利 )

前景、中景

1、 溫 室 2、 維 納 斯 2、

Video, memory, memories,

Foreground,

with the functions of input,

向未來前進

capturing, recalling, visual,

medium shot

output, saving, it also implies the theme in a story

media (the fourth estate)

玻璃罩 Glass cover 維納斯 2、春天

房屋、城堡 蜂巢、燈塔 House, Castle, Honeycomb, Light tower

表現 Portrayal method

保護 Protect

前景、中景

保護著主角（人或物）

Foreground,

Protecting the main character

medium shot

(person or object)

影響、效果 Effect

休憩或養息，也提醒人 生的現實 Resting, reminding the reality of life

大眾的資訊傳播工具，但 也是現代人的虛擬體驗 The tool of public broadcasting, also vir tual experience of modern people

以眾多人喜愛的日常 物 品， 來 喚 起 對 於 重 要回憶的珍惜 Using daily objects people love to recall important memories

試圖保護最珍貴的人與物 Tr ying to protect the most precious person or object

向未來前進、訊息 3、溫 室 1、溫室 2、維納斯 1、 維納斯 2、春天、採蜜人、 採蜜人 2、黃色的船、旅 人 2、過客、你所需要的 是光芒、燈塔 2、島嶼紀 錄 1、島嶼紀錄 2、 你所 需要的是光芒 2、泉、造

家庭、保護、安全、親情、 溫暖、方向指引 Family, protection, safety, family relation, warm, directional instruction

在畫面中微小但卻溫馨的存在， 中景 Medium shot

也成為畫面中視覺停留的焦點

孩提時代想像中的家

A trivial but loving existence in

Home in the imagination

the image, becomes the visual

during childhood

spot to stop

夢者 1

168

符號＆圖示 Symbol ＆ Diagram

意涵 Implication

來源 Source

畫面配置 Placement of the image

蠟燭 Candle

影響、效果 Effect

表現 Portrayal method 配置在不起眼的牆邊，通常以熄滅

溫 室 1、 彩 虹 噴 泉、 燭 光 2、 燭 光 3、 造 夢者 1、造夢者 2

紀念、燃燒、犧牲、光明

前景、中景

Commemorate, burn,

Foreground,

sacrifice, brightness

medium shot

或即將燃燒殆盡的狀態表現 Placed hardly noticeable on

燃燒後的殘餘

the corner of the wall, usually

Residues after burning

por trayed as dying out or completely put out

以動態的爬行方式處理，每隻蜥蜴 蜥蜴 Lizard

的前後關係，猶如同一蜥蜴的爬行

遠古的活化石生物，也象徵現代

軌跡捕捉

人需要極高的適應力

前景

Handling with active crawling,

Living fossils from creatures in

Foreground

relationship between the lizards

the ancient past, symbolizing

in the front and in the back, as

human's need for high ability

if capturing the trail of a lizard's

of adaptation

冷血、緩慢、再生、活化石、 訊息 2

生存力 Cold-blooded, slow, relive, living fossil, living power

movement

化石 Fossil

座落於沙發上的鮮豔化石，以擬人 小旅行、月球上的曙光

歲月、死亡、骨骼 Aging, death, bones

前景 Foreground

化方式表現 Color ful fossils on the sofa, portrayed in personalization

作為畫面三角構圖的座標，通常

蛾 Moth 女孩 2、你所需要的是 光芒 1、燭光 2、燭光 3、女孩 5、造夢者 1

三角形的中心為強調的焦點 重生、轉變 Relive, change

前景

A s t h e c o o rd i n a t e of t h e

Foreground

structure of a triangle, usually the center of a triangle is the emphasis

舊車輛、舊飛機 Old car, old plane

無聲之島、島嶼夢遊 2、 島嶼紀錄 2、野生劇場 1、維納斯 2、泉、彩虹 噴泉、小宇宙廣場、 你 所需要的是光芒 2、製 鞋者、樂活月球 3

169

對於古生物（前者）的想像 Imagination of ancient creatures

重生的意象就像三角形的循 環造型 The image of reliving is like the cycling structure of a triangle

人生就像曾經風光的交通機械般，也 衰退、肉身象徵 Fading, symbol of the physical body

復古老舊的經典車或飛機，在遺落

終需退役，故而應當把握當下

Foreground,

的場景中漸漸衰頹

Life is like a popular transportation

medium shot

Antique or ancient classic car or

device that also has its end.

flight, fading in the lost scene

Therefore, we should treasure what

前景、中景

we have now

符號＆圖示 Symbol ＆ Diagram

爆破、飛彈 Explosion, missile

來源 Source

意涵 Implication

畫面配置 Placement of the image

影響、效果 Effect

表現 Portrayal method

既期待又害怕受傷害的事物，但也許 訊息 2、小宇宙廣場、你 所需要的是光芒 1、你所 需要的是光芒 2、野生劇 場1

震撼降臨、歷史事件

前景、中景

Shocking arrival,

Foreground,

historic incident

medium shot

在畫面中成為迎接或圍繞的對象

破壞性的建設是現今所需要的

To become the surrounded

Objects that make you curious but

or welcomed person in the

also scared. Maybe destructive

image

construction is what we need nowadays

仿看板、支撐架 Supporting rack of imitation board

藝術家有意識的將此符號藏於作 品中不起眼處

背後的支撐、後援

中景不顯眼處

維納斯 1、 月球上的曙光

Support in the

Unnoticeable spot

Artists consciously hide this

非常樂園 2

back, back up

in the medium shot

symbol in the unnoticeable spot in the work

蟻窩 Ant hill 月球上的曙光

沙發、經典椅 Classic chair, Sofa

群聚行動 Grouping activity

前景 Foreground

有如許多的支撐，其都是不 起眼的存在 Just like a lot of support is unnoticeable existence

群體移動，低階的生物種卻住在

當代社會的群體意識，更為

機械車上的蟻窩

多變也更為快速

Moving in a group, low-level

Concept of groups in

creatures living an ant nest on

the modern society is for

a construction cart

flexibility and speed

經典不老的沙發，為畫面增添古 女孩 1、維納斯 2、 小旅

經典不朽、曾經的前衛

行 、 小 宇 宙 廣 場、 月 球

（時尚）

Foreground,

Classic and immor tal sofa,

上的曙光

Classic undead, once

medium shot

for the purpose of creating

前景、中景

avant-garde(fashion)

典味，或構圖中的需求

classic taste or need of image

好作品是能經得起時代的考驗 A good work can bear the test of time.

structure

船 Boat

你 相 信 的 是 甚 麼、 旅 人 1、黃色的船、旅人 2、 目的地 1、無聲之島、夏 令營、目的地 2、燈塔 1、 非常樂園 1

工具、乘載、運輸、冒險、 空間、海洋 Tool, riding, transport, adventure, space, ocean

前景 Foreground

猶如諾亞方舟般的乘載，

時間的巨大洪流，就如同漂流在水

並帶離過往

面上的船隻

Like Noah's Ark, brining

The giant flow of time is like the

away from the past

boats floating on the water

170

符號＆圖示 Symbol ＆ Diagram

意涵 Implication

來源 Source

畫面配置 Placement of the image

表現 Portrayal method

以當下關注的社會議題，作為創

核彈 Nuclear bomb 維納斯 2、你所需要的

武力、核能

是光芒 2

Military, nuclear

前景、中景 Foreground, medium shot

作，也提供社會省思 Through the current issue in the society that attracts most attention, as creation, also a topic for pondering

小帳篷 Small tent 訊息 3、採蜜人、沉睡的 月光、島嶼紀錄 3

軍火、武器、軍人 Munitions、Arms、 Soldier 流彈小心、瞄準射擊、

暫時的居所、移動的小窩 temporary residence, Portable shelter

中景、背景

移動的居所， 以趣味性的方式表現

Medium shot,

Portable residence, portrayed in

background

an interesting method

藉由遊戲中的角色行為，或軍 人玩具，來說明國際現況 全球武力競備

前景、中景

Using the behaviors of the

我 很 勇 敢、 切 八 斷、

Global competition

Foreground,

characters in the game or

維納斯 2

of military force

medium shot

using solder toys to explain the current international situation.

影響、效果 Effect 我們害怕核能（便利）及武力 （安全），但面對目前的選擇， 人類又無從拒絕 We are afraid of the nuclear (convenient) and militar y (safe), but with the current situation, people can't refuse

暗示所有的生命，都是這世間 的過客而已 Implying all lives are only the passengers

告誡若持續全球武力競備，人 類換來的只有毀滅 Reminding that if continue with global competition of military force, humans can only get destruction

呈現當代社會的諸多現象：毀滅、

圖騰 Totem 你所需要的是光芒 1、你

象徵

所需要的是光芒 2

Symbolize

中景不顯眼處

古老圖騰來說明畫面中寓意

Unnoticeable spot

Explaining the meaning of the

in the medium shot

images with ancient imagery

重生、熱情生命、一閃而逝的事物 Portraying many symptoms of current society: destruction, reliving, passionate life, things that disappear in a blink

太空梭、人造衛星 Artificial satellite、 訊息 2、維納斯 2、小宇 Spaceplane 宙廣場、樂活月球 1、樂 活月球 2、樂活月球 3

運行中的人照衛星 ( 太空梭 )，象徵 人類的偉大

背景、天空景

太空時代的來臨，也象徵科技的進步

人類陶醉於自身的偉大

The greatness

Background,

Working satellites, symbolizing

Humans are drunk in their

landscape of the sky

the coming of space time, also the

own greatness

of humans

development of technology

171

符號＆圖示 Symbol ＆ Diagram

來源 Source

意涵 Implication

星球儀 Planetarium

畫面配置 Placement of the image

藝術家自創的科技產品，並運用想 日出之月、小宇宙廣場、

星球運行

你所需要的是光芒 1

Planet running

前景、中景

影響、效果 Effect

表現 Portrayal method

像力，為畫作妝點趣味性

Foreground,

Technologic product created by

medium shot

the artist with imagination to add interest in the works.

宇宙運行是看不見的力 量，又或如同上帝的玩具 般運轉 Running universe is an unseen force, operating like God's toys

行李箱 Suitcase 留白的記憶、維納斯 2、

旅行、移動

平行時空

Travel, move

前景、背景 Foreground, background

瓶罐、壺 Bottles and cans, Pots 女孩 4、泉、平行時空

澆灌 Irrigation

前景、中景 Foreground, medium shot

旅行的皮箱，卻轉變成有機體般流逝

人類對於旅行的渴望，對

著生命液

於生命逝去的害怕

A travelling suitcase transforms into

People yearn for journey

an organic flow of life

and fear for loss of life

藉由人物手持的物體，強調人與物，及

澆灌者與澆灌物，及環境的

環境的關係

關係探討（ex: 能源議題）

Through the object held by the

Probing the relation of

character, emphasize the relation

the irrigator, the irrigated,

between people, objects and

and the environment (ex.

environment

Resource issues)

氛圍材料 The Material of Atmosphere 符號＆圖示 Symbol ＆ Diagram 晚霞 Sunset

來源 Source

意涵 Implication

畫面配置 Placement of the image

藉由多層次罩染，並以豐富的色彩

訊息 2、無聲之島、訊息 3、維納斯 1、維納斯 2、

夜晚的降臨

小 旅 行、 沉 睡 的 月 光、

The coming

夏 令 營、 你 所 需 要 的 是

of the night

光芒 1...etc.

表現 Portrayal method

天空景 Landscape of the sky

來提升空間的氛圍 With multi-layered glazing and rich colors to increase the atmosphere of the space

影響、效果 Effect

夕陽無限好，只是近黃昏， 又或是期待繁星的到來 Sunset is wonderful, but it is close to the dusk .

Looking forward to the appearance of stars

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符號＆圖示 Symbol ＆ Diagram 火堆、營火 Fire pile, Campfire

來源 Source

意涵 Implication

沉睡的月光、島嶼夢遊 1、

微小的希望

夏令營、燈塔 1、燈塔 2、

Trivial hope

中景的物件置入

影響、效果 Effect

表現 Portrayal method 猶如小希望的火堆，在個人或群

你相信的是什麼、春天、

非常樂園 4、造夢者 2

彩虹、光束 Rainbow, Rays of light

畫面配置 Placement of the image

眾的期待下持續燃燒

Placement of objects in

The fire pile is like a small hope,

the medium shot

burning under the sole and public anticipation

溫暖的感覺，也憶起兒時營火的 情景 A warm feeling, remembering the campfire during childhood

落到手裡卻變成水流的彩虹， 彩虹噴泉 1、彩虹噴泉 2、 你所需要的是光芒 1、野 生劇場

資訊流 Flow of data

中景的主題置入 Placement of theme in the medium shot

是破題的創作巧思

物理型態轉變，就象徵資訊爆炸

Once landing on hand, it

下，讓人不易掌握

becomes a flow of rainbow.

Physical change symbolizes

It is a smart creative method

data explosion, hard to predict

to introduce the topic

星空 Starry sky

先以點描方式，後再罩染，以區 維納斯 2、春天、日出之 月、月球上的曙光、女孩 2、燈塔 2、樂活月球 1、 樂活月球 2、樂活月球 3

宇宙中的繁天星斗 Starry sky in the universe

中景的物件置入、天空景

別繁星之遠近

每個人兒時，天真的幻想

Placement of objects in the

First with Pointillist technique,

Everyone's innocent imagination

medium shot,landscape of

then the glazing technique, to

during childhood

the sky

differentiate the distance of the stars

日光燈管 Fluorescent tubes 回聲、無題

冷漠、孤寂 Cold and lonely

背景 Background

單色暈光 Monochromatic halo

冷調的時代產物，建物中的理性代表 Cold colored-building in the history, representative of the sane

文化材料 The Material of Culture 符號＆圖示 Symbol ＆ Diagram

來源 Source

飾品、衣著、包包 Accessories, clothing, Purses

皇冠爭奪戰、你相信的是

畫面配置 Placement of the image

表現 Portrayal method

影響、效果 Effect 時尚感的呈現，也反映現下

什麼、與紅鞋的約定、訊

時尚

息 2、無聲之島、女孩 1、

Fashion

春天、女孩 3、女孩 4

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意涵 Implication

環繞主角旁的配置 The surrounding around the main character

以時尚物品點綴人物

社會對於物質的追求

Decorate the character

The portrayal of fashion,

with fashionable objects

reflecting current pursuit of materials

符號＆圖示 Symbol ＆ Diagram

來源 Source

意涵 Implication

畫面配置 Placement of the image

小神明、小寺廟 Little deity, Small temple 你相信的是什麼、 小宇宙廣場

古文明遺跡、偉人雕像 Ruins from ancient civilization, Statue of great people 旅人 1、維納斯 1、小 宇宙廣場、彩虹噴泉、 野 生 劇 場 1、 遺 忘 的 居所

民間信仰 Local religion

畫面邊緣不顯眼處 The unnoticeable spot on the edge of the image

揶揄手法，將偉大的民俗信仰代 表，縮小描繪

文化信仰的探討

Sarcastic technique, shrinking

Probing cultural beliefs

a great leader of local religion

依畫面需求，填補構圖之完整 失落的國度曾經的榮景

畫面中空曠處

The prosperity of a

The blank in the image

loss country

影響、效果 Effect

表現 Portrayal method

與豐富性 According to the need in the image, fill the scheme to add the completeness and richness

省思人類輝煌的文明，為何會衰敗 消失 Pondering upon the prosperous civilization of humans and why it is fading and disappearing

科技材料 The Material of Technology 符號＆圖示 Symbol ＆ Diagram

擬人機械 Personalized machinery

來源 Source

意涵 Implication

畫面配置 Placement of the image

擬人化、想像力、科 向未來前進、你相信的 是甚麼、訊息 2、旅人 2、維納斯 2

技感、未來世界 Pe r s o n a l i z a t i o n , imagination, sense of t e c h n o l o g y, future world

虛擬實境 Virtual reality

依畫面之故事性， 整合進場景

以擬人化之機械，來表現帶有 未來感的機械工具

Integrate into the

Portraying a sense of future

scheme according to

for the machiner y with

the story of the image

personalization

時空共存的科技效果，在畫面中 時空置換、未來世界 維納斯 3、野生劇場 2

Interchanged dimension, future world

中景 Medium shot

影響、效果 Effect

表現 Portrayal method

產生超現實的感受 The technological effect of the coexistence of space and time creates surrealism in the image

充滿想像力的人機合體 (Cyborg) Cyborg filled with imagination

拜時代的進步，是否人類會在科 技中更接近上帝，又或遠離上帝 Thanks to the progress of the generation, will technology drive humans away from God or closer?

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學術藝評 Ar t Critics

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個人 神 話 與 文 化 同 化— 談 詹 喻 帆 近 作 Self-Myth and Culture Assimilation：The Recent Works of Chan Yu-Fan / 陳貺怡 , 台灣藝術大學美術學系副教授 / C h e n K ua ng - Y i , A s s o c i a te P rof es s o r of Grad ua te Pro g ram in Fine Ar t s , Nat io nal Taiw an Univer sity of Ar ts

我來臺藝大教書的第一年就教到詹喻帆，他給人的印象是非常的內斂，而

Chan was the first students I taught in National Taiwan Art University. He

且沉默寡言，經常獨來獨往。學校鼓勵學生追求當代藝術的各種複合媒材

was quite introverted, taciturn and liked doing things alone. While the

與跨域表現，但是他偏偏獨鍾繪畫。大學時期的作品偏好人物，由其是女

university encouraged students to combine various materials into their

性，風格則是臺灣學院式的超現實主義，形色灰暗、乾淨與冷調。

works, he loved nothing but painting. During his university period, he

畢業後，他考進師大美術研究所，2010 年舉辦畢業個展《制服物語》，

preferred human figures, especially women, to be the main characters

邀我前往觀看。我驚訝的發現他不但技藝精進，並且找到了截然不同、特

in his works. Besides, he adopted Taiwanese Academic Surrealist as his

色獨具的題材與手法。金車藝文中心不算小的展場，充滿了色彩絢麗的、

painting style, forming a gray, clean and cold tone.

來自日本御宅文化 (Otaku) 動漫遊戲中的美少女，作典型的制服或女僕打 扮，作出各種俏皮、可愛、稚氣的表情，擺著各種挑逗曖昧的姿態。發育

After graduation, he was admitted to the Master Fine Art at National

尚未完成的稚齡少女卻暗示著性、暴力、變態，滿足日本動漫術語中所謂

Taiwan Normal University. I was then invited to his graduate solo

的「蘿莉塔控」(Lolita Complex)，即成人對未成熟少女的戀慕或慾望。

exhibition, Uniform Story , in 2010. I was surprised that he not only made progress in techniques but also found a totally different and

然而，令人感興趣的是，這種原屬小眾向主流文化的風俗、價值、信仰和

unique material and theme. The space of King Car Art Center was full

規 範 挑 戰 的 次 文 化 (subculture) 圖 像， 如 何 能 化 身 為 學 院 的 精 緻 藝 術 作

of colorful young girls from Japanese Otaku culture, dressed either in

品？為此，詹喻帆可謂煞費苦心，他在畫面的鋪排上極盡古典之能事：卡 拉瓦喬派 (Caravagisme) 的光線處理，營造出明暗對比的強烈戲劇性效果； 傳統肖像式或群像式的構圖安排、空間與背景的規畫設計、人物體感、量 感、質感的表達及配件 (accessoire) 的選擇無不極度考究。他還不忘記在 「蘿莉塔控」的主題之下，引用瑞士畫家巴爾杜斯 (Balthus, 1908-2001) 若干代表作中少女的經典姿勢。簡而言之，他試圖透過對古典繪畫技巧與 形式的掌握，以及透過對西方藝術史的引用，將外來的 ( 東北亞 ) 次文化 圖像，提升至照樣是外來的 ( 西方 ) 主流文化之位階。當然在這過程中提 出了一個缺席，即本土文化的缺席，不論是主流或非主流，但此一缺席卻 矛盾的呈現了臺灣文化的現況。

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《上拉得分》,《拉下破表》, 《下彎馳點》, 116.5 x 91 cm, 2009 ( 依序左至右 )

Pulling up for Points, Pulling down off the Chart, Bending over for Points (from left to right)

student or maid uniform with all sorts of cute and naïve expressions and ambiguously teasing postures. The adolescent girls signify sex and violence, fulfilling the so called Lolita Complex, meaning adults' desire and admiration toward the teenage girls.

Much to our interest, how can this originally subculture icon which challenges the style, value and belief of common culture transforms into delicate academic works? To achieve this, Chan made a lot of efforts.

He attempted to include classic styles, such as the light technique of Caravagisme which creates dramatic effects of light and dark contrast.

The composition of traditional por trait, space and background 攝於詹喻帆工作室 , 2011

Shot in Chan Yu-Fan studio

不過在這個展覽之後，儘管作品受到某種程度的歡迎，詹喻帆很快的放棄 了聚焦在狹隘且單一的主題上；並且似乎意識到在同輩的年輕藝術家中， 日本動漫的形式或圖像的挪用，已然是非常氾濫的現象，他需要尋找到更 具辨識度的個人路徑，於是 2012-13 年推出的新作完全擺脫了先前的構作 方式。觀看他的這批新作，似乎回歸了大學時期的超現實氛圍，畫面的建 構倚重於重複出現的圖像及其意義所可能衍生的符號系統，並且以特定的 語法串連這些符碼。其語法相當固定：儘管千變萬化仍然相當容易辨認的 特定人物 ( 如少女 )；加上一再重複出現的特定物件，如交通運輸工具 ( 汽 車、火車、船、飛機、卡車、挖土機、火箭等等 )、傳播機具 ( 攝影機、 電視機、電影播放器、屏幕等 )、家屋與家具 ( 沙發、浴缸、桌子、床 / 病床、 溫室 )、植物、動物等，這一切被以超現實的手法 ( 如比例失衡、反地心 引力、非理性的時間與空間等 ) 安排在一些特定的「風景」中 ( 江河、湖泊、 海洋、孤島、沙漠、懸崖、天空 )。人物、物件與風景無限變化的自由組合， 再加上由前期延續而來的造形系統，如絢麗的色彩、動漫造形等等，共同 發展出詹喻帆式的敘事結構。只是，這樣的敘事結構，想說的究竟是什麼 呢？似乎還需一番解讀。 自傳性與個人神話

arrangement, the expression of senses of weigh and quality of figures and the choices of accessiore were carefully considered. He also used classical girl postures in Balthus' painting under the theme of Lolita Complex. In short, he tried to promote the subculture pictures from northeast Asian to the same level as western mainstream culture by the accurate control of classic painting technique and form and the inclusion of western art history. However, there was an “absence” in his work which was the local culture, whether mainstream or not. This paradox demonstrates the current situation of Taiwanese culture.

After the exhibition, despite some degrees of popularity, Chan soon gave up on focusing on the only and narrow theme. Conscious of the overflowing of Japanese Animation in his generation, he needed to find a more recognizable personal style. Thus, his works in 2012-2013 got rid of his creating style before. Looking at these new works, viewers seem to be brought back to the surrealist atmosphere in his university period. The construction of picture relies on repetitive icons and its extended symbol system. These elements are lined by the artist with his own specific ways. His ways of expression is quite regular: recognizable girl figures (despite varied in costumes), means of transportation

先從人物談起：從詹喻帆的畫作中可以很輕易的看出，也許也是刻意的想

(e.g. car, train, ship. Airplane, truck, excavator, racket… and son on),

讓人看出，從《制服物語》延續到這個系列，畫中的女性人物幾乎都是由

communication devise (e.g. DV, television, movie player, screen…etc),

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同一個模特兒扮演。

house, furniture (sofa, bathtub, table, bed, greenhouse), plants and

談論藝術家與模特

animals. All of the elements are arranged in particular “scenery”

兒的關係總是非常

(rivers, lakes, oceans, islands, deserts, cliffs and sky) using surrealist skills

的 富 於 啟 發 性， 例

(imbalance of proportion, anti-gravity, irrational space and time). Human

如英國拉斐爾前派

figures, objects and scenery are combined in infinite changes and the

畫 家 羅 賽 提 (Dante

model system, such as colorful hues and animation figures, deriving

G a b r i e l Ro s s e t t i ,

from previous period together enable Chan to develop his narrative

1828 – 1882) 和

structure. However, what is the narrative structure trying to say? That

他 的 女 模 特 兒

needs further interpretation.

Fa n n y C o m f o r t h , Jane

Burden,

Autobiography and Self-Myth

Elizabeth Siddal，

Starting from human figures, it is easy to identify that the females in

又 如 畢 卡 索 (Pablo

Chan's paintings are played by a same model, from Uniform Story to

Picasso, 1881-1973) 和他不同時期的謬斯女神，從 Fernande Olivier 到

the series. It is also inspirational to talk about the relationship between

Jacqueline Roque。這種反覆描繪同一對象的執念式的 (obsessive) 創作

a painter and his model. For example, English Pre-Raphaelite painter

方式，往往能洩漏藝術家的心理狀態，而被反覆呈現的女模特兒，也通常

Dante Gabriel Rossetti (1828-1882) and his models Fanny Comforth,

會被塑造成各種女性的原型：象徵主義的藝術家們因此熱衷於呈現梅杜莎

Jane Burden, Elisabeth Siddal; Pablo Picasso (1881-1973) and his muses

(Medusa)、朱蒂斯 (Judith) 或莎樂美 (Salome)，當然也致力於呈現天真

in disparate periods, from Fernande Olivier to Jacqueline Roque. The

的少女、純潔的聖女或偉大的母親。

obsessive of portraying an identical object discloses the mental status

詹喻帆新作中的少女擺脫了《制服物語》系列中單純的慾望對象，呈現出

of an artist. And the models appearing repetitively are shaped into some

多重而複雜的女性形象：「領航員」經常出現在船上，或提著燈或拿著船

prototypes of various women. Symbolists thus are keen to present not

槳，有時從象徵牢籠的溫室中冒出來拿著望遠鏡前瞻；「維納斯」當然是

only Medusa, Judith and Salome but also innocent girls, pure virgins and

愛情與美麗的化身，而承受著槍砲襲擊的維納斯卻意謂著女性的堅強；正

great mothers.

《旅人 1》, 116 x 116 cm, 2011

The Voyager

在畫畫或雕塑的女孩是「創造者」，懷孕的女孩則是「孕育者」。詹喻帆 賦予女孩的多重角色，令人質問畫中人物的塑造是否某種程度上呼應了藝

The new works of Chan break free from the sole desirable objects,

術家自傳性的投射？演繹著他生命中不同的女人扮演的角色？

expressing multiple and complex female images: “pilots” often show up on boats, with lamps or peddles in hand, and sometimes come

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更有趣的是，畫中的男性相較於女孩顯得比例微小，並且一律由詹喻帆自

out from the confided greenhouse to look into a far distance with

己扮演。而相對於女性主動、正面且活躍的角色，男性卻顯得被動、退縮

telescope; “Venus” is certainly the incarnation of love and beauty

與沉默，並且似乎經常盯著銀幕，處於被催眠的狀態，似乎無法敵擋資訊

while the Venus enduing bombing represents the strength of women;

時代因過度飽和而令人窒息的訊息。這種角色的劃分，令人不禁聯想到比

girls painting or doing sculpture are the “creators”, while pregnant girl

利時超現實主義畫家德爾沃 (Paul Delvaux, 1897-1994) 刻意的將女性塑

signifies the “bearer”. Chan gives girls multiple roles. It is questionable

造成可遇不可求，而男性則處於無能狀態的類似作法，使詹喻帆的畫作脫

that whether the shaping of characters in the paintings to some degree

離單純的自傳性投射，邁進了潛意識挖掘的領域。

echoes the painter's self-projection or the roles different women play in

至於人物周圍充塞的物件，自然是敘事的最佳符碼，像字母一樣的串出許

his life.

多意象。長期罹患重病的父親使詹喻帆的青年時期沉重又陰鬱，也養成他 沉默寡言的習慣，而床 / 病床應該是這種生活中最鮮明的一部分，這也說

More interestingly, male figures, represented by Chan himself, in the

明了為什麼床 / 病床 / 病房會成為他執念式的主題。沙發、浴缸、桌椅、

paintings are much smaller compared to women. Besides, rather than the

溫室都共同的塑造了家屋的意象；在這個氣氛低迷的家屋裡被囿限而無法

activeness, positivity characters women symbolize, men are comparatively

圍籬、建築想像的工具。

passive, introverted and silent and often staring at the screen, in the state of being hypnotized and seemingly unable to resist the oversaturating

不過以上所提供的只不過是一種可能的解讀，詹喻帆所提供的材料，足

and suffocating information. This kind of character division reminds

以讓讀者聯結自我的生活經驗，再加以自由發揮，正如布爾喬亞 (Louise

viewers of the Belgic Surrealist painter Paul Delvaux (1897-1994) who

Bourgeois, 1911-2010) 的那些自傳性的「小室」(cells)，以裝置的手法塞

shapes women into the desired-to-own-but-hard-to-guaranteed image,

滿了回憶的物件，供觀者似是而非的解讀，分不清究竟是作者的故事還是

while men in an useless state. This enables Chan's paintings to sublimate

自己的故事。又像波東斯基 (Christian Boltanski, 1944- ) 挾猶太人的身

from purely self-projection to the digging of sub-consciousness.

分，恣意的塑造了一些似乎是群體的，但其實是個人的神話。 所以不需要感到意外，承載這些圖像的風景清一色的是十九世紀浪漫主義

As for the surrounding objects, they seem to be the best narrating

藝術家的偏好：江河、湖海、孤島、沙漠、懸崖、浩瀚的天空，廢墟般的 場所，沉思、冥想、想像與托喻的好地方。

1 2 3 4

不過必須要承認詹喻帆的作品，形式、氛圍、調性和浪漫主義或超現實主 義都有顯著的落差，他的野心顯然就不只侷限在塑造出一種隱喻式的個人 神話。 從異文化到「文化適應」(acculturation) 在詹喻帆針對作品《目的地》的自述中有這樣的一段話：「意圖呈現我一 直以來試圖探討的，關於一個封閉環境的『再詮釋』，亦即訴說把他人的 文化灌輸在自己的環境當中再利用，轉化成新的次文化，將大眾文化連結 在同一場域。」透過這段話，詹喻帆清楚的宣示了他創作的核軸乃是文化

1 《包著紅頭巾的男子》揚 . 凡 . 艾克 , 26 x 19 cm, 1433 Man in a Red Turban, Jan Van Eyck

的混融。

2 《大衛像》 米開朗基羅 , 白色大理石雕 , 517 cm, 1501 ~1504

不同於《制服物語》系列隱晦的影射，這幅指標性的作品公開的挪用四幅

3 《侍女》 委拉斯貴茲 , 318 x 276 cm, 1656

David, Michelangelo, Marble statue

西方藝術史上的經典之作：法蘭德斯畫家揚．范．艾克（Jan Van Eyck, 1390-1441）的《包著紅頭巾的男子》，義大利文藝復興巨匠米開朗基羅

The Maids of Honour, Diego Velázquez

4 《大宮女》安格爾 , 88.9 x 162.56 cm, 1814 Grand Odalisque, Dominique Ingres

180

（Michelangelo di Lodovico Buonarroti Simoni, 1475 – 1564）的《大

symbols, linking all kinds of imageries just like alphabets. Chan's teenage

衛 像 》， 西 班 牙 巴 洛 克 藝 術 家 委 拉 斯 貴 茲（Diego Velázquez, 1599 –

period is dark and gloomy because of his seriously ill father. He being

1660）的《侍女》，及法國新古典主義大師安格爾（Dominique Ingres,

scanty of words is also the result of such depression. And the sickbed

1780 -1867）的《大宮女》(Grand Odalisque)。但只取其代表性的人物

seems to be the most vivid part of this kind of life, which explains why

片段，設計成玩具或飾品，並將人物造形動漫化；操弄玩具的是從方舟中

sickbeds turn to be one of his obsessive themes. Sofas, bathtubs, tables,

冒出來的臺灣藝人黃子佼，而藝術家自己則乘著風雨中的小船航向聖經中

chairs and greenhouse together represent the image of home. For a boy

象徵救贖的方舟。整體而言，詹喻帆在思索當代藝術的本質時，試圖混合

limited to a broken family, various means of transportations are not only

高藝術與低藝術、異文化與本土文化、主流文化與次文化的企圖是非常明

the toys for entertainment but also the imagery tools to break through

顯的。

the barrier.

在藝術發展的過程中，對異文化的興趣一直是推動其演變的重要趨力，然 而這種東西融合的過程大約經歷了三個不同的階段。西方從十三世紀開始

Never theless, what I provide above is not the only possible

遠航，隨著航海術的發達，十七、十八世紀邁進了東西貿易的盛世，而對

interpretation. The materials given by Chan enable viewers to connect

東方文化的好奇心也隨之而起。不過此時期只能以「好奇」(curiosité) 稱

their own life experiences and imagine, like the autobiographical“cells”

之，因為異文化通常被曲解、附會，視為野蠻、怪誕或新奇。即便十八世

of Louise Bourgeois (1911-2010), stuffing memorial objects using

紀末新古典主義對古希臘羅馬的引用來自龐貝考古的發現，但其代表人物

installation, delivering viewers obscure interpretations and blurring the

大衛 (Jacques-Louis David, 1748 – 1825) 在繪製畫作時，也僅只是把古

line between painter’s and viewers’ own stories. It also resembles

希臘羅馬的場景當作「背景」，並未採納龐貝壁畫的畫法。此後，十九世

Christian Boltanski (1944- ) who made some seemingly group but actually personal myth with his Jewish identity.

It is no need to be surprised because bearing the iconic scenery is the preference 19th century Romantic artists: rivers, lakes, islands, deserts, cliffs, vast sky, ruins like spaces. They are all great places to meditate and imagine.

Yet I have to admit that there are differences between Chan's works and those of Romanticism and Surrealism in form, atmosphere and tone. His ambition is apparently not limited to creating an implying self-myth.

From the Other Culture to Acculturation Chan once talked about his own work, The Destination , saying, “This work expresses what I have been always discussing which is about the

《目的地 1》, 112x162cm, 2012

The Destination 1

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“re-interpretation” of an airtight space. This means to reuse others'

culture in my own culture, transforms it into new subculture and links common culture to the same field.” Through the remark, Chan clearly declares that the principle axis of his creation is fusion of culture.

Different from the obscure implication in Uniform Stories , Destination, as an indicative work, appropriates four classical works in western art history: Portrait of a Man in a Red Turban by Flanders painter Jan Van Eyck (1390-1441), David by Renaissance master Michelangelo di Lodovico Buonarroti Simoni (1475-1564), The Maids of Honour by Spanish Neo-classicism artist Diego Velazquez(1599-1660) and Grand

Odalisque by Dominique Ingres (1780-1867). Yet he only takes the representative figures, designing into toys or decorations and animating 《蘇格拉底之死》賈克 - 路易·大衛 , 129.5 x 196.2 cm, 1787

La Mort de Socrate, Jacques-Louis David

the human figures. Taiwanese artist Mickey Huang is the one who manipulates the toys, while Chan himself takes a boat in the storm to sail to the direction of salvation. Overall, the artist tries to combine high and low art, other culture and local culture, and mainstream culture and subculture, while pondering contemporary artistic essence.

On the process of art development, people's interest in “Other Culture” is the motivation that pushes them to change. The fusion of eastern and western culture undergoes about three disparate stages.

Western countries start their voyage in 13th century. As the advances of navigation technology, the golden age of trading come in 17th & 18th centuries as well as westerners' curiosity of eastern cultures. Yet in this period we can only call it “curiosité” because the “Other Culture” is often twisted into being barbaric, weird and novel. Even though in the end of 18th century, neo-classicism adopts Pompeii to be their prototype of ancient Roman and Greek, they only use it as “setting” without accepting Pompeii style mural painting. Afterwards, 19th century

《草地上的午餐》愛德華·馬內 , 208 x 265.5 cm, 1863

The Picnic, Édouard Manet

Romanticists like Eugene Delacroix (1798-1863) begins to travel to east, drawing large amounts of sketches for research and bringing back many local objects as the references to paint eastern , similar to phenomenon

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紀的浪漫主義者如德拉克洛瓦 (Eugène Delacroix, 1798 - 1863) 開始親

of the popularity of Japanese and Korean pop culture nowadays. The

赴東方旅行，在當地繪製大量的素描研究稿，帶回大量的當地物件，以作

first question artists face is how to incorporate “Other Culture” into

為繪製東方風情繪畫的參考。十九世紀盛行的「異國情調」(exotisme) 風

their own paintings; thus, Eclecticism which superficially put together

潮，使得藝術家們的畫室中堆滿了來自東方的物件，繪畫與版畫的傳播使

western and eastern culture is born. Eventually, Impressionist and Post-

當時的盛況不下於台灣今日的哈日風或哈韓風。藝術家面對的首要問題是

Impressionist artists realize that the fusion of cultures cannot stay on

如何將異國文化元素融入自己的創作中，因而產生了「折衷主義」的作法，

the superficial state but the digestion and reutilization of an “Other

將東西方的元素生硬的交織混搭，成了不東不西的雜交狀態。最後，是印

Culture” is rather important. This realization generates the third stage.

象派與後印象派的藝術家終於明白文化的交融不能停留在表面的狀態，而 必須將異文化消化吸收，全盤了解之後再加以利用，此為第三階段。 馬奈 (Édouard Manet, 1832 - 1883) 的《草地上的野餐》並非東方風情 的畫作，但他的指導原則是來自浮世繪版畫。莫內 (Claude Monet, 1840 - 1926) 也 曾 經 提 及 日 本 浮 世 繪 版 畫 對 他 的 影 響， 並 且 宣 稱 他 的 藝 術 靈 感 完 全 來 自 東 方 繪 畫 的 機 械 原 理。 從 梵 谷 (Vincent Van Gogh, 1853 1890)、高更 (Paul Gauguin, 1848 - 1903) 一直到馬諦斯 (Henri Matisse, 1869 - 1954)、畢卡索 (Pablo Picasso, 1881 - 1973)，西方現代藝術原來 是造就在對異文化的吸收、交匯、混融。這些藝術家捐棄成見，放棄既定

The Picnic by Edouard Manet (1832-1883) is not an eastern style painting but his guiding principles derive form Ukiyo-e prints. Claude Monet (1840-1926) once also mentions Ukiyo-e’s influence on him, claiming his artistic inspirations all come from the mechanical principles of eastern paintings. From Vincent Van Gough (1853-1890), Paul Gauguin (1848-1903), Henri Matisse (1869-1954) to Picasso (1881 1973), western contemporary art is born on the absorbing, intersection and mixing of the other cultures. These artists put down their prejudice, give up their usual way of paintings, immerse themselves in the thinking and lifestyle of other cultures, research, understand and apply these exotic artistic mechanical principles. At last, it is also important that they should not forget their own paintings. The popularity of “exotisme” in 19th century fill artists’ workshops with objects from Far East. The spreading of paintings and prints is no less than culture identification and spirit. Only when owning and persevering one’s thinking and lifestyle can people strengthen the power, enrich the vocabulary and create new styles from the nutrients of other cultures. This is so call “acculturation”.

21th century Taiwanese artists need the concept of “acculturation” more than artists from any other places and generations. I think Chan and his contemporaries all agree with that but it is not easy to

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攝於詹喻帆工作室 , 2017

implement. Uniform Stories is his first try. His way of presenting both

Shot in Chan Yu-Fan studio

invading culture: Japanese animation culture (subculture) and western

水彩手稿 , 2012~2017

Watercolor painting sketch

的畫法，沉浸於異文化的思維與生活模式，研究、了解並應用異國藝術的 機械原理；最後，更重要的是不需要也不能夠放棄主體的文化認同與文化 精神，唯有在先擁有並持續一己的思維與生活方式之後，才能透過異文化 的滋養，強化造形的力量，豐富造形的語彙，從而創造出全新的風格，此 所謂的「文化同化」(acculturation)。

classical paintings (mainstream culture) together is accurate but the

二十一世紀的臺灣藝術家比任何一個世代、任何一個地方的藝術家都更需

technique may result in stiff and pretentious Eclecticism, lacking the

要「文化同化」的概念與技巧，我想詹喻帆和他同時代的藝術家們都明白

stroke that melts the conflict between sub- and mainstream culture.

這一點，只是作起來並不見得容易。《制服物語》系列是他首次的嘗試，

However, looking at his recent works, Chan seems to know more about

將入侵並且盛行於臺灣文化當中的兩股勢力：日本御宅文化 ( 次文化 ) 與

how to develop and take hold of personal culture traits. Hence, no

西方古典繪畫 ( 主流文化 ) 融混在一起，策略相當正確，但手法恐怕流於

matter how many diverse or contradicting elements are there in his

生硬造作的折衷主義，似乎少了那點石成金的一筆，那使文化與文化之間

works, he is able to create proper chemical changes, processing the real

不再形成對峙狀態的一筆。然而觀察他的近作，詹喻帆卻似乎是懂得了如

“acculturation”. Despite only a beginning, it is already commendable

何先發展並掌握個人文化特色，以至於不論混進去的元素有多麼的異質、

among all his contemporaries.

多元、突兀、對立，卻仍然能水乳交融的在詹喻帆所塑造的個人神話中發 生化學變化，進行真正的「文化同化」程序，雖然只不過是一個開始，在

Therefore, no matter what kind of changes he is going to undergo in his

同輩的藝術家中卻是相當的難能可貴。所以，不論他未來的創作仍將有什

future creation, Chan Yu-Fan's recent works have convinced me that he is

麼樣的變化，詹喻帆的近作說服了我，相信他是一位能朝向成熟之路持續

qualified to be on the road to a mature artist.

邁進的年輕藝術家。

184

映射與追求－從拉岡精神分析看詹喻帆的創作 Reflection and Pursuit － Psychoanalysis of Chan Yu-Fan's ar tworks / 朱庭逸 , 亞洲現代美術館副館長 /Chu Ting-Yi, Associate Curator of Asia University Museum of Modern Art

柏拉圖在「宴饗篇」（Symposium）中，記述阿里斯多芬的神話故事：人

In the Symposium, Plato talked about the mythology of Aristophanes:

原本是雌雄同體，有著四條腿、四隻手以及兩張臉的生物，但天神宙斯害怕

humans are originally androgynous, having four legs, four hands and

人類的力量，因此把人劈成了兩半，迫使他們窮盡生命來尋找自己的另一

two faces. But Zeus was afraid of the power of humans. Therefore, he cut

半。神話暗喻著人在靈魂深處對於生命缺失的追求，法國精神分析學家拉岡

humans in halves as to oblige them to search for the other halves.

（Jacques Lacan）將此歸因於誕生過程與母體分離的創傷，致使人們無止盡

This mythology hints that deep in human's soul, there is a pursuit for

地經驗匱乏感，為了設法彌補這種創傷與匱乏感，總試圖在他者中尋找自己

the deficiency of life. French psychoanalysis researcher Jacques Lacan

的欲望。

attributed this to the trauma of being separate from mother during birth process. To make up for the constant traumatic and deficient feeling,

拉岡相信，人的主體建立在填補它的欲望之上，隨著時間成長經過語言的發

people always strive to search for themselves in others. Lacan believes

展與中介，原始匱乏便逐步異化為其他的事物，欲望換喻為其他更分化與精

that the subjectivity of humans builds on the desire to fill it. As time

細的形式。以藝術創作而言，畫家創造符號、構築圖像，作為一種中介所展

passes by, and languages develop, the original deficiency transferred

現的言說，「他者」即是被藝術家再現在作品，並且與之關聯的對象，透過

to other objects. The desires

自戀的心象機制，主體與欲望的對象認同並吸收為自我的一部分，在「想像

changed to a more diverse and

界」中與他者融合為一體。

complex forms. In terms of art creation, artists create symbols

185

小他者與保護者

and images as a medium for

詹喻帆的系列創作中，反覆出現著同一位女性主人翁，在畫面中猶如造物者、

expression. ”Other ” was

女神、行動代理人，主導著畫中的故事的行進。在《維納斯 1》男孩以象徵古

the object connected with the

典主義女性美的最高典型《米羅維納斯》為範本，奮力在他的小小山河世界，

ar tist and represented in the

雕鑿屬於他的女神；有趣的是，女神不再是古典時期黃金比例的身體，而是

works. Through the narcissistic

有著 21 世紀當代「kawaii」美學卡漫人物的頭身比例，可視為藝術家以自身

system, the subject and desired

時空脈絡對美的再定義。

object recognized themselves

在希臘時代美神維納斯是人間對美的概念集合與理形（logos），在詹喻帆的

and merged with “Other ” in

畫作中，維納斯不再是普世概念理想美的化現，而是反應為個人世界與現實

Imaginary Order.

《維納斯 1》, 112x145.5cm, 2010

Venus 1

生活中特定獨一的女孩；畫中巨大雄偉的雕 像，在雕者的小世界裡成形、矗立，其重要 性不言而喻（據聞畫中模特兒為藝術家當時 的女友，現今的妻子）。多數畫作女孩與男 孩一大一小懸殊呈現，從精神分析學來看， 女孩在詹喻帆的繪畫世界裡，猶如主體在鏡 像投射的他者，是主體欲意依附並賴以建構 主體的「能指」，從中主體得以定義自身， 感受自我的存在。

《平行宇宙》, 91.5 x 233 cm, 2016

Parallel Universes

《維納斯 2》女孩在畫中世界如女神般永恆、不朽、無敵，即使外在現實世界

Small Other and Protector

戰爭紛擾，即使世界傾城翻覆甚至崩毀了，女孩像是太空女戰士屹然無損，

In Chan Yu-Fan's series of works, a female character constantly appears

並作為「他者」確保了主體世界的穩定，猶如母體之於嬰兒給予強大有力的

in the works. She looks like the Creator, the goddess and an agent to

保護與安全的依靠。拉岡精神分析的「鏡像時期」（mirror stage），象徵著

lead the rhythms of stories. In Venus 1 , the boy tries to sculpt his own

某種精神的整合性與永恆性，統一體的幻想將主體整合為一，並帶給主體暫

goddess with the example of Milo Venus which is a typical model of

時性的安定。在詹喻帆的畫中世界，無論是兒時記憶的溫室與遊樂園《平行

classicism. The interesting part is that the goddess doesn’t have a

宇宙》、末世的人間仙境《浮生》、沙漠裡的綠洲《泉》、大洪水的諾亞方

perfect body anymore; instead she owns a body with an anime character

舟《無聲之島》，無論現實世界如何崩解壞滅、變動無常，由女孩他者再現

body proportion. It can be regarded as the redefinition of beauty by the

與創造的世界，即是主體化身（小男孩）永劫回歸的庇護所，也是詹喻帆對

artist.

原始母體分裂的失落與匱乏，永恆追尋與欲望滿足所在。

In Grecian age, the goddess Venus is a collection of beauty and form. In Chan's paintings, Venus is no longer a general representative of beauty;

同樣的，在《平行宇宙》中，小男孩搭乘歷史時光列車重訪玻璃溫室中的兒

instead she is a unique reflection of individual world and reality. The

時遊樂園，在美好的記憶幻境中盡情探險與緬懷，而這一切美好的源頭則來

huge sculpture in the painting plays an important role in the sculptor's

自「他者」的悉心建構，她是滋養者又是栽培者，時而又轉化為孕育者《春

mind.(It is said that the model was the artist’s girlfriend who is now

天》、創作者《溫室 1》、遍知者《溫室 2》、犧牲者《浮生》、轉化者《泉》、

his wife.)In most of the paintings, the size of the girl and the boy is

家的持有者《向未來前進》，宛如神般母親的化身《維納斯 3》、大地與世界

disparate. From the point of view of psychoanalysis, the girl is like

的造物者。藝術家在系列創作中詩意地延展「他者」的意義，以「他者」再

“Other” which is the subject's reflection in the mirror. It is also the

現構成畫作的世界，是兩者共生的世界，不可分割，並確認主體的存在。彷

signifier of constructing the subject so the subject will be able to define

彿主體在他者生存，在「他者」之中體驗著「我」的歷史、記憶與生命的種種。

and feel itself.

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大他者與小確幸

In Venus 2 , the girl is like the goddess who is immor tal and

當主體從動盪搖擺，希求與母親兩人融合的「鏡像階段」，經由父親的第三

unconquerable. Although the reality is full of war and confusions and

人稱，轉移到語言維度支配的「象徵世界」，在絕對他者（大他者）的庇護

going to be destroyed, the girl still stands like a warrior and provides

與象徵秩序下，主體得以進入穩定的社會關係中。拉岡認為，對自我而言，

protection for stability of the world. In Lacan's theory of psychoanalysis,

世界只是形象，如同在「鏡像階段」給予主體一個整體性的想像，從中並不

The Mirror Stage symbolizes integrity and eternity of mentality. The

能發現主體的本質。主體真正能夠言說的場所不是自我的場所，而必須在他

imagination of unity integrates the subject and brings temporary

處，亦即必須進入到更大脈絡的社會與體制的大他者，即「象徵世界」中才

stability.

能展露主體自身。據此畫家對圖像的佈置與編排秩序，賦予事物記號意義所

In Chan Yu-Fan's paintings, no matter the subject is a green house or

構築而成的象徵界，進一步展現了主體與社會與體制象徵的「大他者」關係。

an amusement park in childhood Parallel Universes , heaven on earth in the end of the world Floating Life , oasis in the desert La Source , Noah's

詹喻帆在畫面所指涉社會政治體制的「大他者」，常常釋放著種種危險警訊，

ark of a deluge Voiceless Island , no matter how the world is destroyed

透露著主體無力改變，卻又不能棄之不顧的內心矛盾。在「島嶼系列」中，

and capricious, it still remains as an eternal return shelter for the artist

藝術家以島的意象隱喻所居之地台灣，島嶼上發生的情境與事件：集體夢遊

himself( the boy )which is created by the girl. Also, Chan reflects his own

《島嶼夢遊 1》、災劫後的荒涼《旅人》、故障的老機具《島嶼紀錄 3》、著

disparity, depression, eternal pursuit and satisfaction of desire through

火的建築《夏令營》、船難墳場《目的地 2》、飛機失事《島嶼紀錄 2》等，

his works.

總是險象環生，令人怵目心驚。 我們看到在《旅人》中，「船」猶如女孩保

Meanwhile, in Parallel Universes , the boy takes the time train to revisit

護並與之共生的小宇宙，相較作為大他者的島嶼意象相對微小；「船」既是

the amusement park in the green house, in which he always enjoyed

藝術家探索並駛近島嶼的工具，「船」上繼承著島嶼的歷史記憶，島嶼是永

during his childhood. Exploring and reminiscing in the memory, all these

恆 的 家 鄉， 在 現 實 上 卻 是 充 滿 危

wonderful landscapes come from the attentive construction of another).

險、事故、亂象，以致有家歸不得

She is a minder, raiser, sometimes a breeder , or creator Spring , artist,

無奈旁觀。《島嶼夢遊 2》、《島

omniscient Green House2 , sacrifier Floating Life , transformer La Source ,

嶼夢遊 1》描述著島上飛機業已墜

home owner Advancing to the Future . She is also a mother Venus 3 and

落，島上的人卻遙控著小飛機並煞

the creator of this world.

有其事地投影在屏幕上；家園著火

Artist extends the meaning of “Other” poetically in his paintings.

燃眉在即，人們卻依然集體夢遊渾

Constructing a world from another’s representation, the artist creates

然不覺種種，藝術家藉此嘲諷台灣

a world for both. He also ensures the existence of himself. In his works,

的政治與社會現狀。而《夏令營》、

he seems to live in other and experience his own history, memory and

《燈塔 1》在島上擱淺的小船上或

every moment of life from the perspective of another.

者飯桌上生火取暖，則預示著愚蠢 卻又命定的災難。

The Big Other and a little happiness When the main character transferred from unstable state in which he

《燈塔 1》, 72.5x91cm, 2015

Lighthouse 1

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《目的地 1》精明狡猾的主持人或操縱者，一手拿著委拉斯貴茲（Diego Velázquez）《侍女》裡的小公主，一手則操作著安格爾（Jean-AugusteDominique Ingres）的《大宮女》的傀儡，船隻（舞台）探出頭來的范艾克（Jan van Eyck），被棄置一旁的米開朗基羅 (Michelangelo)《大衛像》，文明歷史 與美好的事物，都在小島上有如破船般的舞台，被有心者隻手操弄，演起荒 腔走板的獨角戲，看似煞有尬事，實則可笑可悲。 不願加入謬劇，主人翁駕 著小船隔岸觀火，撐傘防備著山雨欲來的風暴。同樣的，面對火山口中傾圮 的家園《島嶼紀錄 1》、在著火即將毀滅的燈塔《島嶼紀錄 2》或是故障冒煙 的老機具《島嶼紀錄 3》，畫中比例微小的主人翁在旁冷漠地拍照。種種暗喻 著台灣年輕世代，面對現下種種政治亂象與社會變化，無意也無能介入，手 機拍照成為一種儀式，得以連結虛擬世界，將現實種種的一切危險、無力、 煩惱、孤寂，通通轉化消解為茫茫網海的一枚照片，以搏得些許虛擬的安慰。 《野生劇場 1》, 91.5x116.5cm, 2016

小我在面對大環境的失望、無力與疏離之餘，作為藝術家的詹喻帆，並非勇

Wild Theatre 1

敢直面衝撞亦非置之不理，似乎透過掌握藝術史知識與繪畫工具的創造自信，

is in mirror stage and desires to integrate with his mother, through the

藉由圖像挪用或揶揄地錯讀，試圖在荒蕪如沙漠的「大他者」上，建立屬於

third person perspective of father, to Symbolic Order which is ruled by

藝術家自己的「小確幸」。例如《野生劇場 1 》沙漠中的飛機殘骸，封印在

languages. Under the protection and the Symbolic order of absolute

博物館櫃的核彈蕈狀雲，一旁沈淪在水池中的勝利拿破崙雕像，人類歷史長

another (Big Other), the subject can enter into stable relationships in

河反覆的戰爭浩劫，一將功成萬骨枯的滄桑，到頭來仍是如此微不足道，成

society. Lacan believes that the world to oneself is just an image. We

為畫家筆下的幽默嘲諷、註解與緬懷。《野生劇場 2 》沙漠中搭起臨時的森

can allocate an imagined image to the subject but can not find out the

林帷幕，音樂家擔任攝影師的模特兒，構成「景中景」或「畫中畫」，似是

essence of it. A place where the subject can express is not a place of self,

小我在破蔽的「大他者」之上可以做的小小努力，並得到小小滿足。

instead, the place should be elsewhere which means it should be a Big Other who is into a more complete society and system. Only Symbolic

當畫家意識到自己才是創作世界中的主宰，一切格格不入的人間異境、無以

Order can represent the subject itself. According to the organization and

遣懷與改變的政治歷史現實，透過圖像語彙的佈署，在大他者之上構築著「小

order of images by the artist, Symbolic Order constructed by enduing

確幸」，主體得以進行裝置、遊戲、夢想與反抗。

objects with symbolic meanings demonstrates further the relationship of the subject, society and “Big Other” symbolizing the system of society.

《泉》與《浮生》由挪用新古典主義畫家安格爾《泉》以及英國畫家艾佛雷特·

The Big Other from the social and political system displayed by Chan

米萊（John Everett Millais）描繪的《奧莉維亞》，詹喻帆以詩意的石油之湖

Yu-Fan always releases lots of warnings. It reveals that the subject

引涉現實無解的能源危機，像是對沉重的「大他者」的批判與揶揄。對於未

can not change the situation but also can not let go . In Island Series,

曾經歷過戰爭的年輕世代而言，二次大戰的原子彈頭、蕈菇雲在《你所需要

the artist compares the image of the island to his hometown Taiwan.

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的是光芒 1》、《你所需要的是光芒 2》中，殺人武器幻化成可販賣的消費產品、

of the Island 2. In The Voyager 1, the boat is like a small outer space

由天而降的光之奇觀；傳說的毀滅與劫難，轉化為人們嚮往消費的對象甚至

protected by the girl who coexists with it In comparison with the island

為之趨之若鶩。對 21 世紀的現代人而言，真正可怕的已不再是毀滅性的軍事

image of big Other, the boat is relatively small. The boat is artist's tool

武器， 詭譎的商業戰爭與資本主義，裹著糖衣的消費主義，無所不在的媒體

for exploring and approaching the island. It carries the history of the

廣告與洗腦操縱，才是新時代的戰場，大他者的真實面目。

island which is hometown forever for the artist. In reality, there are plenty of accidents, dangerous scenes, and chaos, so the artist can not

結語

go back home even though he has one.

本文從拉岡精神分析角度，剖析詹喻帆在一系列畫作中的圖像意義，探索藝

Sleepwalking on the Island 2 and Sleepwalking on the Island 1 describe

術家挪用種種歷史上的藝術符號，背後作為自身世界的心理映射與脈絡意義

the airplane has crashed on the island. However, people on it are

的建構。詹喻帆的作品提供了一個台灣年輕藝術家的樣本；無論他們迷惘或

controlling the small plane. This incident is being projected on the

掙扎，淡然旁觀或樂觀激進，讓我們窺見了台灣年輕世代面對於現實世界的

screen purposefully. Their hometown is in danger but they are still

姿態，以及當代文化社會的心理特徵。

not aware of it. The artist sneers at the social and political situation in

詹喻帆的近作《遺忘的居所》，在悠悠歷史長河上，即使古典殿堂頹圮，即

Taiwan through this series. In Summer Camp and Lighthouse1 , people

使世道不古，何妨吟嘯且徐行……，藝術家獨自搭乘一艘河上漂泊的船隻，在

make fire to get warm on the small boat or around the table which is the

古老幽靜的森林中忘情地作畫。此作在圖像的構築與安排上，展現了異於以

implication of foolish and destined disaster.

往的多元繁複，轉為更為輕盈與簡明的符號語意，可視為對主體追索的自由 和開展。我們欣見藝術家的轉變，也期許在未來創作生涯，詹喻帆能夠從自

In The Destination 1 , the smart and cunning host or manipulator is

身既有建構的迷人幻影中（他）向內映射，探尋那不可見卻真實的主體（我），

holding the little princess in Diego Velázquez's The Maids of Honour

並且在大他者的界域中，持續揭露深刻的時代文化意義。

in one hand and manipulating the puppet in Dominique Ingres's Grand

Odalisque in the other. Jan van Eyck poking his head out of the boat

《老嫗的天空》, 162x120cm, 2007 The Sky of an Old Woman

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The artist compares the image of

(stage), abandoned Michelangelo's David in the corner, these objects of

island to his hometown Taiwan.

civilization, history and beauty all fall on the island on a stage disguised

T h e a t m o s p h e re a n d e ve n t

as a broken boat, being manipulated by a hand, playing a ridiculed

happening on the island are

monologue that is both real and pathetic. The main character, unwilling

always dangerous and lurid, for

to join the ridiculous act, sails the boat to the other side, observing the

example Sleepwalking in group

scene, and waiting for the storm to come with an umbrella.

Sleepwalking on the Island 1 ,

Meanwhile, facing the crumbling home near volcano in Record of the

desolateness after disaster The

Island 1 , the lighthouse on fire which is almost destroyed in Record of

Voyager 1 , broken old machines

the Island 2 or the old broken machine in Island Records 3 , the small

Record of the Island 3 , buildings

master is taking pictures indifferently. We can see all kinds of metaphors

on fire Summer Camp , cemetery

of Taiwan's young generation. Facing the political chaos and changes

of shipwreck The Destination

of society, they don't want to get involved, and they are not capable

2 ,plane crash Record

of this. Taking photos with mobile phones has become a ceremony to

heavy "big" criticism and ridicule. For the young generation who had not experienced the war, the atomic warfare of the Second World War, 《凝視》, 38x45cm, 2017

Gaze

the mushroom cloud in the All You Need Is Light , All you need is Light

2, the murder weapon turned into a consumer product, by the days of

connect virtual world as to reduce everything in reality such as danger,

the light of the wonders; legend of the destruction and catastrophe, into

incapability, worries and solitude into a photo on internet. Also, it is a

the object of people aspiring to consumption. For the modern people

way to get virtual comfort. Facing the disappointment, incapability and

of the 21th century, the real terror is no longer a devastating military

alienation about the environment, Chan Yu-Fan doesn't face it directly

weapon, treacherous business war and capitalism, wrapped in sugar-

, nor does he ignore it. It seems that he tries to establish his own little

coated consumerism, omnipresent media advertising and brainwashing

happiness on the desert as the Big Other through the mastery of art

manipulation, is the new era battlefield, the real face of others.

history and painting tools to create self-confidence, with the method of misappropriate pictures or sarcastically interpret the content. Such as the

Conclusion

wreckage of plane in the desert in Wild Theatre 1, the mushroom cloud

This article analyzes the meaning of images in Chan Yu-Fan’s paintings

from nuclear bomb in the cabinet of museum, the sinking sculpture of

from the theory of Lacan's psychoanalysis, explores the historical

victorious Napoléon in the pool, the repeating wars and catastrophes

symbols, the reflection of his mind, and construction of the context. His

in human history and the sacrifices of soldiers for one leading general

works serve as an example of Taiwan's young artists. No matter when

are at the end not worth mentioning. Instead, they all became subject of

they are confused or struggling, calmly passive or positively active, his

irony, sarcasm, explanation and recalling of memories. The temporarily

works show us the attitude of Taiwan's young generation when facing

built forest curtain in Wild Theatre 2 , the musician as a photographer's

reality and psychological traits of society nowadays.

model, constituting a landscape of another landscape or the painting

In his recent work Forgotten Residence , describing that although the

inside another painting, seems to be little effort which small self could

ancient palace ruined in the endless river of history and people lost

do on the rotten Big Other and gets a little bit of satisfaction.

sincerity, we can still sing and roam on the path. The artist is absorbed in painting takes the boat floating on the river alone in an ancient and

When the artist realizes that he is the master of the world of creation

tranquil forest. The construction and arrangements of images reveal

,with all the incompatible human world, the unchangeable and sorrowful

complication variety different from past and change into lither and

reality of politics and history, through the presentation of pictures,

simpler symbols which can be regarded as the freedom and start of

he establishes the little happiness on Big Other, played, dreamed and

exploring and pursuing for subject. We are glad to see the changes of

resisted.

this artist and expect that he can explore the invisible but real self in the enchanting fantasy of his own. And he can keep disclose the profound

La Source and Floating Life by the misappropriation of the neoclassical

cultural meaning of age in the field of Big Other.

painter Ingres La Source and the British painter Ai Feoleite Mi Lai (John Everett Millais) depicts the Olivia , Chan Yu-Fan to the poetic oil of the lake leading the reality of the solution of the energy crisis, such as the

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「缺席」的「空白對話」帶給觀者的自由想像 The Blank Dialogue in Absence Brought Free Imagination for the Bservers / 青雲畫廊 /Cloud Gallery

一、獨樹一格的藝術世界

I. An unique artworld

丹托 (Arthur C.Danto, 1924~)：「藝術必須表現出眼所未見之物，如藝術理

Arthur C. Danto, 1924~

論的氛圍、對藝術史的認識，也就是一個藝術世界。」藝術家詹喻帆運用真

"To see something as art requires something the eye cannot descry --

實世界的人、事、物轉換成虛擬載體，有系統的安排構圖導入畫面，將「超

an atmosphere of artistic theory, a knowledge of the history of art: an

現實世界」最底層的境域轉換並尋求自我之詮釋，重新探究自身成長經驗。

artworld.”Artist Chan Yu-Fan transforms people, objects and incidents

「繪畫的功能就是為某種缺席注入存在的假象」，約翰．柏格在《觀看的視界》

in the real world into virtual mediums in a systematic arrangement into

中〈繪畫的居所 (The place of painting)〉一篇文章裡寫道，創作的過程中，

the image. He converts the deepest inner layer of the surreal world

藝術家總會下意識地在作品中加入原創精神 (Spirit)，以供後人解讀。而畫家

into a portrayal of self-seeking, probing his own experience of growth.

創作的畫面，經過一連串的敘事性安排，產生莫名的「空白對話」，常常是

“The function of painting is to insert an absence into an illusion as the

因為某種「缺席」所併發出的幻象，這一切創作過程也變成自身成長經驗的

existence” written by John Berger in the The Place of Painting from the

剖析與辨正，藝術家也因此建立屬於自我的藝術世界。

Ways of Seeing . In the process of creation, artists tend to subconsciously add their original spirit into their work for people to interpret. The

二、藉由畫面與觀者互動

images created by the artists, through a series of narrative arrangement,

羅蘭．巴特 (Roland Barthes, 1915~1980) 認為：「作者不再是意義的來源，

derives a blank dialogue. The phenomenon usually is caused by illusion

取代作者地位的是讀者，因為讀者可以藉由對作品之組成，亦或互相競爭的

of some kind of absence. This process of creation becomes an analysis

文本中進行解碼，建立超出作者地位的影響力。」

and observation of self-growth experience. The artists therefore build

畫中的人在「對話」，或者是與畫外的觀者「對話」，這是筆者作品給人的

their own self artworld.

一貫感覺。這種「對話」的感覺充滿整幅畫面，對話的人雖然沒有發出聲音，

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但透過他們的姿勢及眼神，使觀者好像可以理解他們欲呈現的思想一般。既

II.Interact with observers through images

然「覺得」可以聽到對話，就好像聽見許許多多的故事一樣，這些故事，就

Roland Barthes, 1915-1980

從畫上人物的姿態中流洩出來。將對話的「空白內容」投向觀者，讓觀者自

Barthes believed that author is no longer the source of meaning.

我解讀。而畫家自身停留在成長經驗的思流，既是創作者也是旁觀者，但就

The replacement of authors is the readers. Readers can interpret the

在「缺席」的旁觀者踏著狡猾的步伐，拿著裝滿「時間」的水桶向那「空白

meaning of the content through the structure of the works, exceeding

對話」灑去！在這個不停流逝的動態世界裡，時間與空白對話同時進入平面

the original position and impact of the author. The figures in paintings

are having a dialogue with each other or with the observers of the painting. This is usually the sense given by the author portrayed in the works. This sense of dialogue is filled in the image. Although the dialoguers do not speak, observers seem to be able to understand their thoughts through their poses and eyes. Since the observers “feel” as if they could hear the dialogue, they seem to “hear” all kinds of stories expressed by the poses of the figures in the paintings. Providing “blank content” of the dialogue to the observers to make them interpret the meanings on their own. As for the painting, he stays in the phase of mind-developing. He is not only the original creator but also the observer. The observers in the “absence” slyly fill the bucket of “time” and spay it to the “blank dialogue”. In this constantly passing active world, time and blank dialogue enter the painted image. At this moment, the observers and the work form a bonding of conspiracy. The visionary dimension is covered with existence, just as the edges of the 水彩手稿 , 2013

Water painting sketch

canvas is covered by another sense of existence. A relevantly realistic existence. Observers silently consent this fake existence because this

描繪的圖像，就在此一時間點，觀者與作品產生一種「共謀」關係。

fakeness is what we used to record the absent objects once remembered

可視的空間包覆著存在，畫布邊界也包覆著另一種存在；一種相對於真實的

as if objects that have been seen would be protected. They are living in

存在，觀者默許這種虛假的存在，因為這虛假正是用來記錄我們曾經記得且

this fake dimension forever, and also forever being watched. Constantly

缺席的事物，彷彿曾看過的事物可以受到保護，在這虛假的空間永遠活著，

being watched made the “existence”. As for the painting, he is still an

永遠被注視著，因為就在此時此刻被看到的就是「存在」，而畫家依然是個

observer, looking for a shelter, creating a virtual space to keep himself

旁觀者，像在尋找避難所似的，創作一個可以安置自身精神的虛擬空間，而

sane. The artwork also represents fore-pleasure for the observers. Like

藝術作品的呈現也為觀者提供了一種「前期快感 (fore-pleasure)」，如同佛

Freud once said, “The appreciators of artwork, without pressure, could

洛伊德所說，藝術作品的欣賞者，可在沒有壓力之下，運用畫面的想像空間，

enjoy daydreaming with the imagination of the image.

盡情的享受自己的白日夢。 III.Techniques of Realism bring sensational experience 三、寫實技法帶動感官經驗

Francis Bacon 1909~1992

法蘭西斯．培根 (Francis Bacon, 1909~1992) 曾提到 :「我們總是希望一件作

Bacon once mentioned, “We always hope a piece of work could be

品能夠盡可能的寫實，然而同時又希望它能夠深具暗示性或具有神秘的感受，

realistic, but at the same time, containing implicative and secretive

而不同於簡單插畫般的平鋪直敘，這些不也是藝術所包含的嗎 ?」視覺牽引我

sensations, differently from the plain description of simple sketches.

們對畫面的判斷，從真實世界借了大量的東西用來描繪虛構世界，似曾相識

Isn't this also what art has included?” Vision leads our judgement of

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的人、事、物及空間，打斷記憶裡準備聚焦的模糊影像。人依然是人，只不

starting to paint, the virtual facade bring the observers into the image,

過經驗告訴我們，畫中之人並非真實存在，是用描繪的真實，刻意改變所關

exceeding the interpretation of thoughts. The sensational experience of

注的偽裝外表，將「暗示性」和「神秘」的感受置入，掏空了一切事物的內容，

the realistic world transfer to the power to penetrate the virtual world.

只剩下外表的空殼。而就在藝術家下筆的那一刻，虛構的表象帶領著觀者進

The artist disciplinarily arrange and alter the flow in colors to make the

入畫面，超越意識的解讀，讓真實世界中的感官經驗轉換成對虛構世界畫面

painter point as it if were water spraying out from the ocean, trivial but

的穿透力量。畫家有秩序地安排顏料的流動變化，使得畫面筆觸就像是大海

with power and rhythm.

中的一道水花，微小卻充滿力道與節奏感。

The painting exists in the longing moment in the virtual world. The image at the same time is sheltering the inner limited space and the

描繪存在於虛構世界的滯留時刻，畫面同時庇護內在的無限空間和觀賞者的

gaze of the observers. This experience is always sending out signals,

注視，而這經驗無論任何時期都在發出信號，向創作者及觀賞者之間的對白

continuing the blank dialogue between the creator and the observer.

內容鋪陳下去，詹喻帆的藝術作品在一個特殊的綜合模式中，體現了時間的

Chan Yu-Fan's artworks, in a special, integrated mode, represent three

三種型態 (modes)：過去、現在與未來。

modes: past, present and future.

四、自由創作的哲思論述

IV.Philosophical discussion of free creation

藝術具有探索與擴展的特質，因此創作也存在著變化與新穎。詹喻帆藉由多

Art consists characteristics of exploration and expansion. Change and

元化的創作題材，以美好的面貌，將許多觀念「非直述」的傳達給觀者，仔

innovation also exist in creation, Chan Yu-Fan uses dynamic materials

細探究其繪畫元素皆有深層的表述，如：擬人化的交通工具，影射藝術家的

to create fantastic appearance, sending many messages of the concept

自我 (ego) 或藝術家生命中的重要角色；古董相機，訴說記憶捕捉的片刻、時

of indirectly descriptive to the observers. To probe into the elements

間的意涵 / 老舊電視機，彰顯了資訊傳播與選擇議題；古典肖像中的女孩與

of his painting, these is always a deeper layer, such as personalized

可口的紅鞋或皮包對話；裝滿回憶並象徵自由的行李箱卻衝突的擺在冰冷病

transportation tools, implying the artist's ego or the important figure

床上。

in the artist's life. Antique camera represents the moment of recording

詹喻帆創作題材多元反應了他的創造力，而透過獨具個性的表現手法，將深

the memory, the portrayal of time. Old TV symbolizes the medium of

具省思的觀念哲思呈現給各位。

data transfer and the issue of choices. The classical portrait of the girl, dialoguing with delicious red shoes or purses; a suitcase filled with

the images. We borrow a big amount of elements from the realistic

memories and representing freedom, but conflictingly placed on a cold

world to paint the virtual world. Similar people, incidents, objects and

bed.

dimensions, breaking the blurred images that were ready to come in focus in our memories. Although people are still people, our experience

The dynamic elements in Chan's creation imply his creativity. With

tell us the painted figures do not exist in reality. They are painted reality;

unique techniques, he presents the philosophical concepts that need to

they are intentionally changed with their facade appearance to add

be pondered upon to everyone.

in the elements of implication and secrecy. Taking out the meaning of everything, leaving only the empty shell. At the moment of the artist

195

詹喻帆個展 , 攝於青雲畫廊 , 2013

Chan Yu-Fan Solo Exhibition, Shot in Cloud Gallery

196

開幕 藝 術 座 談 Ar tist talk

日期 2013.12.21

December 21st, 2013

/ 資深拍賣官

陸潔民 L u C h i e h - M i n , S enior Auc t io n Offic er

/藝

詹 喻 帆 C h a n Yu- Fan , Ar t is t

術

家

攝於台北國際當代藝術博覽會 , 2011

/ 青雲畫廊總監 李宜洲 Gary Lee, Director of Cloud Gallery

李 : 詹喻帆是我們獨家代理的藝術家，近幾年我們也發展得非常好，受到國內

Lee : The Cloud Gallery is a sole agency for Chan Yu-Fan, we developed

外許多拍賣公司及藏家的青睞，有美術館的典藏與邀請，今天很高興能

very well for these years, and we were popular with auction

向藏家借了大約 26 件的作品，有些作品其實已經兩三年沒看到了，那這

corporations and collectors. Museums also invite and collect our

次做這個展覽，很榮幸今天請來了陸潔民老師，台灣藝術圈最資深顧問，

art pieces. We’re happy that today we borrowed about twenty-six

跟我們的藝術家詹喻帆來做個對談，我們以掌聲來歡迎陸潔民老師與藝

works from the collectors, and some of the works I have not seen

術家詹喻帆。

them in these two to three years. We hold this exhibition, and very

陸：藝術家是最重要的，因為他是今天引發大家來的主要原因，我們請詹喻

197

Shot in Young Art Taipei

honored to invite Lu Chie-Min , the most senior consultant in the

帆來跟大家來講幾句話。

art circle in Taiwan. And today he will have a conversation with

詹 : 大家好，我是詹喻帆，謝謝。

Chan Yu-Fan, let’s applaud to welcome the artist Chan Yu-Fan and

陸 : 首先我來到這裡的原因有三個，2010 的 Young Art Taipei，我走進青雲

the teacher, Mr. Lu Chie-Min.

畫廊的展間的時候，就看到 Gary 在侃侃而談，很興奮、很激情的在介紹，

Lu : Today, the artist is the main guest, he is the main cause to gather

那是第一次的印象。可以看到畫廊協會成員已經有二代接班，我算了一

everybody to come here,let’s invite Yu-Fan to say something to us.

下將近有三十家畫廊二代接班，Gary 是青雲畫廊第二代，他接手父親開

Chan : Hello, everyone, I’m Chan Yu-Fan, thanks.

的畫廊接班後就非常積極，他參加的第一場硬仗就是 2010 年 Young Art

Lu : First, there were three reasons why I came here. 2010’s

Taipei，而他所獨家代理的藝術家就是詹喻帆，然後那次就吸引大家的眼

Young Art Taipei, I was in the Cloud Gallery’s space, and I saw

光，耳目一新。人家經常問我說，陸老師憑你 20 幾年經驗，你要怎麼挑

Gary was having a conversation and was very excited about

選一位對的藝術家？我常常說畫廊要生存就是持續做對的事情，那麼挑

introducing the works. That was my first impression with this

藝術家也得挑對，對的藝術家和好的作品，對畫廊是很重要的。

gallery.It shows that Taiwan Art Gallery Association member

對的藝術家是怎麼判斷？不加思索，三個要素：鮮明獨特風格、難以取代

is already having a second succession. I counted,and it was

技法、良好的品格與修養。所以我們在看一位年輕藝術家也好，看一位

about thirty galleries having the second succession. And Gary

中青輩藝術家突破也好，我們都希望看到純粹、獨特鮮明的風格。風格

was the second succession of the Cloud Gallery. He was very

出現之後，又要經過市場的考驗，要大家點頭、同儕認可、又要市場接

positive to operate the gallery which was founded by his father.

受，市場的反應造就他能不能繼續在市場上順利發展。難以取代的技法，

Gar y joined the first exhibition after he began to operate

才會吸引藏家掏錢買，聽說詹喻帆的畫一畫難求，排隊排好久，今天我

the gallery, which was Young Art Taipei, in 2010’s, and he is

就跟他 ( 詹喻帆 ) 說不要太驕傲 ( 大家笑 )。像在座中得手的，今天又來的，

a sole agency for Chan Yu-Fan. And at that time, he began

請舉手一下 ( 大家舉手 )。嘿嘿，你看，恭喜你們！

to catch everybody’s eyes. People usually asked me, how did you pick

我有上吳淡如的節目，裏頭談到了四個要素，眼力、財力、魄力、運氣。

the right artist with your twenty years of experience? I told them if the

然後晚上我跟黃越綏一起吃飯，黃越綏說我看到你講眼力、財力、魄力、

gallery wanted to survive in the art market they need to keep doing

運氣，我就放棄以後要進藝術圈收藏，我說為什麼？她說她眼力、財力、

the right things, just like they need to pick the right artists. The right

魄力、運氣都沒有，其實她是開玩笑的啦。所以鮮明獨特的風格，會吸

artist and works is very important to the gallery. So, how to pick a right

引你的眼球；難以取代的技法，會讓你掏錢買購買。為什麼要掏錢買 ?

artist? Three points: first, special and clear works style. Second, the great

是因為他畫的作品，你覺得物超所值，你覺得物超所值才會當下收藏，

skills what is hard to replaced. Third, need to have a great character.

因為要投資這麼一個年輕人風險太高了，對吧！ ( 大家笑 ) 萬一哪一天中

When we see a young artist or an old artist, we expect and hope them

一個樂透，有好幾個億，詹喻帆說我不畫了，我帶老婆去環遊世界！那

to have a purely but clear work style. When the works express the style,

你可能會很茫然，我收藏的畫將來怎麼辦。但是第三點，就是良好的品

it still needs to pass test by the art market, viewers and peers. It also

格與修養，假如能探知他的這種狀態，你知道他很難不畫畫。我們常常

needs the art market to accept, and if the art market response well, it

建議收藏家，你要去收藏這個藝術家的畫的時候，你要去了解他，你跟

will development well. If the skills are hard to replace, the collectors will

他聊聊天、去他工作室看一下，然後發現他的顏料齊全、到處都是油漆，

easily spend money to buy the works. I have heard that it was hard to

草稿遍布滿地，每張原作都有一張草稿，然後身邊又有一位非常賢慧的老

get Chan Yu-Fan's work, you need to line up for a long time. So, today I

婆，你會對他未來發展前途看好。所以這個是我來到這裡的第一個原因，

told Yu-Fan, “Don’t be too proud.” (Everyone is laughing.)Who has Yu-

我覺得這是我看到一個畫廊的二代，找到一個好的藝術家。那麼第二個

Fan’s work, but still want to get one today?

原因，詹喻帆是海軍陸戰隊的，我是 280 梯次你是？

Please raise your hand. (Everyone’s raising hands)Haha, you see,

詹 : 我是 700 多。

congratulation! I have been to a TV program hosted by Wu Dan-Ru.

陸 : 700 多，年紀至少差一倍以上，對吧 ? 一日陸戰隊終身陸戰隊。陸戰隊的

I mentioned four key elements: ability to admire, financial resources,

畫畫，我怎麼能不來？

assertiveness and luck. On that night I had dinner with Ellen Huang, and

詹 : 謝謝 ( 笑 )

she said: I wanted to give up collecting art in the Taiwan entertainment

陸 : 第三個最重要的原因就是，其實看到藝術家的發展，再看到第二代的發

circle when I heard you talked about the four key elements. I asked her

展，我發現經紀人與藝術家之間，發展得還很順利，對吧 !? 這是難得的

why? She said because she didn’t have any of the four key elements.

一個例子。我經常在外面講說經紀人跟百靈鳥之間的關係，藝術家是百

But I know she was just kidding. So, if the works have a clear and

靈鳥，你要是抓緊了他就被掐死了，你要是放鬆了他就飛到別人家去。

special style, it will attract your eyes, and when you have a skill that is

所以一個經紀人要幫助藝術家在市場上運作，其實裡面是很抽象的，他

hard to replace, it also will make people want to spend money to buy.

必須是兼顧的、是必須徹底了解的。所以藝術家找經紀人，可能比找老

Why we have to spend money to buy art works? Because you think

婆還重要，我經常講這句話，當然對藝術家來講，老婆很重要，但是經

it’s a good deal, and it makes you want to buy at that time. Because

紀人會照顧他發展，有一部電影講的最有意思，就是 Tom Cruise 演的那

the risk is too high to invest in a young artist, right? (Everybody is

部《Jerry Maguire》，這整部電影就三句台詞我覺得最吸引我，你可以

laughing.) If one day Chan Yu-Fan said: I don’t want to paint anymore

講嗎？

because he win a lottery and have billions of dollars, and he wants to

詹 : 「Show me the money。」

take his wife to travel around the world, then you will be dazed, “what

198

199

陸 : 「Show me the money ！」哈哈哈，一個橄欖球員跟他的經紀人講，

about the works that I collected?” But just like what I said in the

Show me the money。其實這個道理很深，不是說他貪財，而是藝術家

third point, that is a good character. If you know what kind of the

必須要生存，要生活下去，需要一個好的環境和空間，需要照顧好他的家

person he is, you will know that he is hard to give up on painting.

庭，需要安心作畫，他才能把錢和創作分得很清楚，這時候創作才純粹。

We usually advise the collectors, when you want to collect this

Show me the money，背後其實是給他一個穩定的環境，讓他好好畫畫。

artist's work, you have to understand the artist. You have to

詹 : 第二句台詞是甚麼？

chat with him and visit his studio. His oil colors is complete, and

陸 : 第二句就是經紀人跟運動員講，「Help me, help you」，對吧，他不是

the studio is full of oil colors. There are sketches everywhere

在那個浴室裡跟他吵起來，跟他說 Help me, help you。我的理解是，你

in the studio. All of the original paintings have sketches. And

沒有專心去接那個球，那我怎麼去跟人家講 ? 也就是說，你必須把你的作

also there is a virtuous wife with him. You will admire expect

品，你必須要回想你年輕候走這條路的初衷、那個初心，你要喜歡畫畫，

the development of the artist in the future. That is why I come

認真畫畫，現在錢越來越多了，會不會影響你畫畫？經常有人在市場上跟

here today, I saw a second succession found a great artist. The

我們講，那個藝術家還沒賺錢時畫的很好，發財時就畫的不好了。我們可

second reason is Chan Yu-Fan. He was on ROCMC (Republic

以理解，苦難會產生作品，苦難是藝術家的養分，我們可以理解這件事情，

of China Marine Corps) I'm team 280, what about you?

但是我們也看到畢卡索，發了財之後還是很好，所以這決定權是在藝術家

Chan : I'm on team 700 something.

自己，他怎麼看待錢與創作之間的關係，假如他還是很純粹喜歡畫畫，那

Lu : 700 something, then I probably double your age, right? One

就是錢對他沒有影響。所以「Show me the money」、「Help me, help

day on ROCMC and all life on ROCMC. Paintings of the ROCMC

you」。第三句台詞，這是經紀人成功之後，回去找他的老婆，然後他說

teammates, how could I not come?

在這紛亂的、躁亂的、誇張的世界中，「You complete me」，你完整了

Chan : Thanks. (Laughed)

我。詹喻帆找到了他的老婆，我覺得詹喻帆的老婆 complete 詹喻帆。運

Lu : The third reason is the most important reason. Actually, when

氣真的很好，我覺得他真的是一位運氣非常好的藝術家，他找到一位可愛

we see the growth of the artist and the second succession, I find

的女孩，而且還是模特兒，隨便一指，你看他老婆出現在畫面裡，對吧 ?

the relationships is good between the agent and the artist, right?

詹:(笑)

It's a precious example. I always said the relationship between

陸 : 我講得差不多了，待會讓你講。所以他很幸運的是有一位老婆支持著他，

agent and Lark birds. Artist just like Lark birds, if you catch him

再來是他可以被一個他的粉絲經紀人看上，他認真的做，而且 Gary 也在

too tightly, he will strangle, but if you release him, he will fly out

外面做過事，他非常認真的經營這個畫廊，他找到了詹喻帆，等一下請他

to find a new host. So, an agent need to help the artist how to

來講，他怎麼找到詹喻帆的。給其他的畫廊一個啟發，去找一個你喜歡

work in the art market. It was very abstract, but he has to consider

的藝術家支持，而且他很專心的為他做，經紀人只有非常用心的打動藝術

and totally understand it. So, finding a great agent maybe more

家，才可以簽這個約而讓這個百靈鳥不會飛到人家家去。但是目前這個合

important than finding a wife, I usually say that, of course wife

作是非常扎實的，我覺得我講太多了，今天又不是演講 ( 笑 )。首先我們

is important, but agent will take care of him for all life. There is a

要先問詹喻帆，Young Art Taipei 飯店型博覽會是不是你正式對市場的第

movie called “Jerry Maguire” who was played by Tom Cruise. It

一個展？

has three lines that attract me the most, can you tell everybody?

詹 : 算是。

Chan : Show me the money!

陸 : 算是，因為你之前在大學畢業然後去服兵役，那段時間有沒有機會展出？

Lu : Show me the money! Hahaha! A rugby player tells his agent

詹 : 在研究所畢業，有在基金會展出，那時候展出的作品比較小。 陸 : 自己有找畫廊來看？ 詹:有! 陸 : 找幾家？ 詹 : 都有去聊一下，結果只來兩家，我就不講哪幾家，當然他們是覺得還不錯 阿，後來給我機會的只有 Gary，因為他真的很支持我。( 大家笑 ) (Gary 入席 ) 陸 : 所以從這裡面我們可以了解，當一個新的藝術家出現在市場裡的時候，其 實大部分的人是有點猶豫的，猶豫的原因我可以理解，第一個你看的作品 不夠多，市場完全沒有表現，你沒有辦法肯定，但是偏偏藝術收藏是很妙 的事，他裡面牽扯到眼力、財力、魄力、運氣，眼力是你自己的底，財力 加魄力是你的自信，這三個集合才是自信，有自信你才會下手，但通常你

攝於詹喻帆工作室 , 2014

Shot in Chan Yu-Fan's studio

會看到物超所值、覺得很喜歡或因為某種原因而下手，所以運氣對畫家來 說也很重要，哪一張會到誰家似乎很難解釋，喜歡當然有那個機緣，剛好

"Show me the money”This has a profound meaning, but it is not

這個天雷勾動地火，反正就會產生一種火花，然後他就收藏你。收藏之後

to say he is greedy for money. An artists cannot survive without

要看到你在市場裡的表現，他才會持續收藏，有很多的 VIP、大的收藏家，

a good space, and he also needs to take care of his family, he

他們都是盯著你的系列收藏，他不只買一張，他是早期、中期、晚期都買。

needs to focus on his paintings and works. While he focuses on

所以金車是第一次，但是從金車到畫廊並沒有第一次就下手對吧 ? 那金車

creating art, he has to separate the relationship between money

的時候 Gary 有沒有出現？

and created art. And the painting will be pure. “Show me the

詹 : 金車時還不認識。

money” the meaning behind the sentence actually just gives an

陸 : 金車時候還不認識，之後你就去服兵役了 ?

artist a stable environment to devote to create art .

詹 : 對，當兵的時候 兵嘛，也不太方便接電話，所以他有傳簡訊給我說，他 是畫廊，想了解你，認識一下你，之後才會有第一次的 Young Art 展覽。

Chan : What was the second line?

Lu : The second line was the agent told the player, “Help me,

陸 : Young Art 展距離你退伍有多久的時間 ?

help you!” Right, isn't he arguing in the bathroom? And he

詹 : Young Art 還在當兵。

said, “Help me, help you.” My understanding is you didn't

陸 : Young Art 還在當兵？

pay attention to catch that ball. How am I supposed to tell

詹 : 對，那時候剛好當到一半，退伍後就直接創作。

the others? In other words, you have to recall why you started

陸 : 你看這就是我說的運氣好的定義，在陸戰隊當兵的時候，竟然有經紀人打

this path in the beginning. The original intention. You like to

電話到部隊裡來，所以 Gary 下手得很精準，因為當他一旦畢業、一旦他

paint, so you paint with all your heart. Now, the money is piling

在市場上有表現、一旦得獎，我覺得他後面就會有很多畫廊來找他，所以

up. Would this affect the way you paint? You hear a lot in the

Gary 下手是非常早的，請 Gary 講一下，你怎麼會發現詹喻帆，他還在當

market that an artist was very good before she or he started

兵你就這麼篤定的打電話找他。

earning money. But once they start earning money, they are

李 : 其實我最早是畫畫的，台灣以前有一些很有名的畫室，那很多年前在畫室

not so good anymore. We can understand that creation derives

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from pain. Pain is artists' fertilizer. We understand that. However, we also see Picasso, great after he started earning money. So it is up to the artist, how he thinks of the connection between money and creation. If he simply likes to paint, then money is not an issue.

So “Show me the money, help me, help you.”The third line was after the agent succeeded, he went back to his wife and said, “in this chaotic and boastful world, you complete me.” Chan Yu-Fan found his wife. I think his wife complete him. He is very lucky. He is a very lucky artist. He found a cute girl, and a model, too! Any painting you point at, she is in it, right?

Chan : (laugh) Lu : I am almost done talking. You are next. So he is very lucky to have a wife to support him. Next, his agent, Gary, who is also his fan, worked very hard. Gary has also worked in places other than the gallery. He puts a lot of effort to manage the gallery. He found ( 左 ) 陸潔民 , ( 右 ) 詹喻帆 , 2013

Chan. We'll have him tell us how he found Chan. An inspiration for

(Left) LU Chieh-Min, (Right) Chan Yu-Fan

other galleries. Find an artist you love, support him and worked

李 : 有遇到過一個比較臭屁的小子，那個名字好像叫詹喻帆 ( 大家笑 )，在我

on him with all his heart. Only when the agent is putting a lot of

們 17、18 歲的時候吧，那時候不熟。 陸 : 竟然在同一個畫室！

current work is very solid. I really talked too much. I’m not here

李 : 同一個畫室，他那時候復興美工已經畢業了，所以他已經在當助教了，在

to give a speech. First, let's ask Chan, was Young Art Taipei the first

那邊教畫。 陸 : 看到沒有，這就是天注定，就是在畫室就已經知道這號人物，因為當時他 給你的感覺是有點臭屁的，因為畫得還不錯對不對？ 李 : 開玩笑啦！他那時候去了很多全省的比賽，然後都得冠軍。我說十幾歲的 小孩子，畫張畫可以得幾十萬的收入，確實算是滿不錯的，而且他剛好算 復興美工那一屆的風雲人物。 陸 : 說起復興美工，我接觸藝術市場二十幾年，我發現復興的老師做對甚麼事

exhibition for you to face the market?

Chan : Yes. Lu : Yes, after you graduated from college, you went to the army. Did you have a chance to exhibit during that period of time?

Chan : After my graduation from grad school, I had a little exhibition in a foundation. Smaller works at the time.

Lu : Did you ask galleries to come and see?

情，每一個復興出來的都很厲害，詹喻帆在復興的時候，老師怎麼激勵你

Chan : Yes

們畫畫，還是手頭功夫好的都進了復興了？

Lu : How many?

詹 : 我覺得有一部分應該是作業也很多啦 ( 大家笑 )，因為大家都很競爭，大

Chan : I talked to some, but only two came. They thought it was pretty

家都在比技術，我覺得這是特色，大家都畫得很細很豐富，非常非常的競

good. But afterwards, only Gary presented an opportunity. He was

爭，只要你畫不好，就會被別人比下去，所以一定要一直比人家好，才會

very supportive.

得獎和被注意到。

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effort for an artist, that you know can sign the contract. But the

Lu : So from this, we know that when a new artist appears in the

陸 : 所以復興的教育是有意思的，競爭之下，每一個人都想要畫好，而且我在

market, most people hesitate. I can understand the reason of the

陸戰隊當兵的時候，我在政五組，有一個政二組的，特別會畫陸戰隊的

hesitation. First, you haven't seen enough works. Not enough

隊號，每一次都是要他出手，一出手就像畫漫畫一樣。好，在復興的時

performance in the market. You are not confident enough.

候互相競爭，要比畫好、要得獎，請問你有沒有畫得好而吸引女生注意？

However, collecting art is a very strange thing. It involves artistic

詹 : 多多少少吧，可能男生都會這樣吧 ! ( 大家笑 )

vision, financial ability, guts and luck. Artistic vision is your

陸 : 我碰過一位校長他是北京中央美術學院附中的校長丁井文先生，他就講

basics, financial ability and guts are your confidence. These three

過：「我們在挑男學生的時候一定要畫得很好，我們在挑女學生的時候

elements combined together to give you confidence. You have

希望她漂亮，因為在班上會激勵男同學的互相競爭。」你看他講的也很

to be confident to deal. But usually you either think the value is

有道理，你的夫人是復興的嗎？

over the cost, like it a lot, or for other reason that you decide to

詹 : 不是，她是後來認識的。

purchase. Luck is very important for artists. Which painting goes to

陸 : 你看我們這樣對談可以知道詹喻帆他其實很幸運，他的人生路在復興已

where is hard to guess or explain. Opportunity might derive from

經打好基礎，而且他已經得獎，但是我可以篤定的說他練就了這個技術，

preference. The perfect timing might create chemistry between

一定是從小就喜歡畫畫，碰到這種人都不用問啦，就是從小注定他要拿

the collector and the artist. The collector would observe your

筆畫畫，是不是從小看到紙筆就開始畫畫，從小父母就一直很支持？

performance in the market to decide whether or not to continue to

詹 : 從小畫課本。( 大家笑 )

collect your works. Many VIP's big collectors, they all focus on the

陸 : 你是不是屬於那種，畫課本還不夠，還拿個小本子畫故事？這一類多少

series. They would not only buy one painting. They would collect

都這樣，現在美國科學家已經在研究這個，想要證明是有輪迴的，說什

the earlier, the middle and later periods of the serial paintings. So

麼史恩康納萊還是非洲什麼部落的，他的前幾世，他就沒有輪迴轉世，

King Car was the first time. But from King Car to gallery, you didn't

像莫札特三歲就會作曲，上輩子沒做完的，這輩子再做。所以這位也是，

buy it right? Did Gary come to the exhibition at King Car?

這輩子就是要畫畫的，所以他才會走那麼順，很早就得獎，所以 Young

Chan : We didn't know each other yet at that time.

Art 在市場上第一次的展出，其實就吸引了大家的眼球，好像是第二次的

Lu : You didn't know each other at King Car. And afterwards, you went

Young Art 就得了第一名，對吧 ? 因為 Young Art Taipei 新潮賞都是大 家投票的，很公平的，沒辦法透過關係的。

to the army.

Chan : Yes. We were in contact during my service in the army. I added his

李 : 一人只有一票，他鎖 IP 的。

number to my contact list. Don't know why, but I added him to

陸 : 對，因為這 Young Art Taipei 是四家畫廊主辦。

my contacts. But afterwards, I didn't dare to answer phone calls

這四家畫廊創 Young Art 就是為了給年輕人一個表演的舞台，第三屆

because we were in the army. It wasn't convenient to talk on the

Young Art 你就得了第一名，而且聽說得了第一名之後那次帶去的八張畫

phone. He later on texted me, saying that he is from a gallery and

都賣光了 ?

wanted to know me. That is why I was in the first Young Art Taipei

李 : 對。 陸 : 所以現場又造成轟動，進入市場這麼的順利也是他走運的重要原因，所 以到底是哪一年結婚的 ?

exhibition.

Lu : Young Art Taipei is how long after your discharge?

Chan : I was still in the service during Young Art.

詹 : 已經結婚了，還沒宴客。

Lu : You were still in the service during Young Art?

陸 : 結婚了還沒宴客 ?

Chan : It was half way of the service. I started painting after the discharge.

詹 : 對，大家要來喲 !

Lu : See, this is what I mean by being lucky. He already has an agent

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陸 : 所以俗話說結婚前、生子後是男人最走大運的兩個時間點，這個人結婚了 沒宴客等於是你把這個運拉長了是不是這個意思 ?( 大家笑 ) 詹 : 可以這樣講嗎 ( 笑 )。 陸 : 我看在老婆支持之下，再拖兩年，再宴客吧 !

very attentive. Gary, how did you find Chan? How could you be so sure he was the one and called him during this service in the army.

Lee : Actually, I did a little painting myself. In the past, there were quite

詹 : 還是要趕快多認識一些朋友。

a few famous art studios(cram school). I met a boastful guy, his

陸 : 所以可以看到他的起步是很有趣的，藉由市場起步、市場的接受度、市場

name was Chan Yu-Fan . We were about 17 or 18 years old. We

的表現，造成很大的關鍵。所以我們說藏家需要具備的四個要素 : 眼力、

didn't know each that well.

財力、魄力、運氣之外，其實藏家終生學習所鍛鍊的是三種能力，才會成

Lu : In the same art studio(cram school)?

為大藏家：分辨真假好壞的能力、判斷合理價格的能力與預測未來前途的

Lee : In the same art studio(cram school). At that time, he already

能力。所以當你買了詹喻帆，你還要關心他在市場的表現，那麼合理價格

graduated from Fu Xing Business High School and was teaching

的訂定，這個可能是經紀人跟詹喻帆兩個人要商討然後把握好的。有的時

students to paint as a teacher's assistant.

候在一些畫廊手上，它一旦賣到缺畫的時候、一畫難求的時候、又有人下 訂單的時候，那就是它暴漲的時候。但是我聽說詹喻帆的畫在青雲畫廊並

Lu : You see, this is destiny. He knew about Chan in the studio. You thought he was boastful but good at painting, right?

沒有暴漲的跡象，還是一號三千五？你看，不貪！煞住了車，這會像結婚

Lee : Just kidding. Back then, he already went to many competitions

不宴客的情況一樣，會讓藏家、群眾更多人分享到你的畫作，讓詹喻帆進

all over Taiwan and won the champion. I think a teenager can

入市場，年輕時代的底盤收藏群大一點。因為你的底盤收藏群大的時候，

earn tens of thousands of income at that age by painting is pretty

你將來進入拍場的時候才穩當，不需要有人去護盤或操作，這是第一個。

impressive. He was very well known in Fu Xing Art School.

第二個我們要聊的就是，詹喻帆的畫鮮明獨特的風格、難以取代得技法、

Lu : Speaking of Fu Xing Art School, I have been in the art market for

良好的品格與修養，他直接表現在他的畫作上。請問你是怎麼想到要這樣

over 20 years, and I found out the teachers from Fu Xing really did

畫 ? 也不是復興美工教你的，復興美工教你的時候畫的都是功課，但是你

something right because everyone from Fu Xing was really good.

離開復興美工進入陸戰隊受訓之後，你就開始在金車，還有開始得獎、受

Chan, when you were in Fu Xing, how did the teachers encourage

到關注，這個風格是怎麼樣產生的？因為它產生的時候也運氣很好，就在

you to paint? Or is it only the students with good skills went into

時代發展的當下，當村上隆、草間彌生、奈良美智這種概念，時尚感充斥

Fu Xin?

整個畫壇之後，一個台灣的年輕人他畫出來的具有各種感覺，有一些設計

Chan : One of the reason is probably because we had a lot of homework.

的味道、有一些時尚的感覺、有一些當下時空的色彩感覺，還有一些不同

It was very competitive. Everyone was competing with each other.

的元素讓你有想像空間的出現在你的畫面當中，怎麼會出現這樣的風格，

I think that was the unique part. Everyone painted delicately and

自己說得清楚嘛？還是有一天睡醒就畫了這樣一張畫出來呢？靈感是從哪

full of life, very very competitive.

裡來 ?

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during his service at Marines, and he called to the army. Gary was

Lu : If you don't paint well, you will be surpassed. Everyone wants to

詹 : 我記得那時候在研究所，因為我一直以來都是在畫那種比較傳統的東西，

paint well. When I was in the Marines, I was in the fifth Group.

像是靜物、或是早期一些比較老派的東西，一個人坐在那然後一個很漂亮

There was this guy in the Second Group, he was very good at the

的光線。我想要跳脫，因為我覺得我畫那個絕對不會成功，我自己覺得，

numbers of the Marines. Every time he draws, it was like comics.

因為很多人都畫，老一輩也畫，我也畫不過他們。那時候研究所要辦展覽，

OK, so you were competing with each other and wining awards.

我要想一個我自己想做的，而且更不一樣的東西。所以準備兩年的期間，

Did you ever draw for the purpose of attracting girls?

那時候一直在實驗、一直在調整，觀察一些知名藝術家的東西，自己喜歡

Chan : Maybe a little. That's what guys do!

的東西，像剛剛老師說的村上隆、奈良美智等，那些風格的創作，或是一

Lu : I met Principal Ding from Beijing Central Art High School. He said,

些比較日本的內容，因為我很喜歡動漫，所以我從這個方向去下手，去切

“When we were selecting boys, they have to be great painters.

入調整，慢慢加入我創作的方式。後來我覺得，當然有試出一些東西，嘗

When we are selecting girls, we look for their beauty because

試出來一些作法，只是我發現我好像不太適合畫卡漫的那種作法，那種平

that's how you get male students to compete with each other.”

面的作法，我有試過，但畫起來不是很好看，所以後來還是回到傳統的，

He makes perfect sense! Is your wife from Fu Xing?

立體感、基本功的那種創作模式，從那些創作模式切入，我會做得比較好，

Chan : No, I met her afterwards.

後來一樣慢慢把那些動漫的元素安排進畫面裡。其實看我的畫面，我很喜

Lu : From our talk, you can see Chan is very lucky. He has built up his

歡畫靜物，所以當我在畫我的畫的時候，我通常都是把它當成靜物在安

basic skills at Fu Xing. He has won the award. But I bet he has had

排。因為我畫的東西其實有很多物件在裡面，但是也不能想畫什麼就畫什

these skills because he loved to paint since he was a child. You

麼，這樣好像也怪怪的。所以我一直是以靜物的方式在畫這個畫面，所以

usually don’t need to ask a lot of questions with these people.

一部份是因為我喜歡靜態的東西，再來就是以前教畫畫很常在擺靜物，所

They are destined to paint. When you were little, did you have

以我很習慣去安排構圖的變化，一個禮拜很多天都在演練，重複的去鍛鍊

the desire to paint when there are pens and papers? Your parents

這個部份，變成很直覺、很習慣去做很多複雜物件的安排。再來就是從動

were supportive?

漫的角度切入，一開始當然是做得比較動漫一點，但是後來比較沒有那麼

Chan : I usually drew on the textbooks.

偏動漫的作法，是因為我不想讓人家覺得我的東西是日本人畫的，我不是

Lu : And drawing on textbooks was not enough, you liked to draw

討厭日本人，只是不希望看起來像日本人，所以我慢慢去除動漫的感覺，

stories on little booklets? They are all the same. American scientist

慢慢去調整到一種比較古典的做法，大概是這個樣子。

is studying this right now, trying to prove if this has to do with

陸 : 講得很好，這就是風格自然而然產生的過程，這是非常好的事。像以前我

reincarnation. They said that Sean Connery or some African tribe,

出去演講的時候有一些媽媽說：「我的孩子很喜歡畫畫，想給他一個專業

he didn't reincarnate. Or Mozart, he could compose at age of

的老師教畫畫，我如何去判斷他是一個好的老師？」我不是科班的，但我

three. He didn't finish in the last life, he does it in this life. Chan

給她的建議是，去看一下這個老師擺靜物擺得高不高明。因為靜物擺得高

is also like this. He is destined to paint in this life. That's why his

明才可以看出這個老師的才氣，而不是看老師畫的手法，是要看老師有沒

life is smooth, and he obtained an award this early. That's why

有構圖的修養。所以剛剛他說他喜歡畫靜物，喜歡畫靜物就會不厭其煩的

he attracted eyeballs at his debut in the Young Art. And you won

研究構圖，喜歡畫靜物造成了他這種風格安靜的感覺。喜歡畫靜物、研究

the First Prize in your second Young Art, right? Because Young

構圖讓他在他的創作裡所有的物件的安排、構圖的涵養，非常的高明。所

Art Award is selected by ballots. Very fair, can't go through

以一個構圖，一個觀念，再加上他自己在當下對這種創作感情抒發的色彩

connections.

感覺，就出現了詹喻帆的風格。一個鮮明獨特的風格出現是多麼難的一件

Lee : Each person has one vote from one IP.

事情，因為我們在市場裡面有的時候看到年輕人的作品，一看就可以發現

Lu : Yes, because Young Art Taipei is hosted by four galleries. These

一件事情，發現他是不高明的偷，叫作抄襲，那麼有一些厲害一點、聰明

four galleries created Young Art to give the young artists a

一點就是高明的偷，叫作吸收，你是吸收還是抄襲這是很嚴重的。那剛才

platform to shine. You obtained the first Prize at the Third Young

他講到一點我聽了很高興就是他有迴避的特性，他不想像日本人，他不想

Art. And I heard that the eight paintings you brought were all sold

像卡漫，他也不想太像靜物，避開傳統；他到處迴避出現了他這個鮮明獨

out.

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陸 : 特的風格，他到處迴避的能力讓他走出一個新的路子。所以你看一個藝術 家風格的成形是多麼的困難，都要在掌握之中才可以走到這個地方。所以 鮮明獨特的風格出現以後，再來就是你的精品比例，像我在歐美跑的時候

Lu : It was a blast at the exhibition. It was a smooth ride into the market. Which year did you get married?

碰到一些三代、四代的畫廊，我經常問他「你們有一百年開畫廊的歷史，

Chan : By that time I was already married, but not yet held a banquet.

你們怎麼去發現一個年輕藝術家，跟他簽約 ?」他們說：「我們很少會在

Lu : Married but not yet held a banquet?

一年之內跟藝術家簽約，都是三、五年之後。」那我說「三、五年？那這

Chan : Yes, please come!

個藝術家怎麼生存，他就不活了嗎？」他說：「我會跟他買幾張，讓他先

Lu : It is like the saying, getting married and having a child are the two

活 ( 大家笑 )，然後放在畫廊的重要位置。」你知道歐美的商業畫廊把畫

luckiest moments for men. Chan got married but hasn't held a

廊牆面分析的細膩到甚麼地步，就跟 COSTCO 差不多，就是說你的畫來

banquet, which mean he elongate his good fortune.

了，我覺得你畫畫得不錯，我跟你買兩張，但是我把它掛在櫥窗一個禮

Chan : Is that how you put it?

拜，一個禮拜沒賣掉我就把它掛到屋裡最重要的牆上，明顯的牆上一個禮

Lu : With the support of your wife, maybe extend it a little longer,

拜，再沒賣掉我就掛在邊角的地方一個禮拜，要是一個月以後還沒賣掉，

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Lee : Yes.

maybe two years? Then hold the banquet.

就進倉庫，歐美的這個系統很厲害的。假如他把你掛在櫥窗三天賣了，他

Chan : We still need to hurry. We need to know more people.

心裡就會有數，等他一有空來你家裡看畫又帶三張走。他用市場調查，第

Lu : It is interesting to see how he started, with the trend of the market.

一年這個叫 Market survey，市場調查了以後他來開始尋找他的 Target

The acceptance of the market and the performance in the market

customer，就是淺力客戶，等測試都很順利之後，他再觀察你兩三年，

are very essential elements. We collectors need to be equipped

我問他這兩三年觀察什麼 ? 他說觀察藝術家的「精品比例」還有「突破的

with appreciation ability, financial power, guts and luck. Moreover,

潛能」。也就是說在歐美，譬如你今年畫了五十張，畫廊老闆來看的時候，

collectors live to learn three abilities: the ability to distinguish

你一定是把實驗性作品和草稿都收起來，就放最精彩的三十張，留下一個

good and bad, price judgment, and also the ability to predict the

非常深刻的印象；第二年再來看他三十張，看這兩年有沒有精品比例的提

future possibilities. So when you purchase Chan's painting, you

升，有沒有風格上的突破，然後第三年再看三十張，用這三年精品比例的

also need to care for his performance in the market. As for the

提升跟風格突破的潛力來跟他簽約。當然這在台灣還是比較少見，因為在

reasonable pricing, this has to be discussed and consented by the

台灣你要是不簽約的話，第二年市場賣得不錯就被大畫廊搶走了，所以詹

agent and Chan. When all the paintings are sold out in a gallery,

喻帆的創作出來，我覺得他有因為他去迴避跟其它藝術家的相同處，所以

and there is still people placing orders, this is when the price of

呢他一張是一張，我們可以看到他的精品比例算是蠻高的，因為他創作的

the paintings goes up. But I heard that Chan's paintings have not

作品，是一件出來了大家都很滿意的，那這個裡面現在目前碰到的有一點

gone up in price in Cloud Gallery. Still $3500 for one number?

是開始要訂畫了對不對 ?

Not greedy. They stepped on the brake. Just like getting married

李:對!

and not throwing a banquet. More collectors and the public can

陸 : 有人想要但是買不到，所以就開始下訂。我不知道，我也沒有私底下跟他

share the paintings. Once you let Chan enter the market, you have

們談過他們對訂畫這方面的態度，聽聽他們怎麼講。就是說畫廊碰到一畫

a larger group of young collectors. Once your group of collectors

難求的時候，訂畫第一要問的是，藏家假如說 :「我要跟這一幅 ( 指喻帆

is big, it is safer during auctions, to prevent mismanagement.

作品 ) 差不多的來一張可不可以？」那我請問畫廊老闆怎麼回答？這張我

The next thing we are going to talk about is that Chan's painting

想買已經沒有了。可不可以請詹喻帆再畫一張這個 ? 比如說外星人可以多

style is very unique, irreplaceable, good character and manners.

一個，老婆的姿勢可以換一下，仙人掌可以開花，那接不接受這種訂單？ ( 大家笑 ) 李 :今天藏家還蠻多的 ( 笑 )，基本上還是以藝術家自己的創作為主。 詹 :我講好了 ( 笑 )。其實接訂單，我是無所謂啦，那是李宜洲的事。因為我的 畫，通常都是我已經畫好了，宜洲才知道長什麼樣子，所以他其實很少在 干涉我，這是他比較貼心的地方，他對我比較好。當然我盡量不要讓他失 望，所以我也不會亂畫，只是我也是都畫我想畫的，我還是會按照我自己 的步驟、自己的脈絡。其實李宜洲很少跟我說哪個藏家喜歡什麼、想要什

攝於《移境造劇》- 詹喻帆個展 , 2013

麼尺寸，當然多大我自己決定，我自己想要畫，我覺得我可以承受住的那

Shot in「Moved the Situation, Created the Drama」-Chan Yu-Fan solo exhibition

個畫面，畫起來我覺得可以讓人家覺得是好的，我自己也覺得好的，我才

He directly expresses these characteristics on his works. How did

會真的去做。但是不行的話就先不做，我就做我可以把它做好的那個畫面，

you plan to paint like this? It is not taught by Fu Xing Art School.

那訂單我覺得這也是蠻感謝藏家給我支持。

You were all painting homework at Fu Xing Art School. Once you

李 :所以真的很謝謝在座這些藏家以及還沒有拿到作品的藏家，真的很抱歉

left school you joined the marines, you started from King Car and

( 笑 )。喻帆一隻手畫畫，另外一隻手扶著畫布，如果有一天他多出一隻手

won rewards and received attention. How did this style derive?

的話，產量可能會高一點。

It was a good timing, too, during the period of development.

陸 :希望他長出八隻手的時候那就好了。嗯…我覺得這就是標準答案，我們就

When Murakami Takashi, Kusama Yayoi and Nara Yoshitomo filled

很怕聽到一個畫廊跟畫家說收藏家要什麼就畫什麼。我覺得當你接受那種

the fashion world with their concepts, a young Taiwanese artist

訂單的話，基本上藝術家是失去靈魂的，因為每一件作品都是出自靈魂才

painted out diverse elements with a sense of design and fashion.

會感動靈魂，那麼最棒的回答就像剛剛那樣，詹喻帆他畫完了我們才會看

With colors of contemporary dimension, different elements that

到他畫什麼畫，跟藏家的回答就是說你可以等、你可以排隊，但是還是要

lead to imagination. How did you come up with the painting

等藝術家畫完了以後，你去挑選你所喜歡的畫，這樣會比較好一點。那麼

style like this? Can you explain? Or you just woke up one day and

還有一個就是，因為詹喻帆自己畫畫有他的方式，出現這個風格，當收藏

started painting like this? Where did the inspiration come from?

家擁有之後掛在家裡，收藏家要怎麼瞭解詹喻帆的畫作，這個要發揮他的

Chan : I remember when I was in grad school, because I have been

感知力、想像力和解析力來瞭解詹喻帆的畫作，所以我自己也有一些體

painting in a more traditional method in gallery, such as still

會，我要先聽聽詹喻帆怎麼講，就是說當人家擁有你這張畫，人家也花錢

objects, or more old school stuff, for example a person sitting

把你的畫買回去了，就像你生出來的女兒嫁到別人家去了，別人家當作寶

there with beautiful rays of lights. I want to jump out of the box,

貝掛在家裡的時候，我想聽到詹喻帆期待藏家怎麼去欣賞你的畫？我也想

because I know I wouldn't success if I paint like that. A lot of

讓 Gary 也講一下，因為你滔滔不絕的介紹詹喻帆作品的時候，你是怎麼

people can paint like that, the senior artists are also painting like

樣希望藏家去理解詹喻帆的畫？

that. I can't compete with them. At that time, the grad school

詹 :我畫的這些創作，其實大部分對我來說，應該說只有對我有意義而已，這

is holding an exhibition, I wanted to do something different,

是很正常的，因為是我畫的嘛，那它裡面的內容，我有自己的想法，我的

something I truly want. During the two years of preparation, I was

想法其實沒有非常複雜，是很單純的，有一些想要做的東西才去選擇物件，

in the lab, constantly readjusting. I observed works from famous

把它放畫面，其實常常會出現一些重複的東西在某些畫面裡，比較常見

artists works l like. Like the artists Mr. Lu mentioned, Murakami

206

詹 : 的，比如說照相機、外星人，其實只是意味我很喜歡看外星人的電影 ( 大 家笑 )，總覺得還是蠻希望可以遇到外星人，然後他就會出現在我的畫裡 面。其實我的創作，可以說大部分都會有風景，這是因為我以前風景畫的 很不好，我所謂的不好就是說比較不擅長畫風景，可能造成我一些小遺憾； 我剛剛說我很喜歡畫靜物，所以變得風景畫的不是很好，我也不知道為什 麼，就是有點轉不過來，也沒有到非常差，就是不是很好的感覺。後來我

207

想到一種解決的方式，就是我不畫真的風景，我畫假的風景，那應該就蠻

攝於《移境造劇》- 詹喻帆個展 , 2013

好看的 ( 大家笑 )，但是這種假的風景，放在我的畫面裡面好像還蠻合的，

Shot in「Moved the Situation, Created the Drama」-Chan Yu-Fan solo exhibition

所以就變成這種對於風景想要去鑽研，讓它變成真的是屬於詹喻帆式的風

Takashi, Nara Yoshitomo. Japanese content. I like animation, so

景，那這些風景當然也是經過安排的；還有就是喜歡畫海，喜歡畫一些危

I wanted to start from that direction then add my own creation.

險的感覺，像是蜂巢或是帳棚，其實這些東西就好像我想要有一個家，但

Something did come out of it, but I realized I wasn't suitable for

是我不想要跟你住在那邊，就是有點矛盾的感覺，所以這些裡面的東西，

animation drawing. I've tried it. But it didn't turn out right. I came

都好像在流失什麼，像採蜜人那張有蜂蜜流出來，它在流失一些東西，就

back to traditional, three dimensional, basic creating mode, which

好像我想要離開的感覺，也不是說我很討厭家裡，就是我很想要有個家但

I would do better. Then I gradually added in the elements of

是我不想要待在那，我喜歡到處移動。我不知道藏家是怎麼想，當然畫面

animation into the image arrangement. If you look at my works, I

看起來好看是一定要的。

like to paint still objects a lot. When I am painting, I usually arrange

陸 : 宜洲那你是怎樣理解他的畫 ?

them as still objects because I have a lot of objects in my painting.

李 : 我覺得我先從看他的個性講起。我覺得我們畫廊代理的藝術家都是比較真

But I can't paint whatever I want to paint, it would be weird. So

性情的，喻帆本人也是蠻不做作的一個人，我一直覺得喻帆有一種能量就

I usually use still objects to arrange the image. Also, when I was

是他一直在批評自己的作品，這是為什麼他的創作可以越畫越好的一個原

teaching painting, I did a lot of arrangement of still objects, so I'm

因，他覺得他小時候風景畫不好，現在就瘋狂畫風景；他覺得從哪裡跌倒，

accustomed to adjust to the image arrangement. I practice many

就要從哪裡爬起來，別的很多當代藝術家，都在拼觀念的時候，或是他們

days in a week, repeatedly train myself to this to become instinctive

已經忽略了很多基本功的時候，喻帆覺得觀念、古典技法或是一些基本功

and very accustomed to arrange complicated objects. Next, I

的東西是可以並存的，所以我認為說詹喻帆現在在試圖走出一條路，我不

started with the angle of animations. In the beginning it was a bit

知道這條路最後會不會形成一個流派，或者一個風潮，但他試圖在做的一

comic, but afterwards, I tended to do it less comic because I don't

些東西可能跟日本超扁平文化其實是有點逆著來的。我認為詹喻帆式的創

want others to think that it was painted by Japanese. I don't dislike

作風格是一種超立體，他有大場景，可能十公里外的場景他畫進來了，十

Japanese people, I just don't want my work to look like Japanese. So

公分內的場景他也把它併入這個畫面中。所以我認為為什麼當初看到他，

I gradually remove the feeling of animation and adjust it to a more

後來畢業了之後的這一段作品是很讓我振奮的，別的畫廊可能會覺得年輕

classical method. That's about it.

藝術家好像不是很好經營，所以我就去問他：「下禮拜有沒有空？來簽個

Lu : Well explained. The style is derived naturally. It's a very good story.

合約吧！」這是我主要對他的一些看法。那對於藝術家怎麼推廣給收藏家

Like before, when I went out to give a speech, some mothers would

這部分，我覺得藝術推廣它畢竟是一種交心的事業，我跟收藏家都是交朋

say, “My kid loves to draw, so I want to find a professional to teach

友，我認為說年輕藝術家推廣的過程，要盡量讓多一點的人瞭解他，所以

him. How do I judge him to be a good teacher?” I didn't graduate

有些時候可能會花很多時間跟藏家聊詹喻帆的作品，像陳大哥還有很多大

from Art School, but I suggested her to see how the teacher arranges

哥我們會常常通電話，聊聊喻帆最近的一些創作，還有一些心境，那也很

the still objects. How he places the still objects represents how talented

感謝這些藏家能理解他的創作然後給予他很多的支持。我想主要就是喻帆

he is. Not just look at his techniques, but his image arrangement. So

今天有這些創作以及累積的成就，其實最大的主因都要歸功於詹喻帆他本

when he mentioned that he liked to paint still objects, he likes to study

身的才氣。

the arrangement of images, his liking of still objects creates his style

陸 : 你看年輕人真的是，我覺得都很棒，我們為什麼建議藏家去瞭解藝術家創

of tranquility. The preference of still thoughts and image arrangement

作，因為我自己也歷經了二十年，我是 1993 年正式進入藝術圈的航道，

made his creation very skillful at object and image arrangement.

所以今年也是我的 20 周年，這 20 年我自己在看畫已在改變，我自己當

Therefore, an image arrangement, a concept along with his emotional

秘書長的時候給自己找麻煩，我發現藏家都不懂，需要導覽我就去導覽，

expression in colors, formed Chan's style. To possess a unique style is

導覽我就要發揮自己的長才，但是這二十年之後導覽開始有自覺性，比如

very difficult. Sometimes we see works of young artist in the market, it is

說這張畫，我以前導覽我會怎麼講，詹喻帆畫著自己背著他老婆對吧 ?( 大

obviously unskillful plagiarism. Skillful and smarter plagiarism is called

家笑 )，詹喻帆呢，泡在湯裡，背對著他老婆，然後在看外星人，一個男

absorbing. Either way is seriously not good. I am happy to hear that Chan

生被外星人吸引，引起他的好奇心，男生會被好奇心吸引，他說他喜歡看

has tried to avoid that. He doesn't want to be Japanese, he doesn't want

外星人的電影，我說他對這個外星人充滿好奇心，但是看外星人同時自己

to be like animation, he doesn't want too much of still objects, he avoids

泡在游泳圈裡，自己泡在舒服的水裡看外星人，他根本就忘了他老婆，他

tradition. His avoidance creates his unique style. His avoidance gives him

老婆呢，就要在家裡點個火箭引起注意，就在家裡弄點事情來干擾他，要

the ability to create a new path. Can you see how difficult it is to form an

引起他注意，這是我十年前導覽方式。那麼在五年前的時候，喻帆在老婆

artist? Everything has to be in the right place to be there. After unique

的照顧之下，老婆把水放好了以後，讓他泡在裡面，享受他的人生、看著

style, it is the matter of the ratio of your Etiquette. When travelling to

他喜愛的大自然，然後看他喜愛的電視；老婆看他在看他愛的外星人，老

Europe and the US, I sometimes run into some galleries from the third

婆點了一個火箭去抓外星人回來給他，老婆對他是無限的奉獻；跪在那裡，

and fourth generations. I always ask them, “You have history of 100

為他點一隻火箭，然後老婆的這些小朋友們陪著他，一起飛上去，火箭升

years of gallery experience, how do you discover young artists and sign

空，都為了他。但是現在我要告訴各位藏家，盡量不要看懂他，因為看懂

contract with them?”They say, “We seldom sign contracts with artists

就沒意思了！擁有詹喻帆的畫的時候，千萬不要在家裡給自己設定一個故

less in a year. Usually after three to five years.” I say, “3-5 years? Then

事，因為畫是可以有多方面的解答，詹喻帆剛剛回答一個很好的事情，他

how do artists survive? He can’t live!” He says, “I would buy a couple

提到危險、提到蜂巢是個家，提到蜂巢流出來的蜜，就代表他的靈感，你

of paintings to keep him alive and put it in important locations in the

看到沒有，他每一件東西都有兩三面的，所以其實最好的導覽不是限制大

gallery.” You know how detailed the commercial galleries in Europe and

家的想法，而是給你一個寬廣的空間。所以當藏家把這張畫掛在家裡的位

the US analyze their walls? It’s almost like Costco. For example, your

子的時候，他裡面還有一個重要優點，藝術會帶來各種優點對吧 ? 增廣見

painting comes, and I think it’s good. I buy two from you, but I hang

聞、怡情養性、畫家居耳濡目染、社交話題、投資理財；投資理財是最貴

it in the window display for a week. If I don’t sell it in a week I hang it

的，但是裡面有一個耳濡目染的狀態，因為他掛在你家裡長時間，所以你

on the most important wall in the house for a week. If still not sold, I'd

的下一代在這個環境裡成長，他每天都在看這個詹喻帆的畫成長，將來他

hang it in the corner for a week. If not sold in a month, it goes into the

要找女朋友、找老公的都會受詹喻帆影響 ( 大家笑 )，所以你不能傳達單

warehouse. Their system is impressive. However, if your painting sells in

一的想像，一個高明的導覽老師不是讓你看懂這個畫，而是從這個畫裡面

the window display in less than three days, he will come to you and buys

208

得到啟發，然後每一個人想法都不一樣，所以詹喻帆的回答我覺得很有意思。

three paintings from you again. He uses the method of market

現在我導覽的心境已經不去設定限制，我以前也曾經講的口沫橫飛，然後藝

survey. First year, it's called market survey. Then he seeks for his

術家就站在我背後，我一回頭就問他說，你畫的時候有這樣想嗎 ? 他說陸老

target customers, the customers who have potential. Once the

師老實跟你講，你講得太精采，但我沒有這樣想 ( 大家笑 )；這一次的打擊，

testing period goes well, he observes you for 2-3 years. I asked

讓我覺得不要講的太清楚，因為我們看到一個畫回到一個單純的理念，他的

him what he was observing. He said, “He is observing the artist's

線條、構圖、色彩。我們剛才為什麼一定要今天逮到這個機會說，到底你想

ratio of etiquette and potential for breakthrough.” In other

在這個風格之下，走什麼路？想要表達什麼？其實他剛剛回答很好，他自己

words, in Europe and the US, if you paint 50 paintings this year,

也沒有設定一個狀態，很輕鬆、很單純的，他把靜物方面畫得很好，把他整

when the boss from a gallery comes to you, you would probably

個風景的結合，讓他畫出 Gary 說的所謂「超立體」，其實藝術無限，"Art

hide all the drafts and experimental works. You would only put

unlimited"，其實就是給藝術家寬廣的空間，事實上我今天體會會看畫的人，

the most remarkable 30 works to leave an impression, the second

也要有寬廣的空間去接納藝術家的創作，不要太較勁的去了解他到底想說什

year the boss comes, he would check if your ratio of etiquette

麼，但是偶爾逮到機會和詹喻帆聊聊天，你會更珍惜你家收藏的畫，因為他

improves in these two years or not. If you have any breakthrough

就代表著創作的靈魂。那我經常在講，需要有畫廊與藏家來購買這個畫，有

in your style. Then the third year, you use another 30 paintings to

了藏家的喜愛、收藏，他這個創作才 complete。所以藏家在家裡應該和藝術

show if your ratio of etiquette has elevated and the potential of

家一樣珍惜這張畫，然後能夠去體會詹喻帆心中靈魂所遭遇的狀態，那樣子

your breakthrough in style. He signs the contract. This is still not

是最棒的結果。

common in Taiwan. Because in Taiwan, if you don't sign a contract, the artist would be signed away by big galleries the next year if the works sell well. Therefore, in Chan's creation, due to his avoidance of similarities, we can see on each of his work the high ratio of etiquette. Because each of the works is very satisfying. So you have to reserve his works now, right?

Lee : Yes Lu : When people want to buy it, but can't buy it, they start to make reservations. I don't know. I haven't talked to them in private about how they feel about reserving works. Let's listen to what they say.

When an artist's works is hard to get in a gallery, you have to ask, if the collector says, “I want this painting of Chan, can I have a similar one?” I ask the owner of the gallery, how do you respond?

I want to buy this, but it’s sold out. Can you ask Chan to paint another one for me? Maybe adding one more astronaut? Adding a wife, or changing the position? Or making the cactus blossom?

( 左 ) 詹喻帆 , ( 右 ) 李宜洲 , 2013

(Left) Chan Yu-Fan, (Right) Gary Lee

209

Do you accept orders like this?

Lee : We have many collectors here today. Basically, we tend to use the

artist original creation.

Chan's painting?

Chan : I'll answer this one. I'm ok with taking orders, but it's Gary's job.

Chan : Most of my works only have meanings to me. It's normal because I

Usually I already finish the painting, then Gary sees it. So he seldom

painted it. I have thoughts in the content of the works. They are not

interferes. He is thoughtful that way. He is nice to me. Of course,

complicated, they are quite simple actually. I only choose to put

I try not to disappoint him. So I wouldn't mess up, either. But I do

in some elements because I want to. Many of them are repeatedly

paint what I want to paint. I'd still follow my own procedures, my

appearing on my works. For example, cameras, astronauts. That

path. Gary rarely tells me which collector likes what, or what size to

is simply because I like astronaut movies. I still want to meet

paint. I make the decision most of the time. I myself want to paint

astronauts. So they appear in my works. Actually, most of my works

like that. I think I can handle this size of canvas. This looks good to

consist of landscape. I wasn't good at drawing landscape before.

others. It looks good to me, then I'll do it. I am very grateful for the

Because as I said previously, I like to paint still objects, so I became

support from the collectors.

not so good at landscape. I am not sure why. Kind of stuck. It's not

Lee : Thank all the collectors here and the collectors who have not

that bad tho. Afterwards I discovered a way, which is not to paint

received Chan's paintings. My apology. Chan paints with one hand,

real landscape. I paint fake ones, then I'll be good. But the fake

the other hand is holding the canvas. If he grows another hand

landscapes in my painting fit. So I started to want to dig more on

out, maybe he might be more productive.

the landscape and let it become Chan's style's landscape. These

Lu : It would be great if he had eight hands. That's the perfect answer.

landscapes are of course pre-arranged. And I like to draw ocean,

We don't want to hear that a gallery owner tells an artist what

something dangerous, like honeycombs or tents. These elements

collectors want of a painting. When you agree to accept that kind

represent I want to have a home, but I don’t want to live with

of order, artists lose their souls because every creation has to

you. A little contradictory. The elements in the paintings are all like

derive from soul to be touching. The best answer would be what

losing something. Like the one with the honey gatherer and honey

Chan just said. We can only see after he finishes painting. The

flowing out. Something is losing out. It's like I want to leave. I don't

answer from collectors would be yes you can wait, you can get in

hate families. I want to have a home, but I don't want to stay in

line. It still is up to the artist to finish his works for you to pick what

there. I like to move about. I don't know what collectors think, but

you like. This is better. Another thing is Chan has his own method

the image has to look good.

of painting, his own style. When a collector owns and hangs

Lu : Gary, how do you understand his painting?

the painting at home, how does he understand Chan's painting.

Lee : I start with his character. The artists represented by our gallery

He needs the abilities of emotion, imagination and analysis to

are truthful. Chan is also a pure person, he doesn't like to act

understand. I have my own understanding, but I want to hear

about. Chan has a power, he keeps criticizing his own works. That

what Chan says. When collector owns your painting, they buy it

is why he keeps getting better. He wasn't good at landscapes, so

and bring it back home. It is like marrying your daughter to other

now he crazily paints landscape. He gets up from where he falls.

family, preciously hanging in other people's home. How does Chan

When other contemporary artists are still rushing into concepts,

anticipate collectors to appreciate your painting? I also want to

forgetting to work on the basics, Chan thinks concepts, classical

Gary talk about your expectation of collectors of understanding

techniques or the basics can coexist. Chan says he is trying a new

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2 11

path, I am not sure if this path would become a trend or a sect.

wife's unconditional love for him, kneeling there, lighting a rocket. The

He is trying to do a reverse “superflat” of Japan. I personally

children are flying up with him. Rocket flew up, all for him. But now, I

think Chan's creation style is super three dimensional. When he is

want to ask all the collectors, don't try to understand him. Because if

working on a big scene, he would put in scene from 10 km into his

you understand, then there's meaning of it. When you possess one of

painting. And he could also put in 10cm of scene in the image, too.

Chan's paintings, don't try to put a story over it. Because paintings can

That's why I see him in the first place. I really liked his works after

have many answers. Chan just said something great. He mentioned

his graduation. Other galleries think that young artists seem not

danger, and the honeycomb being home. The honey flowing out from

very easy to manage. So I asked, “ Are you free next week? Let's

the honeycomb symbolizes his inspiration. There are always two to three

sign a contract!” These are the main points I have for him. As for

aspects to his one object. Therefore, the best explanation is not limiting

how to promote artists to collectors, I think is to let more people

people's thoughts, but giving them a wide space. So when collectors

know him. It might take some time, to chat with collectors about

hang the painting at home, there is also a plus. Art brings all kinds of

Chan's works. Like Mr. Chen, we talk on the phone a lot, chatting

good things. It expands your vision, softens your character, soaking

about Chan's recent works, his mentality. I'm also very grateful that

your sense with social topics and financial investment. After a long time,

these collectors understand his works and give him a lot of support.

your next generation will also grow in this environment. They look at

Chan's creation and cumulated achievement came from his own

Chan's works everyday and grow. In the future, when he or she is looking

talent.

for girlfriend or husband, he or she will be influenced. You can't pass a

Lu : I think our youngsters are great! Why do we suggest collectors

simple thought. A skillful guide would not “make” you understand the

to understand artistic creation? I've also been through 20 years. I

painting; instead, he would want you to be inspired by the painting to

officially entered this field in 1993. This year is my 20th anniversary.

derive different thoughts. So I find Chan's answer very interesting. Now I

These past twenty years, I can see paintings are changing, too. I

don't set a standard when I do guiding tour. I used to talk a lot with artist

was a secretary, always looking for trouble. I found out that a lot

standing behind my back. I would turn to him and ask,“ Did you think

of collectors do not understand. So when guidance introduction is

that?”He would say,“Honestly, Mr. Lu, you explained it too well, I didn't

needed, I'll do it. This is how I expand my talent. After these twenty

think of that.”This impact made me understand not to say too much.

years, I started to develop a sense. For example, this painting, if it

When we see a painting, we go back to a simple thought, his thought,

were in the past, I would explain it as, “Chan is painting his wife,

his arrangement and the use of colors. Today is a great opportunity to

whose back is turning on him. Chan is soaking in the soup, back

ask Chan that what style, which path are you trying to express in your

against his wife. He is looking at the astronaut. A guy attracted by

paintings? He answered very well he didn't set a status. It was easy and

the astronaut, attracting his curiosity. The men is attracted by the

simple. He painted still objects very well. He integrated the landscape.

curiosity. He says he likes astronaut moves, I think he is curious

He painted what Gary just mentioned, the super three dimension. In

about this astronaut. But looking at astronaut while soaking in the

fact, art is unlimited. Meaning, giving artists a wide space. To tell you the

swimming ring, in the water comfortably. He completely forgets his

truth, I also realized that we need to give observers a wide space to take

wife. As for his wife, she has to light up the rocket at home. Making

in artists creation. Don't try too hard to understand what he's trying to

a fuss to distract him, attracting his attention. This is how I would

say. But if you run into Chan and talk to him, you would treasure more

explain ten years ago. So if five years ago, Chan, under his wife's

that painting in your collection because he is the soul of his creation.

care, once his wife fills the water, he soaks in it, enjoying his life.

As I always say, we need galleries and collectors to buy paintings. Being

He is looking at the natural landscape he likes, the TV program he

collected completes his creation. Therefore, collectors should treasure

likes. His wife is looking at him looking at the astronaut he likes.

the works at home as much as the artists do, to understand the state in

Then his wife lights a rocket to catch an astronaut for him. His

Chan's soul. That is the best result.

心臟人 No.1~No.9, 2014~2017

The Heart Man No.1~No.9

本 於 一 個 藝 術 家 的 初 心 及 熱 情 來 創 作， 我 認 為 創 作 沒 有 種 族 或 國 界 的 差 異， 如 同 每 顆 心 都 是 一 樣 的， 人 的 外 貌 會 顯 示 出 種 族 、 年 齡 、 社 會 地 位 … 但 我 認 為 藝術的殿堂是平等的，因此我以心臟人為代表我的自畫像。

Based on an artist's original motive and passion to create, I think creativity does not differ in race or nationality. Just like every heart is the same. People's appearance would show the race, age, social ranking…etc. But I think everyone is equal in art. That's why I use “Heart” as a self-portrait.

—詹喻帆 Chan Yu-Fan

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報 導 Media

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簡

歷

Biography

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詹喻帆 1983 出生台北 2002 國立臺灣藝術大學美術系 學士 2006 國立臺灣師範大學美術系研究所 碩士

典藏 2015 白兔美術館，雪梨，澳洲 2014 國立台灣美術館，台中，台灣 2013 奇美博物館，台南，台灣

獲獎 2013 第二十五屆奇美藝術獎 具象美術創作類西畫組，台南，台灣 2011 第三屆當代藝術博覽會 新潮賞─人氣賞 第一名，台北，台灣 2010 第二屆當代藝術博覽會 新潮賞─人氣賞 第三名，台北，台灣 2007 警察節美展西畫組 第一名，新北，台灣 台灣國展油畫比賽 優選獎，高雄，台灣 2006 第九屆新莊美展西畫類社會組 第一名，新北，台灣 2005 第十七屆全國美展水彩類 入選，台北，台灣 2002 第一屆警專美展西畫類 第一名，台北，台灣 2001 第六屆大墩美展水彩類 大墩獎 第一名，台中，台灣 第二十八屆全國青年水彩寫生比賽社會組 第二名，台北，台灣

展覽 2017 臺北國際藝術博覽會，台北世貿一館，台北，台灣 2017 臺北國際當代藝術博覽會，台北喜來登飯店，台北，台灣 2017 三亞沙灘藝博會，三亞亞龍灣瑞吉度假酒店，海南島，中國 2016 《象外之象─寫實藝術家聯展》，青雲畫廊，台北，台灣 2016 台南藝術博覽會，大億麗緻酒店，台南，台灣 2016 《少遊島繪社 孵畫日記》，金車文藝中心，台北，台灣

222

2016 《情感與形式─藝術家的心靈夢土》，101 Gallery，台北，台灣

2005 台藝師大繪畫聯展，師大藝廊，台北，台灣

2015 《少遊島繪社 再見甲午》，華山 1914 文化園區，台北，台灣

2005 《台藝．竹師─十人寫實繪畫展》，台灣藝術大學、新竹師範學院、

2015 台南藝術博覽會，大億麗緻酒店，台南，台灣

大古文化，台北、新竹、台中，台灣

2015 高雄藝術博覽會，駁二藝術特區，高雄，台灣

2004 肆民聯展，台灣藝術大學，新北，台灣

2015 台中藝術博覽會，台中日月千禧酒店，台中，台灣

2003 三槍牌聯展，台灣藝術大學，新北，台灣

2015 《台北．拾光 第二回新光三越羊年燈展—藝氣風發．夢想飛羊》，台北 信義新天地 香堤廣場，台北，台灣

Chan Yu-Fan

2014 上海城市藝術博覽會，豪華精選酒店，上海，中國 2014 《少遊島繪社 致親愛的你─第二號創作展》，金車藝文中心，台北，台灣

Education

2014 桃園國際動漫大展，桃園展演中心，桃園，台灣

1983 Born in Taipei

2014 台南藝術博覽會，大億麗緻酒店，台南，台灣

2002 Graduated from National Taiwan University of Art

2014 台中藝術博覽會，台中日月千禧酒店，台中，台灣 2013 台南藝術博覽會，大億麗緻酒店，台南，台灣 2013 台中藝術博覽會，台中金典酒店，台中，台灣 2013 《少遊島繪社 藝起發酵─藝術創作展》，金車藝文中心，台北，台灣 2013 《移境造劇─詹喻帆個展》，青雲畫廊，台北，台灣

Fine art Bachelor degree 2006 Graduated from National Taiwan Normal University Fine art Master degree Collection 2015 White Rabbit Gallery, Sydney, Australia

2012 《未來通行證全球巡迴展─今日北京站》，今日美術館，北京，中國

2014 National Taiwan Museum of Fine Art, Taichung, Taiwan

2012 台南藝術博覽會，大億麗緻酒店，台南，台灣

2013 Chimei Museum, Tainan, Taiwan

2012 臺北國際藝術博覽會，台北世貿一館，台北，台灣 2012 臺北國際當代藝術博覽會，台北喜來登大飯店，台北，台灣

Award

2012 台北新藝術博覽會，台北世貿二館，台北，台灣

2013 15th Chimei Arts Award- category of figural art, oil painting,Tainan,

2012 台南府城藝術博覽會，大億麗緻酒店，台南，台灣 2011 臺北國際藝術博覽會，台北世貿一館，台北，台灣 2011 臺北國際當代藝術博覽會，台北王朝大飯店，台北，台灣 2010 臺北國際當代藝術博覽會，台北王朝大飯店，台北，台灣 2010 《吞世代制服物語─詹喻帆個展》，青雲畫廊，台北，台灣 2009 《初回限定 制服物語─詹喻帆個展》，金車藝文中心，台北，台灣 2008 《境外之詩─聯展》，板橋文化中心，新北，台灣 2006 師大美研所西畫十六人聯展，師大藝廊，台北，台灣

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Taiwan 2011 3th Young Art Taipei – First Prize of YAT, Taipei, Taiwan 2010 2th Young Art Taipei – Third Prize of YAT, Taipei, Taiwan 2007 The Art of Police Officer Festival – First Prize of oil painting, New Taipei City, Taiwan 2007 Taiwan National Exhibition of Art – Quality Award of oil painting, Kaohsiung, Taiwan 2006 9th Xinzhuang Art Exhibition Award – category of oil painting, First Prize, New Taipei City, Taiwan

2005 17th National Art Exhibition – category of water color, Selected, Taipei, Taiwan 2002 1th Taiwan Police College Art Exhibition Award – category of oil painting, First prize, Taipei, Taiwan 2001 6th Da Dun Fine Art Exhibition- category of water color, First prize, Taichung, Taiwan 2001 28th National Teenager Water Color Life Drawing Contestcategory of adult, Second prize, Taipei, Taiwan

2014 ART TAINAN, Tayih Landis Hotel Tainan, Tainan, Taiwan 2014 ART TATCHUNG, Millennium Hotel Taichung, Taichung, Taiwan 2013 ART TAINAN, Tayih Landis Hotel Tainan, Tainan, Taiwan 2013 ART TATCHUNG, The Splendor Hotel, Taichung, Taiwan 2013 《Show Your Island Artist Group Fermentation—Art exhibition》, Kingcarart Art exhibition, Taipei, Taiwan 2013 《Moved the Situation, Created the Drama – Chan Yu-Fan solo exhibition》, Cloud Gallery, Taipei, Taiwan 2012 《Future Pass World Exhibition——Today Beijing Station》, Today

Exhibition

Art Museum, Beijing, China

2017 ART TAIPEI, TWTC HALL 1, Taipei, Taiwan

2012 ART TAINAN, Tayih Landis Hotel Tainan, Tainan, Taiwan

2017 YOUNG ART TAIPEI, Sheraton Grand Taipei Hotel, Taipei, Taiwan

2012 ART TAIPEI, TWTC HALL 1, Taipei, Taiwan

2017 Sanya beach Art exhibition, Starwood Hotels, Hainan Island, China

2012 YOUNG ART TAIPEI, Sheraton Grand Taipei hotel, Taipei, Taiwan

2016 《Abstract out of Concrete – Realism artist group exhibition》,

2012 2th Art Revolution Taipei, TWTC HALL 2, Taipei, Taiwan

Cloud Gallery, Taipei, Taiwan 2016 ART TAINAN, Tayih Landis Hotel Tainan, Tainan, Taiwan 2016 《Show Your Island Artist Group Hatching Diary》, Kingcarart Art exhibition, Taipei, Taiwan 2016 101 Gallery X Cloud Gallery, Taipei101, Taipei, Taiwan 2015 《Show Your Island Artist Group Goodbye Jiawu》, Huashan 1914 Creative Park, Taipei, Taiwan 2015 ART TAINAN, Tayih Landis Hotel Tainan, Tainan, Taiwan 2015 ART KAOHSIUNG, The Pier-2 Art Center, Kaohsiung, Taiwan 2015 ART TATCHUNG, Millennium Hotel Taichung, Taichung, Taiwan 2015 《Taipei‧Light Snap, 2nd Shin Kong Mitsukoshi Year of the Sheep Lanterns Show》, Shin Kong Mitsukoshi Xinyi Plaza, Taipei, Taiwan 2014 CITIZEN ART SHANGHAI, A Luxury Collection Hotel, Shanghai, China 2014 《Show Your Island Artist Group To Dear You—Second creative exhibition》, Huashan 1914 Creative Park, Taipei, Taiwan 2014 Taoyuan International ACGT Fair, Taoyuan Arts Center, Taoyuan, Taiwan

2012 ART TAINAN, Tayih Landis Hotel Tainan, Tainan, Taiwan 2011 ART TAIPEI, TWTC HALL 1, Taipei, Taiwan 2011 YOUNG ART TAIPEI, Sunworld Dynasty Hotel Taipei, Taipei, Taiwan 2010 YOUNG ART TAIPEI, Sunworld Dynasty Hotel Taipei, Taipei, Taiwan 2010 《Swallowed Generation of the Uniform– Chan Yu-Fan solo exhibition》, Cloud Gallery, Taipei, Taiwan 2009 《The First Limited-Story of the Uniform– Chan Yu-Fan solo exhibition》, Kingcarart Art exhibition, Taipei, Taiwan 2008 《The poetry out of the situation– group exhibition》, Panchiao Culture center, New Taipei City, Taiwan 2006 NTNU Art graduate school oil painting sixteen people group exhibition, NTNU gallery, Taipei, Taiwan 2005 NTUA & NTNU group exhibition of painting, NTNU gallery, Taipei, Taiwan 2005 NTUA & HTC ten person realistic painting exhibition, New Taipei City, Hsinchu, Taichung, Taiwan 2004 The Fourth group exhibition, NTUA, New Taipei City, Taiwan 2003 3GUN group exhibition, NTUA, New Taipei City, Taiwan

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詹 喻 帆 - 時 空 造 境 CHAN YU-FAN - FORMATION OF SPACE AND TIME 新 古 典 平 行 劇 場 NEW CL ASSIC PARALLEL THEATRE

出 版 者：青雲畫廊 地 址 ：台北市中山區明水路 469、471 號 電 話 ：02-25332839 網 址 ：http://www.cloud-gallery.org/ 信 箱 ：cloudgallery1@gmail.com 總 編 輯 ：李宜洲 視 覺 設 計：古力仁 美 編 ：吳謹如 資 料 彙 集 ：蕭興宇 翻 譯 ：林宥汝、曹可欣 文 字 校 對 ：張家馨 攝 影 ：青雲畫廊 印 製 ：秋雨印刷 版 次：初版 , 2018 年 6 月 定 價：NT.2000

Publisher : Cloud Gallery Address : No.469, 471, Mingshui Rd., Zhongshan Dist., Taipei City 104, Taiwan Tel : +886-2-25332839 Web : http : //www.cloud-gallery.org/ Email: cloudgallery1@gmail.com Executive Director : Gary LEE Visual Designer : KU Li-Jen Designer : WU Jin-Ru Data collection : HSIAO Sing-Yu Translation : LIN Yo-Ru & TSAO Ke-Shin Proofreading : CHANG Chia-Hsin Photography：Cloud Gallery Print : Choice Company Publishing Date : First Edition, June 2018 Price : NT.2000

詹喻帆 - 時空造境 : 新古典平行劇場 / 李宜洲總 編輯 ; 林宥汝 , 曹可欣翻譯 . -- 初版 . -- 臺北 市 : 青雲畫廊 , 2018.06 面 ; 公分 中英對照 ISBN 978-986-88808-1-8( 精裝 ) © 2018 Cloud Gallery. All text and photography in this book if not otherwise credited

1. 油畫 2. 畫冊 3. 畫論

is the copyright of © Cloud Gallery, 2018 All rights reserved. No part of this book may be reproduced in any form or by

948.5

106022493

any means, electronic or mechanical, including photocopy, recording, or by an information storage or retrieval system, without permission in writing form the

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未 註 明 版 權 出 處 之 圖 像 或 文 章， 其 版 權 均 屬 青 雲 畫 廊 所

publisher.

有。未經出版者同意，不得以任何方式，包括電子、影印、

All the reproduced artworks are © the artist, Chan Yu-Fan, reproduced by kind

攝影、或任何資訊系統拷貝或轉載。所有畫冊圖像版權屬

permission, and made available by Cloud Gallery, Taipei.

於藝術家詹喻帆，青雲畫廊經由藝術家授權使用。若有任

Should there be copyright holders of any work in this publication whose due claims

何版權上的疑問，請洽青雲畫廊。

have not been cleared, such claims should be addressed to the publisher.