當代台灣．抽象藝術經典展 Contemporary Taiwan : An Exhibition of Abstract Art Classics by Fritz Lee StudiO

策展人 Curator

蕭瓊瑞 HSIAO Chong-Ray

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抽象經典展當代台灣

Curator

策展人

HSIAO Chong-Ray

蕭瓊瑞

Cont e m porar y Tai wan: An E xhi bi ti on of A bs trac t Ar t Clas s i c s 003

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本展是採取歷史回顧的角度，以仍然在世的藝術家作品，舖陳抽象藝術在台灣生根、發展的具體面貌，是戰後台灣最具規模的一次抽象藝術大展；參展藝術家共是一場深具學術價值與歷史意義的藝術盛宴。

5位 7 ，展出作品多達

1 0件 3 ，｜策展人蕭瓊瑞

From a retrospective perspective and through artworks of living artists, Contemporary Taiwan: An Exhibition of Abstract Art Classics portrays how abstract art has taken roots and continuously developed in Taiwan,

｜

Curator HSIAO, Chong Ray

and will be one of the largest abstract art exhibitions in post-war Taiwan. It includes 57 artists and displays 103 artworks, and will be an artistic feast that possesses both academic value and historic significance.

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當代台灣抽象藝術經典展

Contemporary Taiwan: An Exhibition of Abstract Art Classics

策展人

蕭瓊瑞

Curator

Chong-Ray HSiAO

發行人

陳聰徒

Publisher

Tsung-Tu CHEN

總編輯

林清汶

Chief Editor

Vincent LIN

策劃編輯

鄭佩芳

Planning Editor

Peggy CHENG

執行編輯

杜綺文、戴弈恩

Executive Editor Audrey TU, En TAI

編輯協力

何立心、曾金鈴、蔡怡芬

Coeditor

Lihsin HO, Lilian TSENG, Joan TSAI

設計

Free Fritz

Designer

Free Fritz

藝術行銷

李朝馨

Marketing

Sabrina LEE

發行單位

耘非凡美術館

Published by

Remarkable Cultivation Art Gallery

台南市東區林森路一段 370 號

No.370, Sec. 1, Linsen Rd., East Dist., Tainan City 701, Taiwan

Tel

886-6-2600-605

Tel

886-6-2600-605

出版單位

采泥藝術

Issued by

Chini Gallery

台北市大直敬業一路 128 巷 48 號 1 樓

1F, No.48, Ln 128, Jingye 1st Rd., Zhongshan Dist.,

Tel

886-2-7729-5809

出版日期

2017 年 3 月初版

Tel

國際標準書號

978-986-88449-9-5

Publishing Date March., 2017 First Print

定價新台幣

1500 元

ISBN

978-986-88449-9-5

Price

TWD 1500

Taipei City 10462, Taiwan 886-2-7729-5809

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Contemporary Taiwan :An Exhibition of Abstract Art Classics

當代台灣抽象藝術經典展

策展人：蕭瓊瑞 Curator: HSIAO Chong-Ray

主辦單位∣耘非凡美術館

Organized by Culture Affairs Bureau, Tainan City Government

執行單位∣采泥藝術

Executed by Chini Gallery

2016.12.17 − 2017.03.31 地點：耘非凡美術館（台南市東區林森路一段 370 號）

Venue: Remarkable Cultivation Art Gallery ( No.370, Sec. 1, Linsen Rd., East Dist., Tainan City 701, Taiwan )

參展藝術家 Participated Artists 繪畫類 Painting

張正仁 CHANG, Cheng-Jen (1953-)

朱為白 CHU, Wei-Bor (1929-)

胡坤榮 HU, Kun-Jung (1955-)

霍

剛 HO, Kan (1932-)

莊

喆 CHUANG, Che (1934-)

蕭

勤 HSIAO, Chin (1935-)

陳正雄 CHEN, Cheng-Hsuing (1935-) 李錫奇 LEE, Shi-Chi (1938-)

黃朝湖 HUANG, Chao-Hu (1939-)

李重重 LEE, Chung-Chung (1942-) 陳張莉 Jenny CHEN (1945-)

楊識宏 YANG, Chi-Hung (1947-) 莊洛

普 TSONG, Pu (1947-) 貞 LO, Tsen (1947-)

賴美華 LAI, Mei-Hua (1948-)

陳世明 CHEN, Shu-Ming (1948-) 楊世芝 Emily S.C. YANG (1949-) 謝義

Idea HSIEH (1949-)

許雨仁 HSU, Yu-Jen (1951-) 曲德義 CHU, Teh-I (1952-) 賴純純 LAI, Jun T. (1953-)

陳聖頌 C. Shenson (1954-)

曾凱智 Cliff TSENG (1974-)

吳東龍 WU, Tung-Lung (1976-)

薛保瑕 Ava, Pao-Shia HSUEH(1956-)

雕塑類 Sculpture

蔡志榮 Dino TSAI (1957-)

楊元太 YANG, Yuan-Tai (1939-)

劉高興 LIU, Kao-Sing (1958-)

黃步青 HWANG, Buh-Ching (1948-)

徐畢華 Jessica Pi-Hua HSU(1957-) 劉永仁 LIU, Yung-Jen (1958-) 劉國興 LIU, Kuo-Hsing (1960-)

顏頂生 YEN, Ding-Sheng (1960-) 郭博州 KUO, Bor-Jou (1960-) 楊智富 C.D.YANG (1960-)

謝鴻均 Juin SHIEH (1961-)

林鴻文 LIN, Hong-Wen (1961-)

陶文岳 TAO, Wen-Yueh (1961-) 董心如 TUNG, Hsin-Ru (1964-)

黃致陽 HUANG, Zhi-Yang (1965-)

張富峻 CHANG, Fu-Chun (1965-) 謝貽娟 Jo HSIEH (1967-)

耿晧剛 KENG, Hao-Kang(1969-) 紀嘉華 Jason CHI (1969-)

指導單位∣臺南市政府文化局主辦單位∣耘非凡美術館執行單位∣采泥藝術贊助單位∣富立建設、久光企業協力單位∣加力畫廊、尊彩藝術中心、双方藝廊、非畫廊媒體協力∣典藏今藝術、典藏投資、藝術家、當代藝術新聞

高燦興 KAO, Tsan-Hsing (1945-) 黎志文 LAI, Chiman (1949-) 蔡

根 TSAI, Ken (1950-)

李光裕 LEE, Kuang-Yu (1954-) 徐永旭 HSU,Yunghsu (1955-)

梁任宏 LIANG, Jen-Hung (1957-) 蔡志賢 TSAI, Chih-Hsien (1958-)

張清淵 CHANG, Ching-Yuan (1960-) 宋璽德 SUNG, Hsi-Te (1964-)

廖迎晰 LIAO, Ying-Hsi (1968-)

吳孟璋 WU, Meng-Chang (1971-) 姜憲明 JIANG, Shen-Min (1972-) 陳麗杏 CHEN, Li-Hsing (1972-)

Supported by Culture Affairs Bureau, Tainan City Government Organized by Remarkable Cultivation Art Gallery Executed by Chini Gallery Sponsored by Fuly Construction Corporation, Chris Cam Mirror Inc. Co-executed by InART Space, LIANG Gallery, Double Square Gallery, Beyond Gallery Media Cooperated by ARTCO Monthly, Art Investment, Artist Magazine, CANS

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The Reading that Opens the Gate of Culture The Meditation that Leads to the Hall of Arts

打開文化的閱讀，引入藝術的沈思陳 / 聰徒富立建設總監

Text / CHEN, Tsung-Tu Director, Fuly Construction Corporation

文

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在一個好地方；一個很適合藝文的空間，又能集合多位的藝術創

The most joyful event for “Contemporary Taiwan: An Exhibition of Abstract

作者們所共同參與的盛事，這是「當代台灣 • 抽象藝術經典展」

Art Classics” is to gather a number of artists in a good place, a space that is

最大的喜事，同時也是台南寤寐企求的榮幸。

ideal for holding art and cultural activities. This also a great honor for Tainan as it has dreamed of.

台南是以文化立市的城市，「耘非凡」完成之際，現下美術館的這個場域原本是銀行的規格，我又思考著是否可以舉辦住戶的收

Tainan is a city featuring abundant culture. When the project of Remarkable

藏展，而正巧由蕭瓊瑞教授策展、「采泥藝術」執行，並集結

Cultivation was completed, I started to think if it was possible to exhibit

各家藝術領域單位一同協力完成的「當代台灣 • 抽象藝術經典

artworks collected by the residents in this art gallery, a venue originally

展」，呈現了 57 位創作者、多達 103 件藝術作品是極為不簡單

designed for opening a bank. Coincidentally, “Contemporary Taiwan: An

的事。

Exhibition of Abstract Art Classics”, which was curated by Professor Hsiao Chong-Ray and organized by Chini Gallery was about to take place. This

很幸運地，台灣第一個又是最大的抽象藝術展在台南舉辦，又何

exhibition, which gathers over 100 of artworks created by 57 artists, is truly an

其有幸在「耘非凡」，在此，「富立建設」只是場所的塑造者，

impressive work.

在這個場所展出的所有作品會得到更大迴響、盪起更大漣漪。我認為城市的空間與建築除了具體的功能性，更需注入精神價值，

Luckily, this Taiwan’s first and biggest abstract art exhibition was about to

賦予人們更豐富的生活體驗，這也是身為建築人的責任與使命。

take place in Tainan and it is great honor for Remarkable Cultivation to hold this great event. “Fully Building” is only the creator of this space, whereas all artworks exhibited in this venue will surely receive echoes from the audience and make greater impacts. I think it is a must not only to include specific functions, but also to inject certain spiritual values in a city’s special and architectural design. As a member of the architecture industry, these are and will be our responsibility and mission.

文

A Splendid Celebration of Taiwanese Abstract Art Classics in Tainan

一場台灣抽象藝術群雄薈萃的盛會在台南發光

台灣抽象藝術自戰後 1950 年代以後，經歷萌芽、發展，爾後幾

Curated by the renowned art historian in Taiwan, Hsiao Chong-Ray,

個階段的高峰，在 21 世紀的當下已呈現其多元且豐富的面貌。

"Contemporary Taiwan: An Exhibition of Abstract Art Classics" presents more

由台灣知名美術史家蕭瓊瑞所策劃的「當代台灣．抽象藝術經典

than one hundred artworks by fifty-seven living artists, piecing together a

展」即以 57 位在世藝術家，共 103 件作品的一次展出，幾近完

complete picture of the development of Taiwanese abstract art in the past

整體現台灣近幾十年來的抽象藝術發展，蔚為台灣戰後最具規模

decades. It is the largest abstract art exhibition in post-war Taiwan.

的一次抽象藝術大展。 Chini Gallery is honored to be the coordinator of this exhibition, organizing

「采泥藝術」，很榮幸擔任本展的執行單位，策劃與執行台南「耘

and realizing the grand opening exhibition of Remarkable Cultivation Art

非凡美術館」開幕大展，並邀請到台灣知名美術史家蕭瓊瑞擔任

Gallery in Tainan. We have invited the renowned art historian, Hsiao Chong-

本展策展人，為本展奠定紮實的學理基礎。同時，也承蒙台南「富

Ray, to be the curator of the exhibition, who provides solid curatorial and

立建設」的大力支持，以企業家的氣度與魄力，展現實踐推廣藝

theoretical discourse for the exhibition. In addition, we are grateful for the

術美學的良意。「當代台灣．抽象藝術經典展」乃集結智者的視

great support of Fuly Construction Corporation, who demonstrates their great

野、傻瓜的膽量和勇士的決心，以台灣人的執著與拼勁，向自己、

intention to realize and promote arts and aesthetics with entrepreneurial

向中國、向世界表達文化底蘊和自強的力量。

magnanimity and resolution. "Contemporary Taiwan: An Exhibition of Abstract Art Classics" is the crystallization of vision, courage, and resolution,

我也相信，「當代台灣．抽象藝術經典展」在「耘非凡美術館」

showing ourselves, China, and the world the cultural profoundness and self-

的盛大登場，對於台南在地有其深刻的意義。台灣抽象藝術運

reliant power with the persistence and dedication of the Taiwanese people.

動，經過戰後超過五十年的沈澱、滋養，在華人社會已興蓬勃高潮的此刻，即是由台南開始，也讓本展在台灣抽象藝術發展的定

I also believe that the grand exhibition at Remarkable Cultivation Art

位上，留下一則不可抹滅的史頁篇章。

Gallery carries unique signiﬁcance to people in Tainan. After more than ﬁve decades of quiet progress and growth, Taiwanese abstract art movement

Text / Vincent LIN, General Manager of Chini Gallery

林 / 清汶采泥藝術總經理

「當代台灣．抽象藝術經典展」—一場屬於時代的、傳承的、群

has reached its historic culmination in the Chinese society. This exhibition in

雄薈萃的藝術盛會，很榮幸與各位一起在橫跨五十年的台灣抽象

Tainan is a milestone, which will surely be recorded in the history of Taiwanese

藝術發展的向度上，共同留下參與的軌跡。這趟看似不可思議的

abstract art and will never be forgotten.

旅程，也著實做為「采泥藝術」推廣台灣現當代藝術的用心與誠意，一個最真切的證成。

"Contemporary Taiwan: An Exhibition of Abstract Art Classics" is a splendid artistic celebration that honors this era and our legacy. It is our greatest pleasure to be able to share with all this journey that spans fifty years of Taiwanese abstract art. At the same time, this incredible journey is also a testament to Chini Gallery's dedication and sincerity in promoting Taiwanese modern and contemporary art.

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當代台灣抽象藝術經典展純粹與深邃 │

抽象藝術的成立，是人類文明 20 世紀偉大的成就之一。藝術的表

蕭勤促成的歐洲現代藝術家作品的來台展出，持續多年，其中

現，脫離外在物象的模仿與拘限，回到純粹形色組構的思考；或

也包括日後極具知名度的空間派大師封答那 (Lucio Fontana,

是映現內在精神的真實、或是純粹視覺美感的表現，乃至抽象藝

1899-1968 ) 等人的作品；同時，蕭勤也將東方畫會的作品攜往

術歷史本身的反思，這是人類心靈達於絕然自信與自由的結果。

歐洲展出，獲得極大迴響。這樣的舉動，也促成多位東方畫會成員的陸續赴歐。

台灣的抽象藝術，是在戰後初期的 1950 年代開始出現，在 60 年代形成第一波高峰，「抽象」幾成「現代」的同義辭。1957

而蕭勤本人的創作也始終保持著高度的前衛性與獨創性。出自良

年成立的「東方畫會」和「五月畫會」，正是這波抽象風潮最重

好的家世背景，父親是中國第一位留德音樂學博士、也是上海音

要的推動者。

專的創辦人蕭友梅 (1884-1940)；不過蕭勤卻有一個悲慘的成長經歷：5 歲時父親不幸過世，10 歲時，母親也蒙主寵召，留下

文蕭 / 瓊瑞策展人

其中，東方畫會的蕭勤 (1935-)，1956 年年底，即以西班牙

唯一的妹妹，卻有精神上的宿疾。15 歲時，隨姑媽來到台灣，

政府提供的獎學金，前往馬德里留學，開始以「歐洲通訊」

就讀台北師範；23 歲那年去了西班牙。動盪、飄泊的生命歷程，

的專欄，在當時台灣最具影響力的主流媒體《聯合報》，定

也成就了蕭勤獨特的藝術思維與風格；他自述：自己的藝術正是

期報導歐洲當代藝術的最新趨勢，成為台灣抽象藝術發展重要

父親的人文主義加上母親的宗教影響，一方面是哲理的、分析

的資訊來源；而蕭勤對台灣現代藝術，尤其抽象繪畫發展的貢

的、實證的，二方面是玄學的、神秘的、綜合的。不論是自由流

獻，更重要的是：1957 年 11 月東方畫會推出首展時，引進

動的線條，或一度走向硬邊的結構，蕭勤的創作，是一種對生命、

了 14 位西班牙當時知名的現代藝術家，包括：達拉茲 (Juan

宇宙的永恆好奇與探討。2

Jos’e Tharrats,1918-)、法勃爾 (Will Faber,1901-)、阿爾各依 (Bouardo Alcoy,1930-)……等人，將作品送來台灣，和東方畫

同為東方畫會的霍剛 (1932-)，原名霍學剛；生於南京，1949 年

會成員的作品一起展出。

隨國民革命軍遺族學校來台。在台北師範學校 ( 今國立台北教育大學 ) 藝術科就讀期間，進李仲生畫室學習，也就成為「東方畫

這樣的舉動，在當時台灣實施「戒嚴」的緊張情勢下，固然是為

會」創始會員的「八大響馬」之一。

了避免當局因不瞭解「抽象藝術」而產生的疑慮與打壓，特地以同為「反共」國家的西班牙藝術家來證明：這樣的作品絕非「共

霍剛早期的作品，頗富實驗探索的前衛精神，運用一種自由想像

產主義」的產物，創作這樣作品的人，也絕非「共產主義」的同

的連續性線條，發展出具有潛意識特色的圖像，勾引觀者產生一

路人，而是「反共」和「自由」的象徵與表現；另一方面，卻也

種具夢幻、灰沈的聯想，可視為霍剛的「灰色時期」。稍後，畫

讓台灣藝術家和民眾，首次見識到歐洲現代藝術，尤其是「抽象

面轉向以帶有墨韻和版拓趣味的黑色為主體，中間夾雜著一些淡

藝術」的原作，大大地打開了創作的眼界與思維，進而改變了台

紅、淡藍的色彩，猶如雄渾樂曲中的裝飾音，呈顯一種輕靈跳動

灣藝術發展的氛圍與走向。

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的感覺。

詳參蕭瓊瑞《五月與東方─中國美術現代化運動在戰後台灣之發展 (1945-1970)》，台北：東大圖書公司，1991.11。

詳參蕭瓊瑞〈宇宙過客─蕭勤的心靈逆旅〉，《榮源─蕭勤七十回顧展》，台北：大未來畫廊藝術有限公司，2006.4。

An Exhibition of Contemporary Abstract Art Classics in Taiwan Pureness and Profoundness —

The creation of abstract art is one of the great achievements in human

Throughout the years, Hsiao continued to facilitate exhibitions of European

civilization in the 20th century. Artistic expression escapes the imitation

modern artists in Taiwan, including Lucio Fontana (1899-1968), the renowned

and conﬁnement of external appearances and becomes focusing on the

artist of Spatialism who had achieved great fame later. In the meantime,

composition of pure forms and colors, beginning to reﬂect the spiritual truth

Hsiao also brought artworks of the Ton Fan Art Group to Europe and received

of the inner realm, to purely display the visual sense of beauty, or to conduct

great positive feedback. Through such efforts, many members of the Ton Fan

a contemplative dialogue with the history of abstract art itself. Abstract art

Art Group also pursued their career in Europe later.

symbolizes the absolute conﬁdence and freedom of the human psyche. Hsiao's work was highly avant-garde and uniquely creative. He grew up in a Taiwanese abstract art began emerging in the 1950s after the war, and

ﬁne household. His father, Hsiao Yiu-Mei, was China's ﬁrst PhD in Musicology,

came to its first peak in the 1960s when the term "abstract" became

who studied in Germany, and the founder of the National Institute of Music

synonymous to "modern." The Ton Fan Art Group and the Fifth Moon Art

in Shanghai. However, Hsiao had an unfortunate early life before reaching

Group, both founded in 1957, were crucial forces behind this wave of

adulthood—he lost his father at the age of ﬁve, and his mother when he was

abstract art.

ten; moreover, his only sister suffered from mental illness. His aunt brought him to Taiwan when he was ﬁfteen years old, and he later entered Taiwan

Among the artists in the two art groups, Hsiao Chin (1935-), a member of the

Provincial Normal School, and went to Spain at twenty-three. His instable and

Ton Fan Art Group, began studying in Madrid with a scholarship offered by

drifting life contributed to the formation of his unique artistic ideas and style.

the Spanish government at the end of 1956, and started writing a column,

According to the artist, his art is a combination of his father's humanism and

titled "European Correspondence," which was published on the mainstream

his mother's religious belief; one is philosophical, analytical, and empirical

media of the time, "Union Daily." The column provided regular updates and

while the other transcendental, mystical, and encompassing. Whether it is

reports on the latest contemporary art trends in Europe and served as an

the ﬂowing, unfettered lines or the structure informed by hard-edge painting,

essential source of information for the development of Taiwanese abstract

Hsiao's painting has revealed his everlasting curiousness and exploration of

art. Hsiao's another crucial contribution to the development of Taiwanese

life and the cosmos. 2

abstract art, and a fairly important one, was his introduction of fourteen Spanish modern artists when Tong Fang Art Group held its ﬁrst art exhibition

Ho Kan (1932-), whose given name was Ho Xue-Kan, was born in Nanjing.

in November, 1957. These foreign artists had already achieved fame at the

He came to Taiwan with the School for the Descendants of the National

time, such as Juan José Tharrats (1918-2001), Will Faber (1901-1987), Bouardo

Revolutionary Army in 1949, and studied ﬁne art at Taiwan Provincial Normal

Alcoy (1930-), etc., whose works were shipped to Taiwan and shown together

School (now National Taipei University of Education). During this period, he

with the works by the members of the Ton Fan Art Group in the exhibition.

also studied at Li Chun-Shan's studio, and was later named one of the "Eight Great Outlaws," the eight founding members of the Ton Fan Art Group.

Under the intense atmosphere of martial law in Taiwan, it was a measure

Text / HSIAO Chong-Ray Curator

to avoid the government's misunderstanding, suspicion and suppression

Ho's early works was invested with the avant-garde spirit of experimentation,

of abstract art. That was why this exhibition brought in Spanish artists who

in which he used continuous lines from free association to develop images

were from an "anti-communism" country to prove that such artworks were

that are expressive of the subconscious, forming a kind of fantastical, gray-

not communist products, and their creators surely did not belong to the

toned impression in the audience mind. It could be viewed as Ho's "Gray

communist party. Not only so, it conveyed the idea that these artworks were

Period." Later, he started using black as his main color, which was reminiscent

symbols and expression of "anti-communism" and "freedom." On the other

of ink paining and engraving, with a pinch of light red and blue, as if they

hand, the exhibition also showed European modern art to Taiwanese artists

were embellishments of musical ﬂourishes in a majestic symphony that bring

and public for the first time, especially genuine artworks of abstract art,

out a sense of light-heartedness.

widening their creative vision and expanding their mind, and consequently, altering the artistic ambience and direction in Taiwan. 1

In 1964, Ho traveled to Italy, and eventually settled down in Milan, where

See Hsiao Chong-Ray's "The Fifth Moon Art Group and Ton Fan Art Group ─ The Development of Chinese Art and Its Modernization in Post-war Taiwan (1945-1970)." Taipei: Tung-Ta Book, Nov. 1991.

See Hsiao Chong-Ray's 'Traveler in the Universe ─ Hsiao Chin's Journey to the Mind.' "Glory to the Source ─ Hsiao Chin 1955-2005." Taipei: Lin & Lin Gallery, Apr. 2006.

013

1964 年的出國前往義大利，並定居米蘭，是霍剛創作風格決定

割痕，再加上多層襯托、折疊等手法，使畫面產生豐富的層次效

性轉變的關鍵點。色彩完全脫離灰、黑的主調，轉為紅、藍、紫

果與空間深度，超越了一般繪畫作品的平面性；在極簡和質樸的

的構譜，而且都是帶著一些粉調的中間色；而在構成上，也由空

風格中，呈現了中國傳統道家老、莊的哲學內涵與韻味。

靈的、幾何性的趣味，取代了之前筆觸行走、不定形的作風。在棉、麻等布材之外，朱為白也擅於運用棉花棒等現成物，排列在霍剛此後長達一甲子的創作中，他建構了一種殊異、且如詩一

出極富禪意的畫面，成為同世代中風格極為突出的一位創作者。

般的神秘色彩特質，充分發揮類比色與對比色的配色原理。他經常以一組類比色，作為畫面構成的主要架構；而在這些面積較

來自福建金門的李錫奇，早年的現代版畫，就以多變的風格贏得

大的類比色中，可以看見相鄰的兩色，其中一色有著另一色的存

「畫壇變調鳥」的美稱。1960 年中期，前衛探索時潮邁入「現

在，這是色彩多次疊刷所得到的效果。同時，在這樣的類比色架

實回歸」的取向時，李錫奇也是最早運用民間賭具進行後現代表

構中，藝術家再置入一些對比色或黑白的小型元素，或是圓形、

現的藝術家；同時，也在那些切角的骰子，或排列有序的牌九裝

或是三角形、或是細線，使得畫面產生一種突顯、跳躍、提振的

置中，展現出深具東方意象的普普風格。

視覺感受。小型元素的對比色，往往成為視覺的焦點；但大面積 1960 年代末期，因受故宮藏品〈清明上河圖〉時序推衍的構圖

的類比色，則塑成了畫面整體的氛圍。

思維啟發，創作了以方圓相對、序列變化的長幅版畫，並因此獲霍剛正是透過這些純粹的形色組構，營造出一種看似設計，其實

得國際競賽大獎，也形成此後一系列以「本位」為名的不同媒材

充滿人文性與精神性的藝術創作。色彩營構氛圍、形式提供情節；

創作。接著，走過「月之祭」、穿過「時光行」等系列，從對人

尤其在形式當中，線條的方向、圓的大小，或三角形的排列，都

類登月、神話破滅的感傷，到兒時線香揮動、彩帶飄揚的記憶捕

具有高度示意性的功能；充滿了一種似乎有事正在發生、或有話

捉，終於進入磅礡氣派的「大書法系列」。

要說的謎樣特質。這種特質正是音樂的、也是詩的特質。

1990 年代初，一趟大陸之旅，又為他開展出此後數十年的漆畫也是東方畫會成員的朱為白 (1929-) 和李錫奇 (1938-)，早期都

創作高峰，這也是一個「老傳統．新生命」的創舉。「漆」是中

從版畫入手，後來均成為多媒材創作的傑出藝術家。

國古老的工藝材料，「漆器」、「漆畫」都在中國工藝史上有過輝煌的表現；但這種古老的媒材，如何跳脫工藝的格局，成為現

朱為白和霍剛同為南京人，出身三代的裁縫世家，1949 年赴台，

代藝術有用的滋養，李錫奇再一次展現他「讓材料說話」的本領。

先後接受台灣前輩畫家廖繼春和李仲生的教導。朱為白的抽象藝術，一開始便呈顯中國傳統人文精神的思維特質，和深沈的個人

漆的明亮、黏稠，乃至皺褶，在李錫奇的創作中，化為一種充滿

內在情感；後受西方空間派大師封答那「畫面切割」的手法啟發，

視覺震撼的「重力」形式，從較早的遠古的記憶、鬱黑、後本位、

開展出自我獨特的「挖貼」藝術。他擅長運用黑、白、紅等單色

再本位、浮生十帖、本位新發、風起水湧、本位焠鋒，到漢采本

棉布或麻布為媒材，以利刃取代畫筆，在作品表面，劃出一道道

位等系列，李錫奇敲著隆隆的鼓聲，時而如鬱暗叢林中祭神的讚

014

詳參蕭瓊瑞〈幾何的詩情─霍剛 2015 新作選〉，《原點．解析─霍剛的東方抽象語法》，台北：采泥藝術，2016。

his creative work and artistic style took a crucial turn. In terms of color, he

and developed his unique art of "cutting and collaging." He specializes in

abandoned gray and black colors and picked up red, blue, and purple,

using black, white, or red cotton or linen cloth, replacing paint brushes with

which were also neutral colors that carried a slight pastel tone. In terms of

a sharp knife to creating cuts on canvas. Then, using techniques of layering

composition, he also turned to a light, geometric formation, which replaced

or folding, he can achieve rich effects of layers and depth on the canvas

his previous style that was characteristic of its brushstrokes and undetermined

surface, dissolving the two-dimensionality of ordinary painting. Through a

forms.

minimalistic and unadorned style, the traditional philosophical concept and charm of Laozi and Zhuangzi are unfurled in his work.

During the six decades that ensued, Ho has created a distinctive as well as poetic quality in his work, which also conveys a sense of mysticism

In addition to using cotton and linen, Chu also uses cotton swabs and

and makes full use of the color-matching principles of analogous and

arranges them into images enriched with the charm of Zen, rendering himself

contrasting colors. He often uses a set of analogous colors to structure the

an artist of distinctive style among others from his generation.

main composition. Within the large areas of analogous colors, audience would ﬁnd two colors next to each other with each color contains traces of

Lee Shi-Chi was born in Kinmen, Fujian Province, China. His early modern

the other, a result achieved through multiple layering of colors. Within this

woodblock prints of diverse styles won him the reputation of "Bird of Artistic

structure of analogous colors, Ho also places small visual elements that might

Variations." In the mid-1960s, the wave of avant-garde exploration entered

be in contrasting colors or black and white. These round points, triangular

a period of "returning to reality," and Lee was the ﬁrst to use gambling tools

forms, or thin lines produce a feeling of emphasis, bouncing rhythm, or a

in his work to formulate post-modern expressions. In the meantime, the dices

sense of elevation in the image. These small elements in contrasting colors

with cut-off corners or the installation made with orderly arranged pai gow

often serve as the focal points of the image while the large planes in

blocks demonstrated a pop art style characteristic invested with Eastern

analogous colors form the whole atmosphere of the painting.

imagery.

Through the combination of these pure forms and colors, Ho has created

At the end of the 1960s, Lee was inspired by the chronological composition

paintings that seem somewhat designed but actually emit a sense of

of "Along the River During the Qingming Festival," a famous and valuable

humanism and spirituality. His colors create the atmosphere whereas his

painting in National Palace Museum, and created long woodblock printings,

forms provide the narrative. Particularly, the direction of lines, the size of

in which square and circular forms changed correspondingly as the printings

points, or the arrangement of triangles in his paintings are all highly indicative.

unfolded. The series won an international competition, and paved way for

They seem to be implying the happening of an event or telling audience

other series named with the term, "Orientation," created with various media.

something. Such quality is also reminiscent of that of music and poetry. 3

After "Worship of the Moon" and "Time Travel," which centered on the history of moon landing, his disillusionment of the Chinese mythology, the childhood

Both Chu Wei-Bor (1929-) and Lee Shi-Chi (1938-) were also members of the

memory of swinging incense, and the remembrance of colorful ribbons ﬂying

Ton Fan Art Group. They started from woodblock printing and later became

in the air, Lee ﬁnally created the magniﬁcent "Great Calligraphy Series."

excellent multi-media artists. His trip to the mainland China in the early 1990s paved the way for another Born in Nanjing ike Ho Kan, Chu grew up in a family that had run a tailoring

creative peak of lacquer painting in the ensuing decades, which also

business for three generations. After he came to Taiwan in 1949, he studied

marked an ingenious effort to "give an old tradition a new life." Lacquer is an

art with Liao Chi-Chun and Li Chun-Shan, both were renowned Taiwanese

ancient material for handicraft in China. Lacquer ware and lacquer painting

painters. From the very beginning, Chu's abstract art had demonstrated

all had brilliant moments in the history of Chinese handicraft. However, Lee

the characteristic thinking of traditional Chinese humanistic spirit and

once again showed his talents in "letting the material speak" by bringing this

profound individual feelings and emotions. He was later inspired by the

traditional medium out of its traditional domain of handicraft and into the

master of Spatialism, Lucio Fontana, and his technique of slashing canvas,

realm of modern art.

See Hsiao Chong-Ray's 'Geometric Poetry—A Selection of HO Kan's New Works in 2015.' "Contemplating the Original Point—The Oriental Abstract Language of Ho Kan." Taipei: Chini Gallery, 2016.

015

歌、時而如新春節慶歡天喜地的賽曲……；不變的是那映現於紅、

黃朝湖 (1939-)，和作品「有如大象跺腳般沈實有力」的李重重

黑、金、銀的民族標示，以及暗含著傳統文化，如：書法、門聯、

(1942-) 等，均為代表。

巧板、風水……等種種思維與形式的轉化。

黃朝湖是「台灣現代繪畫運動」期間，最重要的旗手之一，他以東方畫會的成員，都先後接受過有著「台灣現代繪畫導師」之稱

平實且快速的文筆，大量撰文為現代繪畫搖旗吶喊；而本人也以

的李仲生 (1912-1984) 的啟蒙與指導。出生於廣東韶關的李仲

抽象水墨創作，開拓出一片天地。經歷 1960、70 年代的「複合

生，早年廣州美專未畢業，便前往上海，參與「決瀾社」的創立。

藝術」時期，黃朝湖在 1980 年代正式進入較成熟的「非山非水」

後留學日本，入東京日本大學，在學期間，入「東京前衛美術研

階段。這個時期，他重新肯定東方水墨媒材的表現性及發展性，

究所」研習，師事藤田嗣治、阿部金剛、東鄉青兒等人，並參與

以相當自由的用筆用墨，加上裱貼、水拓等技法，追求畫面的氣

「二科會」及「黑色洋畫會」。

韻生動與意境情境的表現；同時，在傳統水墨之外，也加入壓克力顏料，來增加畫面的質感、量感與深度感。初始以墨色為主，

來台後，以私人教學培養出大批現代藝術創作人才。他強調從潛

1980 年代中期之後，則加重色彩的分量；畫面中墨色與彩色的

意識出發的特殊教學方式，讓每位學生都找到了屬於自己的創作

推擠，形成相當緊密而動人的空間，自成一格，名為「得意忘形」

語彙，風貌無一類同，對台灣現代藝術發展影響至鉅。

時期。這是黃氏創作的一個高峰，許多國際大展的獎項榮譽也隨之而來。

同為戰後台灣現代繪畫運動最重要的推動者，五月畫會在對抽象繪畫的認識與推動上，顯然稍晚於東方畫會。但在 1960 年的第

90 年代之後，黃朝湖有心再開拓東方畫系的可能路向，主張「墨

三屆五月畫展之後，作為畫會靈魂人物的劉國松 (1932-)，開始

彩並重」的彩墨畫法，結合同道，組成「國際彩墨畫家聯盟」

成為「抽象藝術」最重要的代言人；甚至為了藝術學者徐復觀一

(1996-)，並任會長，多次推動各國畫家的聯展及交流。他本人

篇〈現代繪畫的歸趨〉中宣稱「抽象繪畫的未來，只是在為共產

的創作，也因多次參訪北國，親見山川冰雪景色的震撼，而進入

主義開路！」而勇敢出面，與之展開激烈的筆戰，奠定了抽象繪

另一種深具超現實意味的幻彩世界。8

畫在當時台灣發展的基礎。6 而在創作上，他的「大筆觸」系列，更將西方的抽象與中國的水墨美學相結合，成為「抽象水墨」最

出身書香人家的李重重，河北邢台人，1942 年生於安徽屯溪。父

具典範的作品。不過，劉國松日後的發展，尤其他的「九寨溝」

親李金玉，也是一位學習藝術的近代知識份子，早年畢業於北平

系列和「西藏」系列，逐漸修正他對「抽象」的堅持，代之以「自

美術學院，專習傳統水墨。1947 年，李重重跟隨父母來到台灣，

由表現」的折衷思想，回到自然景物的歌頌。

在父親任職的台鹽台南七股鹽場，安靜而幸福地度過了童年。

由劉國松帶動的「現代水墨」風潮，是當時台灣「抽象繪畫」最

1965 年，自復興崗政戰學校 ( 今國防大學 ) 藝術系畢業，適逢

主流的路向，引發眾多畫友、後進響應，並創作出大批可觀的傑

台灣現代繪畫運動達於高峰的時代。1968 年，加入劉國松等人

出作品；如：被稱為「為現代畫搖旗吶喊的旗手」的重要支持者

倡組的「中國水墨畫學會」，開始了現代水墨畫的實驗與開拓。

詳參蕭瓊瑞《台灣美術全集 31．李錫奇》，台北：藝術家雜誌社，2016.3。

詳參蕭瓊瑞〈來台初期的李仲生〉，《現代美術》22-26 期，台北：台北市立美術館，1988.12-1989.9；及蕭瓊瑞〈李仲生和他的學生們─台灣現代藝術發展的一個側面〉，李仲生與台灣現代繪畫之發展學術研討會，國立台灣美術館、財團法人李仲生現代繪畫文教基金會、中國美術學院主辦，杭州，2006.11。

016

詳參前揭蕭瓊瑞《五月與東方─中國美術現代化運動在戰後台灣之發展 (1945-1970)》，第五章第二節〈現代畫論戰〉。

詳參蕭瓊瑞《水墨巨靈─劉國松傳》，台北：遠景出版社，2011.4。

詳參蕭瓊瑞〈傳記成為歷史─黃朝湖的藝術文件展〉，《耕耘生涯不留白─黃朝湖藝術文件展》，頁 4-5，台中：台中市文化局，2009.7。

Lacquer's shine, viscosity, and even pleats have formed together a "gravity"

especially the "Jiuzhaigou" series and "Tibet" series, Liu has gradually changed

ﬁeld that produces a visual impact. From his series and exhibitions, including

his interpretation of "abstract," replacing it with the eclectic thinking of "free

"A Remote Memory," the "Black" series, "Post-Orientation," "Re-Orientation,"

expression" and returning to the celebration of natural scenery. 7

"Aspects of My Artistic Life," "Orientation, New Developments," "Rising Wind and Suring Water," "Orientation Trial," and "Orientation Splendor of Flame,"

The wave of "modern ink" propelled by Liu was the mainstream of "abstract

Lee's work sometimes is reminiscent of worship songs sung in the gloomy,

painting" in Taiwan at that time. Many artists were attracted and started

dark forest, and sometimes resembles traditional festive music. What remains

painting modern ink, creating a large amount of excellent works. Among

unchanged, though, is the ethnic symbolism of red, black, gold and silver

these artists were Huang Chao-Hu (1939-), who is called "the ﬂag-bearer of

and the transformation of traditional cultural concepts and forms embedded

modern painting" and Lee Chung-Chung (1942-), whose work conveys "the

in his work, such as calligraphy, gatepost couplets, tangram, feng shui, etc. 4

powerful strength like an elephant stomping its feet."

The members of the Ton Fan Art Group had all been mentored and

In Taiwanese Modern Painting Movement, Huang was the most important

instructed by Li Chun-Shan (1912-1984), who has been named "the mentor

flag-bearer, who wrote prolifically in an straightforward and fast manner

of Taiwanese modern painting." Born in Shaoguan, Guangdong Province,

to advocate moder n painting. His abstract ink painting also won

China, he studied at Guangzhou High School of Fine Arts, but did not ﬁnish

accolades in the field. After the period of "Mixed Media Art" in the 1960s

his study before going to Shanghai to join "Chueh Lan She." Afterwards, he

and 1970s, Huang's art entered a more mature stage of the "Neither

went to Japan and entered Tokyo University. During his time there, he studied

Mountain Nor Water" series in the 1980s. During this time, he re-embraced

art under Léonard Tsuguharu Foujita, Kongo Abe, and Togo Seiji at "Tokyo

the expressiveness and potentiality of Eastern ink media and adopted a

Avant-garde Art Institute," and participated in "Nika Association" and "Black

freewheeling brushstroke and ink style as well as techniques of mounting

Western Painting Society."

and water rubbing to portray the vividness and atmosphere of the image. Meanwhile, he also added acrylic paint in his ink painting to increase the

After he came to Taiwan, he taught a large group of modern artists

image's texture, volume and depth. At ﬁrst, he mainly used ink colors, and

in his private classroom. His special teaching method focused on the

after the mid-1980s, he added other colors, allowing the interaction between

exploration of the subconscious, enabling students to find their individual

ink and other colors to create a compact yet affecting space. Huang

artistic languages and styles. Therefore, Li had tremendously inﬂuenced the

named the series of unique works from this period "Formless Forms of Joy,"

development of Taiwanese modern art. 5

which marked another peak of his artistic career and won awards in several international exhibitions.

The Fifth Moon Art Group, like the Ton Fan Art Group, was an important driving force behind the movement of Taiwanese modern painting. In terms

After the 1990s, Huang attempted to expand the possibility of Eastern

of helping people to know abstract painting and promoting the art, the

painting, and adopted the method of colorful ink painting (Tsai-Mo), which

Fifth Moon Art Group started a little bit later than the Ton Fan Art Group.

placed equal emphasis on ink and color. He and other artists organized the

However, after the third painting exhibition of the Fifth Moon Art Group

Federation of International Tsai-Mo Artists (1996-) and served as chairman

in 1960, Liu Kuo-Sung (1932-), a key figure of the art group, became the

to the organization, which has promoted multiple group exhibitions and

most crucial spokesman of abstract art. He even courageously engaged

exchange for artists of different countries. His work has also undergone a

in written polemics with art scholar Hsu Fu-Kuan, who wrote in "Trends of

change, entering a magical realm of surreal colors due to his trips to the

Modern Art" that "abstract painting is simply paving way for communism to

northern countries, where he witnessed the snow-covered mountains. 8

come!" Liu's counterattack laid down the foundation for abstract painting to develop in Taiwan. 6 As for artistic creation, his "Big Brushstroke" series

Lee Chung-Chung grew up in an intellectual family in Xingtai, Hebei

integrated Western abstract painting and Chinese ink painting, creating

Province, China. She was born in Tunxi, Anhui Province, China in 1942. Her

the most paradigmatic example of "abstract ink." However, in his later series,

father, Lee Chin-Yu, was a modern intellectual who also studied traditional

4 5

6 7 8

See Hsiao Chong-Ray's "Taiwan Fine Arts Series 31: Lee Shi-Chi." Taipei: Artist Magazine, Mar. 2016. See Hsiao Chong-Ray's 'Li Chun-Shan's Early Work in Taiwan.' "Modern Art." Issue 22 to 26. Taipei: Taipei Fine Arts Museum, Dec. 1988 to Sept. 1989. See also Hsiao Chong-Ray's 'Li Chun-Shan and His Students—An Aspect of the Development of Taiwanese Modern Art.' Symposium of Li Chun-Shan and the Development of Taiwanese Modern Painting. Organized by National Taiwan Museum of Fine Arts, Li Chun-Shan Foundation, and China Academy of Art, Hangzhou, Nov. 2006. See Hsiao Chong-Ray's "The Fifth Moon Art Group and Ton Fan Art Group ─ The Development of Chinese Art and Its Modernization in Post-war Taiwan (1945-1970)." Ch. 5, Sec. 2, 'Debate on Modern Painting.' See Hsiao Chong-Ray's "The Giant of Ink Painting: A Biography of Liu Kuo-Sung." Taipei: Vista Publishing, Apr. 2011. See Hsiao Chong-Ray's 'As Biography Turns into History ─ The Art and Documents of Huang Chao-Hu.' "A Flourishing Career ─ The Art and Documents of Huang Chao-Hu." P. 4-5. Taichung: Cultural Affairs Bureau, Taichung City Government, Jul. 2009.

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李重重的作品，在拋棄傳統形式語彙的過程中，卻傳承了中國傳

渠，千變萬化，趣味無窮。但在這些趣味變化中，莊喆始終謹慎

統水墨中最動人的墨韻和精神。因此，她的作品不僅擁有現代的

地避免落入純效果的陷阱，淪為內容的空洞化。因此，他總是從

形式，也呈現深刻、動人的傳統文人內涵。她的創作，從佈局入

大的構圖下手，一如國畫構圖中所謂的開合；進而在比例、節奏、

手，以墨韻收尾；不僅有縱橫蒼潤的筆觸線條，也有塊面渲染的

彩度、秩序，乃至肌理、空間、層次上，尋求一種「張力」；而

空間意境。但更重要的，是她在層層營造的墨韻層次中，創造了

其中用筆的「筆勢」，始終是他創作的基本支架，一如傳統水墨

作品蒼潤婉約的動人氣質，與深厚渾成的紮實質感。

中經常提及的「骨」。

李重重運用焦墨與淡墨的對比、細線與色塊的呼應，傳達出中國

在一個完全屬於西方文化的社會中，莊喆以來自中國深沈的文化

傳統哲學中，亦動亦靜、動靜相參、物我合一的種種聯想與共鳴。

之眼，在畫布上建構一幅又一幅的作品，也是一座又一座的心靈

有時是一種墨彩相衍、連綿不絕的滾動造型；有時則如某一斷面

世界。這當中，貫穿其間的，是對自然的尊重；而這自然，可

中突然湧現的色彩精靈，給人一種斷、續、存、滅的衝擊與並置

能是來自大自然中的風景，也可能來自中國山水畫中所建構的自

的感受。而物情、物象、物緣的層層敷衍，引人進入一種生命思

然，更可能來自身邊親人、事物的形象所引發的種種聯想。莊喆

索的深沈境域；正是所謂「筆墨相濡、意超象外」的筆勢與墨韻，

深沈而節制的創作，是華人抽象創作中的一朵奇葩。10

蒼勁與婉約並存，物性與人性輝映，是這個時代最值得珍惜的一種姿態與聲音。9

■ 在 1960 年代達於高峰的台灣現代繪畫運動中，走向純粹抽象風

黃朝湖和李重重都不是五月畫會的成員；五月畫會中長期堅持抽

格的藝術家，大多為大陸來台青年 11，本地出身而投入純粹抽象

象且具傑出表現者，應首推莊喆 (1934-)。

藝術創作者，除黃朝湖的抽象水墨外，陳正雄 (1935-) 是最具代表性的一位。

台灣師大美術系畢業的莊喆，是早在 1959 年的第三屆五月畫展時，即已入會。來自故宮博物院的家庭背景，父親是運送故宮國

陳正雄的創作生命，是在 1970 年代由類立體派的畫面分割走向

寶，一路自北京南下，經過大西南，最後來到台灣的老故宮人，

純粹的抽象構成，並在 1980 年代邁入成熟。這種轉變與跨越，

也是後來故宮博物院副院長的莊嚴先生。深沈的中國古書畫背

固然是藝術生命本身不斷自我巔覆超越的結果，但其關鍵，則主

景，讓莊喆在中國美術現代化的路徑上，非但沒有成為包袱，反

要還是來自兩方面的滋養和挹注：一是歸功於他對台灣原住民藝

而具備更開放、自信的態度。較早的抽象水墨風格，巧妙地結合

術的深入接觸與研究；二是他對新興媒材壓克力顏料的靈活運用。

了拼貼及詩詞的文字片斷，成就了一批如〈國破山河在〉等動人

018

的作品。移居美國後，在創作媒材上，則完全擺脫水墨與紙質的

陳正雄對原住民藝術的接觸與吸納，既非取徑各種圖騰、象徵的

裱貼，在油彩和壓克力彩的運用上，進行許多新嘗試與發現；他

表像借用，也非山林野地景致的暗示或變形，而是對那些原始又

運用壓克力的水性特質，和油彩的油性並行使用，兩者產生既互

大膽的色彩之敏銳領略及運用；再加上對那蘊育這些藝術的熱帶

斥又相融的微妙肌理，小的如噴霧般的細微，大的則如山溝的裂

叢林，光影交映、水氣流暢、生機勃發的自然特質的深刻體驗與

詳參蕭瓊瑞〈蒼潤婉約─李重重的現代水墨創作〉，《台灣名家美術 100．李重重》頁 5-11，台北：香柏樹文化科技股份有限公司，2009。

詳參蕭瓊瑞〈詠物緩行．獨鶴歸林─莊喆的藝術、思維與人生〉，《莊喆回顧展專輯》，頁 10-27，台北：台北市立美術館，2015.11。

參見蕭瓊瑞〈台灣現代繪畫運動中的兩種風格〉，《島嶼測量─台灣美術定向》，頁 279-286，台北：三民書局，2004.6。

ink painting at National Beiping Art College. In 1947, Lee moved to Taiwan

a close connection to the National Palace Museum. His father, Chuang

with her parents. Her father started working at Cigu Salt Fields in Tainan,

Yen, was a senior member of the team that transported national treasures

where she had a tranquil and happy childhood.

from the Palace Museum in Beijing to the southwest, and then, finally to Taiwan. Chuang Yen later became the vice president of the National

Lee graduated from the Department of Fine Arts, Fu Hsing Kang College (now

Palace Museum. Despite his early contact with ancient Chinese calligraphy

National Defense University) in 1965 when the modern painting movement

and painting, Chuang did not allow it to become a burden in his efforts in

in Taiwan reached its climax. In 1968, she joined the Chinese Modern Ink

modernizing Chinese painting. On the contrary, he upheld a freer and more

Painting Society founded by Liu Kuo-Sung and other artists in 1968, and

conﬁdent attitude. His early abstract ink painting ingeniously incorporated

started her experimentation and exploration of modern ink painting.

the collage of partial poetry, creating a group of outstanding works, including the "Homage to Tu Fu" series. After moving to the US, he gave up

Although not confined by traditional formal language, Lee's work has

the use of ink and pasting paper, and moved on to experimenting with oil

inherited the most moving charm and spirit of traditional Chinese ink painting.

and acrylic colors, making various attempts and innovative discoveries.

Therefore, her work not only exhibits modern forms but also profound and

He manipulated the watery quality of acrylic paint and the oily texture

touching traditional Chinese literati characteristics. She begins her work

of oil paint to create subtle texture of mutual integration and rejection at

with the composition and ends it with the charm of ink, demonstrating both

the same time. The small texture is as fine as spraying mist, and the large

reﬁned but unfettered lines and brushstrokes as well as large alluring inking

texture surfaces as mountain ravines; both vary in diverse ways and create

space. More importantly, between the layers of ink colors, her painting

immense fun. However, in doing these variations, Chuang has always been

conveys simultaneously an elegant, reﬁned quality and a profound, powerful

careful, sidestepping the trap of overemphasizing on the effect without

impression.

paying attention to the content. Therefore, he always begins with the main composition, following the principle of laying out and wrapping up the

Employing the contrast between dark and light ink and arrangement of thin

landscape in traditional ink painting. After the composition is decided, he

lines and color blocks, Lee successfully delivers all sorts of associations and

then adds a sense of "tension" through adjusting the proportion, rhythm,

connotations in traditional Chinese philosophy, such as co-existence and

color saturation, order as well as the texture, space, and layer. Among all

integration of movement and stability and the combination of the external

these techniques, the technique of using the brush has always been the

world and the self. Sometimes, her work demonstrates rolling forms created

foundation of his painting, like the "bones" mentioned in traditional ink

with extensive ink and colors; and sometimes, it is like a colorful fairy surfacing

painting.

suddenly from some unknown cross-section of a landscape, guiding viewers into a realm of the contemplative life. Her brushstrokes and ink colors

In the Western culture and society, Chuang has created countless works

materialize the concept of "mutually supporting brush and ink create images

through the perspective of the profound Chinese culture, building endless

that surpass external appearances," and convey majesty and elegance at

worlds of the mind. The unchanging concept embedded and manifested

the same time. The mutual reﬂection of object and humanity becomes the

through these works is his respect for "nature." This nature refers to both the

most valuable artistic representation and statement in this era. 9

natural landscape as well as the constructed nature in Chinese ink painting. Nevertheless, it also denotes all the associations triggered by the people,

Neither Huang nor Lee were members of the Fifth Moon Art Group. In the art

events and things around us. Chuang's profound and reserved artistic

group, Chuang Che (1934-) has persisted in abstract painting and achieved

creation renders him a unique example in Chinese abstract painting. 10

excellent results.

■ Most of the artists who turned to pure abstract style in the Taiwanese Modern

Chuang graduated from the Department of Fine Arts, National Taiwan

Painting Movement that peaked in the 1960s were young artists from the

Normal University. He had already been a member of the Fifth Moon Art

mainland China. 11 In addition to Huang Chao-Hu, who painted abstract

Group when they held the third group exhibition in 1959. His family had

ink painting, among the abstract artists born in Taiwan, Chen Cheng-Hsiung

See Hsiao Chong-Ray's 'Majestic Elegance—Modern Ink Painting by Lee Chung-Chung.' "100 Years Taiwan Artists." P. 5-11. Taipei: Cedar Health & Culture, 2009.

10 See Hsiao Chong-Ray's 'Praising the Object．The Lone Crane Returns ─ The Art, Thinking and Life of Chuang Che.' "Effusive Vitality: Chuang Che Retrospective Exhibition." P. 10-27. Taipei:

Taipei Fine Arts Museum, Nov. 2015. 11 See Hsiao Chong-Ray's 'Two Styles in Taiwanese Modern Painting Movement.' "Measuring the Island ─ Directions of Taiwanese Art." P. 279-286. Taipei: San Min Book, Jun. 2004.

019

掌握。而 80 年代中期之後，加入新興媒材壓克力彩的運用，創

劃人，可以說是中國大陸畫壇接觸抽象藝術最重要的理論指導者

作力達於高峰。在濃稠與透明之間、在揮灑與流瀉之間、在甩點

之一。12

與刻劃之間，陳正雄像一個拿了仙人棒的色彩魔術師，幻化出時而隆重、時而輕靈、時而高亢、時而深沈的曲調；但基本上是永

年輕陳正雄 12 歲的楊識宏 (1947-)，本名楊熾宏，桃園中壢人，

恆的歡愉，始終不曾透露出一絲悲愁，即使表現冬天的嚴寒，青

和陳正雄同為台北建國中學畢業。1968 年板橋國立台灣藝專美

藍的色彩間，始終蘊含著一股隨時蹦發的生機氣韵。

術科西畫組畢業，曾是「全省美展」的常勝軍。1979 年，放棄在台已然穩定、優渥的工作和待遇，帶著妻小前進紐約。

陳正雄的作品，洋溢著色彩、充滿了旋律，有著貝多芬「命運交響曲」般雄渾的壯闊之氣，也有著韋瓦第「四季」中流轉蕩漾的

歷經「新表現主義」、「植物美學」等系列，在廿世紀即將結束

無限生機；然而靈魂底層，却是來自台灣高山叢林，綠蔭與陽光

的 1999 年進入純粹抽象表現的階段，是當代中生代畫家中，極

交迭的精靈氣息。

具國際視野與能見度的傑出畫家。

1990 年代之後，陳正雄是少數長期受邀參展巴黎五月沙龍的華

楊識宏是一位具有高度統合能力的藝術家，他的創作歷程立基於

人藝術家，與趙無極 (1921-2013)、朱德群 (1920-2014) 的「抒

生命探討的主軸，橫跨東西文化、縱橫傳統與現代，在優雅與粗

情抽象」繪畫合稱「華人三家」；他除了獲得義大利 1999 年

獷、雄勁與典麗之間取得平衡；近期作品加入潛意識與意識間的

羅佛倫斯國際當代藝術雙年展頒給最高榮譽的「終生藝術成就

游離，予人以更自由、縱放的感受。同時，楊識宏的創作歷程，

獎」，更在 2001 年再度獲頒相同獎項，外加「偉大的羅倫佐國

也始終和台灣現代藝術的發展，保持緊密的連繫，尤其 1987 年

際藝術獎章」，既是亞洲第一人，也是全世界少數連續獲得此一

所撰著的《現代美術新潮》更成為年輕一輩現代藝術的重要引導

重要獎項的傑出藝術家。

經典，而楊識宏的創作思維與表現，也是國際藝壇一個引人矚目的存在。13

除了個人的創作外，陳正雄也是台灣少數在抽象藝術理論上深入瞭解並多所撰述的一位藝術家。1960 年代，台灣抽象藝術初起，

1980 年代，一位長期旅居英國的台灣本地藝術家林壽宇 (1933-

陳正雄便以他傑出的外文閱讀能力為基礎，為台灣當時最重要的

2011)，返台舉辦個展，為台灣現代藝壇帶來了屬於低限與觀念

幾個雜誌《文星》、《東方雜誌》等撰介抽象藝術理論；90 年

的「白色震撼」14。在林氏帶領下，改變了 1960 年代以來從書

代中期，台灣省立美術館創建，許多重要的海外抽象畫展及論

寫性出發的另一波抽象藝術熱潮，並吸引了一批年輕藝術家的投

述，也都由陳正雄擔綱。

入，莊普 (1947-)、陳世明 (1948-)，和賴純純 (1953-)，都是其中最具代表性的幾位。

近年來，他更多次深入中國內地，以傳道者般的熱情，受邀為許

020

許多多的專業美術學院，講解、介紹抽象藝術思潮與作品；同時

1947 年出生於上海的莊普，兩歲時隨家人遷居台北。1981 年，

也是 1994 年上海美術館「上海美術雙年展」諮詢委員及主要策

他結束在西班牙馬德里藝術學院長達近九年的學習，回到台灣，

詳參蕭瓊瑞〈抒情抽象華人三家之比較研究─朱德群、趙無極與陳正雄〉，《兩岸當代藝術學術研討會論文集》，台北：國立歷史博物館，2004.9。

詳參蕭瓊瑞《歲月．流光 = 鄉 ─楊識宏創作歷程 40 年》，台中：國立台灣美術館，2012.11。

詳參蕭瓊瑞〈低限風潮與美術館時代的來臨〉，《戰後台灣美術史》，頁 144-172，台北：藝術家出版社，2013.4。

(1935-) was the most representative one.

Asia and one of the few outstanding artists who was awarded this honor consecutively.

In the 1970s, Chen's work began to change from divided image reminiscent of Cubism to pure abstract construction, and entered a mature stage in the

In addition to his artistic creation, Chen is also one of the few artists who

1980s. Naturally, the changes in and improvement of life played a part in

possesses deep understanding of and has written much about abstract

such a transformation. However, the key to this change lay in two aspects:

art theory in Taiwan. When Taiwanese abstract art began to rise in the

the ﬁrst one was Chen's close contact and study of the indigenous art; the

1960s, because of his remarkable ability in reading foreign languages,

second was his clever use of acrylic paint, which had just been introduced

Chen had written articles introducing theories of abstract art for important

into the art scene.

art magazines in Taiwan, including "Wen Hsing" and "Ton Fan Magazine." When the National Taiwan Museum was founded in the mid-1990s, Chen

Chen's contact with and absorption of indigenous art was not revealed in

also curated many important international abstract art exhibitions and was

the use of various patterns and symbols, nor was it demonstrated by scenes

responsible for the curatorial theorization.

of suggested or transformed forest and wilderness. Indeed, it was in his comprehension and utilization of primitive and bold colors. In addition, it was

In recent years, at the invitation of many professional art colleges and

made more impressive by his profound experience and representation of

institutions, he has upheld the passion of a missionary and traveled to many

tropical jungle and its light and shadow, ﬂowy mist, and lush vitality, which

places in China, giving lectures about trends and artworks of abstract art.

have nurtured the indigenous art. After the mid-1980s, with the use of the

He was also the advisory committee member and chief curator of Shanghai

newly invented acrylic paint, his creativity reached a new height. His control

Biennale at Shanghai Art Museum in 1994. Therefore, one could say that

of thickness and transparency, unrestrainedness and fluidness, splash and

Chen has been the most important instructor who introduced abstract art

delineation made him look like a magician of colors, conducting visual music

into China. 12

that could either be majestic, light and aery, exciting, or solemn. However, the basic note of his work has been the eternal joy and is never tainted with

Yang Shi-Hung (1947-) is twelve years younger than Chen Cheng-Hsiung.

any trace of sorrow. Even his portrayal of the harsh winter, there has always

His birth name was Yang Chi-Hung, and he was born in Zhongli, Taoyuan,

been a sense of liveliness waiting to germinate in those colors of blue and

Taiwan. Both painters graduated from Taipei Municipal Jianguo High School.

green.

Yang studied western painting at National Taiwan Academy of Arts and graduated in 1968, and had won Taiwan Provincial Fine Art Exhibition multiple

Chen's work brims with colors, filled with musical rhythm; it could be

times. In 1979, he gave up a stable, well-paid job in Taiwan and moved his

conveying the majestic sublime of Beethoven's "The Symphony of Destiny" or

family to New York.

delineating the continuous, unlimited lushness of Vivaldi's "The Four Seasons." Yet, all these have grown from the rich soil of Taiwanese mountains and

After several series, including "Neo Expressionism" and "Botanic Aesthetics,"

forests, where green shade and sunshine interweave a fantastic scene.

Yang's work entered the stage of pure abstraction in 1999, just at the end of the twentieth century. Among all the mid-generation artists, Yang is an

After the 1990s, Chen became one of a handful Chinese artists who has

excellent painter that possesses great international vision and visibility.

been continuously invited to participate in Le Salon de Mai in Paris, and was praised as one of "the three Chinese masters," together with Chao

Yang possesses highly integrative ability. His work is established on the

Wu-Chi (1921-2013) and Chu Teh-Chun (1920-2014) for their creation of

exploration of life and spans Eastern and Western culture as well as the

"lyrical abstraction." He was awarded the "Lorenzo il Magnifica Life-time

traditional and modern, reaching a perfect balance between majesty

Achievement in Art Award" at the Florence Biennale Internazionale Dell’Arte

and elegance. His recent work is informed by the lingering space between

Contemporanea in 1999, and was awarded the same honor and Lorenzo

the subconscious and consciousness, giving viewer a freer and more

il Magnifica Medal in 2001, making him the first recipient of the award in

unrestrained sensation. Meanwhile, the development of his artistic career

12 See Hsiao Chong-Ray's 'A Comparative Study of the Three Chinese Lyrical Abstract Masters ─ Chu Teh-Chun, Chao Wu-Chi, and Chen Cheng-Hsiung.' "The Proceedings of Cross-strait

Seminar on Contemporary Art." Taipei: National Museum of History, Sept. 2004.

021

正逢台灣政治、社會、文化面臨遽變的年代。1983 年年底，台

的一種轉化。西班牙留學背景的影響，使得他的作品，在看似隨意、

北市立美術館正式開館；隔年 (1984)，莊普便以作品獲得該館

不具機心的媒材肌理舖陳中，表現了一種禪機無限的內涵。

舉辦的「中國現代繪畫新展望展」首獎，這也是帶著觀念藝術特質的抽象繪畫，在官方展覽中獲得首獎的第一次，也正式開啟了

近年的作品，藉由大量的攝影，將自然與都會的片斷隨想，透過

台灣當代藝術「美術館時代」的序幕。

數位處理的手法，組構成綿密、交疊、延展的萬象空間，是一種現代科技下人文視野的當代感知，真實與幻覺並置、迷離與莊嚴

1984 年，在台北春之藝廊推出的「異度空間──空間的主題、

同體。

色彩的變奏曲」，和隔年 (1985) 的「超度空間展」，以「空間、色彩、結構──存在與變化」為主題，莊普都扮演了重要參與者

1953 年出生於台北一個書香家庭的賴純純，她的藝術就和她的

與推動者的角色。

人一樣，始終融和著兩種看似極端的元素：時而明麗端莊如城市精英、時而質樸草根如村野鄉民。這兩種氣質的結合，就如同那

1985 年，他以「邂逅後的誘惑」為題，推出第二次個展，以方

些閃爍著多彩、迷離光芒的彩色壓克力，和巨大、燻黑的質樸原

格蓋印的手法，成為他在台灣當代畫壇的重要印記；也以這樣的

木，同時出現在她的展示室中一般，令人驚奇，也令人困惑。

創作，獲得雄獅美術社頒與的「雄獅雙年獎」。 1986 年，台北市立美術館舉辦「中華民國繪畫新展望展」及「中莊普作品中的詩意本質，原就不純然是視覺上的形色結構，而是

國現代雕塑展」，賴純純同時獲得新展望獎及雕塑首獎的榮譽，

帶著行動與思維的內觀特色，在看似不著一語的境況中，卻有諸

成為台灣藝壇備受矚目的新生代藝術家。

多和現實間的牽扯與暗示。而這樣的牽扯與暗示，往往披露在那些如詩、如謎，又似無厘頭的作品標題上；事實上，不止標題，

在早期那些看似簡潔的造型和明麗色彩的創作，卻蘊含著賴純純

莊普的創作，不論平面、立體，始終有其「當下」意義的返照，

用生命去開拓、實踐的藝術思維，使得她的作品始終擁有深沈卻

他的作品也猶如他心靈的日記，每一件作品，都是每一個當下片

含蓄的精神性與感染力。其中佛家的思想，更一度成為她精神探

斷的存在印證。

索的重要引導，尤其在 1990 年代前期的作品中，更展現了一種對生命、人際思考的深度。

陳世明也是在 1980 年代初期的低限風潮中，自西班牙馬德里費南多高級美術學院畢業返台，以一種極具媒材特性的抽象創作受

1990 年代後期，台灣公共藝術興起，賴純純開始積極投入此一

到矚目；並在 1984 年，即進入當時甫剛創設的國立藝術學院 ( 今

領域的經營。公共藝術提供了這位深具開創性與實驗性的藝術

國立台北藝術大學 ) 擔任教職，以迄退休。

家，更大的探討空間與實踐機會；在這裡，她可以完成一般藝術家在工作室中無法完成的夢想，尤其那些具備迷人色彩與穿透特

陳世明早期的創作，是從極精細的具象寫實繪畫出發，強調物我凝

色的壓克力材質，擺置在巨大的公共空間中，顯然更具滲透與感

視下心靈萃煉的體悟。之後，從具象轉為抽象，乃是呼應內在需求

染的力量。

022

詳參蕭瓊瑞〈我不告訴你我告訴你─莊普的詩意本質與隱性批判〉，《藝術家》475 期，頁 274-277，台北：藝術家雜誌社，2014.12。

has always maintained closely connected to the development of Taiwanese

"present" and its meaning. His art represents a journal of his mind, and every

modern art. In particular, his book, "New Trends of Modern Art," has become

work is a stamp to validate the existence at that particular moment. 15

a canonical work for younger generations of modern artists. His creative thinking and expression have captured the attention of the international art

Chen Shu-Ming also returned to Taiwan during the wave of minimalism at

scene. 13

the beginning of 1980s after he ﬁnished his study at Real Academia de Bellas Artes de San Fernando in Madrid, Spain. He soon became known for his

In the 1980s, Richard Lin (1933-2011), a UK-based Taiwanese artist, had his ﬁrst

abstract creation with an emphasis on the characteristics of the media. In

solo exhibition in Taiwan, bringing in the "white impact" of minimalistic and

1984, he started teaching at the newly established National Institute of the

conceptual art. 14 Led by Lin, another wave of abstract art commenced,

Arts (now Taipei National University of the Arts) until his retirement.

changing the abstract art scene dominated by the characteristic of calligraphic writing since the 1960s. This new wave attracted a group of

Chen's early work centered on exquisite and minute realistic painting,

young artists, and among them, Tsong Pu (1947-), Chen Shu-Ming (1948-),

emphasizing on one's realization reﬁned by the observation of the external

and Jun T. Lai (1953-) have been the most representative.

world and the self. Afterwards, he turned to abstraction, a transformation that responded to his inner need. Having studied in Spain, the texture

Born in Shanghai in 1947, Tsong Pu moved to Taipei with his family at the

created with media in his work might appear spontaneous and unintentional,

age of two. In 1981, he finished nearly nine years of study at La Escuela

but revealed inﬁnite possibility of Zen.

Superior de Bellas Artes de San Fernando de Madrio in Spain and returned to Taiwan. It was a time when Taiwan was undergoing drastic political,

His recent work uses fragmented photographic images of nature and

social, and cultural changes. At the end of 1983, Taipei Fine Arts Museum

urban scenes processed with digital techniques to create an extensive,

was inaugurated, and the next year (1984), Tsong won the first prize of "A

overlapping, unending space that encompasses the universe. It delineates

New Vision of Contemporary Chinese Painting Exhibition" organized by

the perception of contemporary humanism in the context of modern

Taipei Fine Arts Museum. It was the first time that an abstract artwork that

technology and amalgamates reality and illusion as well as mysteriousness

carried characteristics of conceptual art was recognized and awarded

and solemnness.

by official exhibitions, and ushered in "the era of museums" for Taiwanese contemporary art.

Born in a family of scholars in Taipei in 1953, Jun T. Lai's art reminds people of herself, a combination of two opposites—the bright, elegant urban

In 1984, Tsong participated and played a crucial role of advocator in

elites and the simple, grass-root country folks. The combination of the two

"Strange Space—Theme of Space and Variation of Color" and "Transcend-

temperaments materializes into the iridescent, colorful acrylic and the giant,

dimensional Space" (1985) presented at Spring Fine Art Gallery. In 1985, he

smoked wood in her studio at the same time, which is as surprising as it is

held his second solo exhibition, titled "Temptation After Meeting by Chance."

confounding.

The method of grid dividing and stamping became his signature mark in contemporary Taiwanese art, and he was also awarded "Lion Art Biennial

In 1986, Lai won the first prize of "The Exhibition of Contemporary Chinese

Award" by Lion Art.

Sculpture Competition" and the honorable prize in "Contemporary Art Trend Competition," both organized by Taipei Fine Arts Museum; the achievements

The poetic quality in Tsong's work does not simply originate from visual forms,

spotlighted her among the new generation of artists in the Taiwanese art

colors and structure but from the introspective quality that denotes both

scene.

action and thinking. In the seemingly silent representation, many connections to and implications of reality are embedded. They are often revealed in his

Her early work of simple forms and bright colors, in fact, conveyed Lai's

poetic, riddle-like, illogical work titles. In fact, it is not just his work titles, Tsong's

artistic concept, which she explored and realized with life. Her efforts

two-dimensional and three-dimensional works always evoke a revisit to the

gave her work a profound yet understated spiritual and affecting quality.

13 See Hsiao Chong-Ray's "Passing Time．Streams of Light—Chihung Yang's Forty Years of Painting." Taichung: National Taiwan Museum of Fine Arts, Nov. 2012. 14 See Hsiao Chong-Ray's 'The Wave of Minimalism and the Age of Museum.' "History of Fine Art in Post-war Taiwan." P. 144-172. Taipei: Artist Publishing, Apr. 2013. 15 See Hsiao Chong-Ray's 'I Will Not Tell You That I Tell You—The Poetic Quality and Hidden Criticism in Tsong Pu's Work.' "Artist." Issue 475. P. 274-277. Taipei: Artist Publishing, Dec. 2014.

023

經歷將近 20 年的公共藝術經驗，在 21 世紀第一個十年即將結束

音樂、流暢的律動，極富個人特色。她雖然長期旅居紐約，但經

的時刻，賴純純開始感受到公共藝術的製作，冗長的協調過程與

常返台展覽，也積極參與亞洲各國舉辦的現代藝術聯展。近年並

溝通方式，對自我創作能量是一種嚴重的損耗；她開始有計劃地

嘗試裝置與影像的創作，是一位頗富自我突破精神的藝術家。

自我調整，重新回到工作室中的創作，並持續展現旺盛的創作力。楊世芝 1949 年出生於青島。她的藝術教育，主要完成於美國，賴純純創作的類型涵蓋極廣，包括：平面繪畫、雕塑、裝置，和

先後就讀舊金山藝術學校、紐約國家藝術學院，之後畢業於舊金

觀念藝術等；至於運用的媒材，更涵括：壓克力、油彩、墨水、

山州立大學藝術系，及該校藝術研究所肄業。1980 年代末期返

竹紙、木石、石墨、鋁板、色粉、沙、麻繩，和現成物等。作為

台後，積極參與「替代空間」的推動，她也是台灣第一個替代空

藝術家的賴純純，比起其他藝術家，顯然更強烈地要求自我「不

間「二號公寓」的成員。

走別人已經走過的路」；因此，她的創作始終具有高度的實驗性與探索性，就連她的人生似乎也是如此。16

楊世芝早期的作品，介於物象與心象之間，以富有力量的色面和肌理，表達主觀的觀看經驗，色調沈穩，卻又豐富、流動，帶著

2016 年的新作，是以聚合樹脂為媒材，層層堆疊，多彩映照，

一種光影變化的空間趣味。近年的作品，逐漸走向水墨的構成，

成為一種深具迷離與深邃的巨大存在。

畫面呈現一種細緻與粗獷、靜穆與動盪二元並置的特質。

■

1956 年出生於台中的薛保瑕，是這些留美女性藝術家中最具學

1984 年年底，台北市立美術館的成立，加上政治氛圍的改變，為

者特質的一位。台灣師大美術系畢業後短期任教國中，1983 年

台灣現代藝術帶來更豐富多元的面貌。其中，大批女性抽象藝術

赴美，並在紐約普拉特藝術學院及紐約大學教育學院藝術系先後

家的湧現，顯然是一個重要的現象。這些藝術家，除前提賴純純

取得藝術碩士及藝術博士學位。在當年藝術學院老師一句：「抽

之外，另如：陳張莉 (1945-)、洛貞 (1947-)、賴美華 (1948-)、楊

象藝術發展已逾百年，抽象藝術創作還可以如何走下去？」的提

世芝 (1949-)、薛保瑕 (1956-)、徐畢華 (1957-)、謝鴻釣 (1961-)，

問下，薛保瑕開始展開一段完全脫離一般抽象繪畫形式風格經營

以及更年輕的董心如 (1964-)、謝貽娟 (1967-) 等人。

的路向，而在抽象的語境下，企圖去重新回顧並建構抽象藝術「敘事」的可能性；如 1985 年的「P.S.」系列，「P.S.」本身就

其中陳張莉、楊世芝、薛保瑕、徐畢華、謝鴻鈞、董心如，均具

是一個「擬人化」(Personiﬁcation) 的代號，而在「似有所本」、

留學美國的學院背景。陳張莉 1945 年出生於上海，1968 年自

「多義名言」的符號、語意，和畫面中，挑戰創作者與觀賞者的

台灣國立政治大學西洋語文學系畢業，即投身創作；1987 年台

視覺思維與文化 ( 歷史 ) 認知；因此，早期的作品，總是充滿了

北美國文化中心首次個展後，以不惑之年前往紐約普拉特學院，

畫家意識層與潛意識的糾纏、流動，在社會與個人、現實與理

並獲得藝術碩士。陳張莉的抽象繪畫，從本能的心象出發，在人

念、當下與歷史、可掌握的與不可掌握的、外世界與內宇宙……

生與自然的觀照中，時而濃烈、多彩，時而清淡、空靈；但整體

之間，不斷地推拉、徘徊、延展……。

而言，畫面帶著強烈的媒材肌理，在書寫性的造型結構中，富於

024

詳參蕭瓊瑞〈迷離與絕對─賴純純的藝術探索〉，《心．脈絡─賴純純個展》，台東：台東縣政府，2013。

Buddhist thinking was once an important source of guidance in her spiritual

graduating from the Department of Foreign Languages, National Chengchi

exploration, especially her work created in the early half of the 1990s, which

University in 1968, she started making art. She held her ﬁrst solo exhibition at

demonstrated the depth of her thinking on life and interpersonal relationship.

American Cultural Center in Taipei in 1987. She later entered Pratt Institute in

In the latter half of the 1990s, public art began to receive more and more

New York at the age of forty, and obtained an MFA. Chen's abstract painting

attention in Taiwan, and Lai started to delve into this ﬁeld. The creation of

is based on intuitive mental images. Representing her observation of life and

public art gave this highly innovative and experimental artist a wider space

nature, her painting encompasses different aspects and possesses highly

and more opportunities to realize her ideas. Making public art, she was able

individual characteristics, sometimes poignant and colorful, sometimes light

to achieve dreams that could not be realized in studio. Speciﬁcally, her work

and aerial. Overall, her image carries vivid texture created by the media,

of charming colors and translucent acrylic material became more piercingly

overflowing with musicality and fluid rhythm in the form and structure

powerful and affecting in the large public space.

informed by calligraphic writing. Although she is based in New York, she has frequently held exhibitions in Taiwan and remained active in participating

After nearly twenty years of making public art, at the end of the first

in international exhibitions in Asia. In recent years, she has begun making

decade in the 21st century, Lai started to feel that the production of public

installation and video, which is a testament to her self-challenging spirit.

art, along with the tedious negotiation process and communication, has seriously depleted her creative energy. She began to recalibrate her work

Emily S.C. Yang was born in Qingdao, China. She received her artistic

systematically, returned to her studio, and continued in art-making with

education in the US. She first studied at Academy of Art College, San

vivacious creativity.

Francisco, and then, National Academy School of Fine Arts, New York, and later graduated from San Francisco State University without ﬁnishing her study

Lai's work covers an extremely wide range, including painting, sculpture,

for a master degree there. At the end of 1980s, she returned to Taiwan and

installation, and conceptual art. In terms of media, she uses an even wider

was active in the promotion of "alternative spaces." She was also a member

range of materials, such as acrylic, oil paint, ink, bamboo and paper, wood

of the ﬁrst alternative space in Taiwan, "Apartment No. 2."

and stone, graphite, aluminum, color powder, sand, hemp rope, and readymades. Comparing to other artists, Lai obviously demands more of herself

Yang's early work captured the images between external appearances and

"not to repeat what others have done." Therefore, her work has always

mental images, conveying subjective visual experience with powerful planes

remained highly experimental and explorative, just like her own life. 16

of colors and texture. Composed of steady, stable color tones, her early work also carried a sense of richness and ﬂuidness that seemed to reﬂect the

Her new work in 2016 makes use of polyresin, creating colorful layers that

changes of light and shadow in space. Her recent work turns to ink painting,

deliver an indistinct yet mesmerizing existence.

which is created with juxtaposition of duo elements, such as reﬁnement and

■

ruggedness as well as tranquility and upheaval.

At the end of 1984, the establishment of Taipei Fine Arts Museum, along with the change of the political atmosphere, introduced a more enriched and

Ava Pao-Shia Hsueh was born in Taichung in 1956. Among the female artists

diverse era for Taiwanese modern art. During this period, the upsurge of female

who studied in the US, she possesses the most scholastic characteristics. After

abstract artists was a noticeable phenomenon. In addition to Jun T. Lai, other

graduating from the Department of Fine Arts, National Normal University,

female artists also included Jenny Chen (1945-), Lo Tsen (1947-), Lai Mei-Hua

she taught for a short time in a junior high school, and went pursuing further

(1948-), Emily S.C. Yang (1949-), Ava Pao-Shia Hsueh (1956-), Jessica Pi-Hua Hsu

education in the US. She holds an MFA from Pratt Institute and a DA from

(1957-), Juin Shieh (1961-), Tung Hsin-Ru (1964-), and Jo Hsieh (1967-).

New York University. At the university, her teacher asked her the following question: "abstract art has been created for nearly a century, in what way

Among these female artists, Jenny Chen, Emily S.C. Yang, Ava Pao-

could the making of abstract art continue?" Because of this question, Hsueh

Shia Hsueh, Jessica Pi-Hua Hsu, Juin Shieh, and Tung Hsin-Ru all received

started to explore an artistic path different from the ordinary abstract form

academic training in the US. Jenny Chen was born in Shanghai in 1945. After

and style. Adopting the abstract vocabulary, she revisited and reconstructed

16 See Hsiao Chong-Ray's 'Vague and Absolute ─ Jun T. Lai's Artistic Exploration.' "Veins of Heart ─ Jun T. Lai Solo Exhibition." Taitung: Taitung County Government, 2013.

025

1995 年返台後，經歷豐富的行政歷練，包括：國家文藝基金會

種不斷反身自省、自我內視的態度。她的創作，較少從純粹的抽

執行長、國立台灣美術館館長，以及生病開刀的挑戰，在 2009

象構成出發，總是帶有一種高度的自省意識，大到對文化神話的

年之後，薛保瑕展開另一全新面貌的創作，繁複筆觸構成的巨大

顛覆，小到對自我身體內在宇宙的觀想，但藉由「為物象罩上一

畫面，開始出現一些徒手畫成的正圓；正圓的平塗和那些網狀揮

層『擬像』」(Simulacra) 的外衣」，畫面則形成一種自我視覺

洒的畫面中，形成冷熱並置的張力。揮灑的油彩，揭露某些潛藏

符號的抽象組合，是台灣當代抽象創作中的一個異數。

的記憶、情感或無可名狀的感受；徒手平塗的正圓，尤其拘限在以九的數目而展開的佈局，就帶著高度的思惟、反視與知性；這

也是畢業於紐約普拉特學院研究所碩士班的董心如，1964 年生

些大小不一而形成空間遠近的不同色點，顏色本身也造成距離遠

於台灣。她的作品以抽象的形式，捕捉大自然的意象，包括：植

近的感受。同時，色點的存在，既是一種實有，又似一種空洞，

物、深海、花草、昆蟲、樹影、月光……，乃至浩瀚的宇宙，帶

和畫面的筆觸、線條，乃至抽象繪畫本身及其歷史，形成強烈的

著一種神秘性，也富涵詩意。在和自然的觀照中，也表達了對自

辨證關係。看似對社會事件的關懷較為隱褪，但本質上，仍然在

我生命的熱情與好奇。同樣的主題似乎是許多前輩女性藝術家共

直接面對「抽象繪畫及其自身的歷史演變」這個大脈絡下，展現

同的關懷，但董心如的作品呈現了更為純粹與低限的特質。

其不懈地提問與回應。

更年輕的謝貽娟，是留學英國，1967 年生於台灣，1991 年負笈 1957 年生於台灣雲林的徐畢華，國立政治大學教育系畢業後，

倫敦。先後完成英國皇家藝術學院碩士學位，及費爾茅斯藝術學

1987 年前往美國加州柏克萊大學藝術研究所主修藝術史；1989

院博士學位。她的創作，使用媒材甚廣，包括：油彩、粉彩、壓

年，在美國波士頓美術館學院主修繪畫。

克力顏料、照相腐蝕、礦石粉末……等，尤以「藍色礦石粉末」的極簡抽象創作最具個人代表性。學、術雙修的謝貽娟，對東西

徐畢華的抽象創作，完全來自自然山水的啟發；長期寄居山林的

方哲學均俱高度興趣，作品中呈顯一種結合物性學與心理學的高

她，以大自然作為修行的導師，畫布和田園則是她修行的道場。

度企圖，進而開展出屬於她稱為「非空間」(None-Space) 的

在大自然的生息、涵養中，她以「師法自然」為創作準則；因此，

創作理念，一種較為節制、工整的畫面形式，似乎是這位留英藝

畫面總是在一種歌讚、奔放的正向情緒中，流露愉快、舒暢的精

術家和其他留美抽象藝術家較為不同的地方。

神特質。近年則加入一些布料的拼貼，增加畫面的肌理與象徵的內涵。

沒有海外留學的經歷，卻因先生特殊的外交職業生涯，具有多國生活經歷的洛貞 (1947-)，也是這波女性抽象藝術創作者中，頗

與薛保瑕幾乎完全相同的學院訓練背景：台灣師大美術系畢業

為特殊的一位。

後，赴美獲得紐約普拉特藝術學院碩士，及紐約大學藝術研究所創作博士的謝鴻鈞，1961 年生於苗栗的客家家庭，但在台北長

「洛貞」，是一個早在 1980 年代初期，即被台灣畫壇知悉的名

大，加上美國留學的背景，讓她的創作帶著較為多元文化的特質；

字。1981 年在台北版畫家畫廊推出國內的第一場個展之前，她

尤其作為女性藝術家的身份，謝鴻鈞始終對自我的存在，抱持一

已在菲律賓舉辦過兩次個展，以一種帶著超現實意味的半抽象人

026

詳參蕭瓊瑞〈從回溯、流轉，到馳騁─薛保瑕的生命探索與藝術歷程〉，《直接面對─薛保瑕個展》，頁 8-25，台中：國立台灣美術館，2016.8。

the possibility of creating "narrative" in abstract art. For instance, in her "P.S."

and her canvas and garden her ashram. In the great life and nurturance of

series published in 1985, "P.S." referred to "personiﬁcation," and challenged

nature, she learns from this teacher and transforms what she has learned into

the visual perception and cultural (historical) awareness of the creator as

guidelines for her art-making. Therefore, her image always reminds viewers

well as the viewers with symbols and linguistic meanings that seemed to

praising and unrestrained positive emotions, conveying a sense of joy and

carry actual references and multiple meanings. Therefore, her early work

relief. In recent years, she has incorporated collage of fabric to increase the

was informed by the entanglement and fluidity of the consciousness and

texture, adding another layer of symbolic meaning in the image.

subconscious, revealing constant struggle, lingering, and extension posited between society and individual, reality and ideal, present and history, the

Juin Shieh shared an almost identical academic background with Ava Pao-

controllable and the uncontrollable, and the external world and the inner

Shia Hsueh. After graduating from the Department of Fine Arts, National

cosmos.

Normal University, she obtained her MFA at Pratt Institute, New York, and later, a DA from the Graduate School of Art, New York University. Shieh was born

She returned to Taiwan in 1995, and served a series of administrative

in a Hakka family in Miaoli. However, having grown up in Taipei and studied

positions, including CEO of the National Culture and Arts Foundation and

in the US gave her work characteristics of diverse culture. As a woman

director of National Taiwan Museum of Fine Arts, and had a major surgery

artist, she has always upheld a sense of retrospective and introspective

due to illness. After 2009, Hsueh's work showed a brand new look with

attitude towards her own existence. Her work is less purely abstract, but

large paintings composed of elaborate, intricate brushstrokes and hand-

always embodies a sense of self-reﬂection. From the subversion of cultural

painted circles. The image reveals a sense of tension between calmness

mythology to introspective exploration of the inner universe that is one's

conveyed by the colorful circles and passion manifested by the web-

body, by "covering a layer of simulacra on the appearances of things," her

like structure in the image. The freely painted oil colors unfurled some

image forms an individual combination of abstract visual symbols, rendering

hidden memories, emotions, and unknown feelings whereas the circles

her a unique artist in contemporary Taiwanese abstract art.

hand-painted by flatly applying colors symbolized mind and thinking, retrospection, and intellectuality, especially when they were contained in

Born in Taiwan in 1964, Tung Hsin-Ru also holds an MFA from Pratt Institute.

the composition deﬁned by the number of nine. These circles in various sizes

Through the abstract form, her work encapsulates images of nature,

provided perspective that signaled the depth of the space while the colors

including plants, ocean, ﬂowers, insects, shadow of trees, moonlight, and the

also create perception of distance. Meanwhile, the colorful circles look

inﬁnite universe. It is as mysterious as it is poetic. From her observation of and

simultaneously concrete and empty, forming a strong dialectic relationship

attention to nature, one could see her passion and curiosity in life. This theme

to the brushstrokes, lines, and even abstract painting itself and its history.

seems to be shared by many of her female predecessor; however, Tung's

In appearance, Hsueh's care for social events might seem hidden; yet,

work has revealed a purer and minimalistic quality.

intrinsically, her work is still directly presenting the grand context of "abstract painting and its changes in the course of history" in front of herself and her

Jo Hsieh is younger than the female artists mentioned above. She was born

audience, voicing her consistent questioning and response. 17

in Taiwan in 1967, and studied in London in 1991. She holds an MFA from the Royal College of Art and a PhD from Falmouth College of Art, UK. She employs

Jessica Pi-Hua Hsu was born in Yulin, Taiwan in 1957. After graduating from

a wide range of media to create her work, including oil colors, pastel, acrylic,

the Department of Education, National Chengchi University, she studied art

photographic etching, and mineral powder, among which her abstract work

history at the Graduate School of Arts, University of California, Berkeley in

painted with "blue mineral powder" has become her signature work. Steeped

1987, and studied painting at the School of the Museum of Fine Arts, Boston

in both academic study and artistic creation, Hsieh is interested in Eastern and

in 1989.

Western philosophy. Her work demonstrates her attempt to combine physical properties and psychological understanding. She has created a comparatively

Hsu's abstract painting is inspired by natural landscape. Having lived in the

more moderate and orderly image, which she calls "none-space," making her

mountains for a long time, she sees nature as her mentor of spiritual practice,

stand out among other abstract artists that have studied in the US.

17 See Hsiao Chong-Ray's 'From Retrospection, to Transition, to Freedom ─ Life Exploration and Artistic Journey of Ava Hsueh.' "In Front of You ─ Solo Exhibition of Ava Hsueh." P. 8-25.

Taichung: National Taiwan Museum of Fine Arts, August 2016.

027

體，表達她對生命的感觸與思維，獲得藝壇相當的注目與好評。

初中後，前往台南求學，孤獨卻也獨立的住宿生活，讓她一頭栽進藝文的空間裡；大量的閱讀與美術老師沈哲哉 (1926-) 的啟蒙，

這位出生、成長於動盪年代的女性藝術家，由廈門來到台灣，或

引導她走進美術創作的領域。高中時期，正是台灣 60 年代現代

許因為童年生活的不穩定，潛意識中對人間的苦難，顯然比對甜

藝術風潮初興的年代，「女性主義」的思想尚未抬頭，賴美華已

美的事物，有著更深刻的感受與體認。自幼喜愛的繪畫，也在相

經在她的創作上，結合女體與花卉的圖像，以一種流線型的畫面

當的年齡後，得以自食其力，才拜師學藝；啟蒙的老師，正是台

分割，探索著自身的存在與命運，是台灣第一位沒有主義宣言的

灣當年前衛繪畫運動「東方畫會」八大響馬之一的吳昊。吳昊帶

女性主義藝術家。

給她的，正是一種面對自我意識的挖掘與掌握。不久，她便因婚姻的關係，隨著擔任外交官的先生，移居菲律賓；在這裡，菲律

2000 年之後的賴美華，創作的面向有更開闊的發展。從女生自

賓知名的畫家洪救國成了她的另一位指導老師。

身的經驗、感受出發，但最終並不完全侷限在女性自身的課題，許多時候，更是超越性別，乃是面對生命整體的思考。賴美華的

而 1998 年的印度駐旅，則讓洛貞的「悲慟」找到了安頓的出口。

創作，是一種發自潛意識深層的自然流露，在看似人體的抽象構

這個曾經是「極苦之地」的國度，蘊育了人間最深奧的哲學和宗

成中，訴說著屬於女性特有的憤怒、悲哀，與快樂。18

教，也啟發了洛貞面對苦難的另一種態度與方法：重新回到原真的自我。

■ 女性藝術家之外，也是本地教育養成的謝義錩 (1949-)，出生於

在這樣的反省與自覺中，洛貞開始將向外觀望的眼睛，回到自我

新竹。1967 年入國立藝專美工科，隔年 (1968)，即獲台北市美

的內視；她開始肢解、淡化，乃至捨棄以往對人類形體的堅持，

展設計類首獎；1970 年入伍服役，又得陸光美展首獎。之後，

回到原本熟悉卻疏離已久的書法藝術；流動的線條、簡化的色彩，

長期投入廣告設計及房地產事業，也是台灣知名設計團體「變形

畫面走向一種單純的自我呈現。

蟲設計協會」的成員。

洛貞近年的作品，也嘗試水墨線條的構成，都是由一些猶如髮絲

男性藝術家的抽象創作，在心靈感知的層面上，似乎不若女性藝

的細條，就像音樂中，帶著和音的旋律，來回擺盪、不斷迴轉、

術家的細膩敏感，但就抽象藝術的表現上，反而更為純粹。謝義

擴張，予人以複弦合鳴的震撼。這些多線索的流動迴轉，時而緊

錩的抽象創作，強烈的肌理，和色層的變化，容易讓人和建築產

密、時而疏鬆，展現一種充滿生命律動的喜悅與活力。

生聯想。純粹的視覺強度，也超越女性藝術家經常表現的自我內心感受。

賴美華 (1948-)，是一位土生土長的在地藝術家，卻也是台灣最早在創作中展現女性意識的藝術家。出生成長在嘉義義竹的一個

類似的比對，似乎也可檢視一批 40 ∼ 60 年代出生的男性抽象

醫生家庭中，賴美華從小便對生命充滿好奇與疑問。

藝術家；相對於前舉女性抽象藝術家的大多留學美國，這批男性藝術家則更多是前往歐洲的法國、義大利、西班牙。

028

詳參蕭瓊瑞〈沒有主義，就是女性─賴美華的自身探索〉，《藝術家》448，頁 258-261，台北：藝術家雜誌社，2012.9。

Lo Tsen (1947-) never studied abroad. However, because of her husband's

and sometimes allow space to show in between, demonstrating a sense of

diplomatic career, she has accumulated much experience living in foreign

joy and vitality ﬁlled with the rhythm of life.

countries, which makes her a distinctive artist among other female artists of her generation.

Lai Mei-Hua (1948-) was born and raised in Taiwan, but she was also the ﬁrst one to displayed the female consciousness in artistic creation. Grew up in a

As early as in the 1980s, Lo Tsen had already become a name known to the

doctor's family in Yijhu, Chiayi, Lai has always been curious about life. After

Taiwanese art ﬁeld. Before her ﬁrst solo exhibition at Printmaking Art Gallery

ﬁnishing junior high school, Lai continued her education in Tainan, leading a

in Taiwan in 1981, she had already held two solo exhibitions in the Philippines.

lonely yet independent dormitory life, during which she became interested

She conveyed her feelings and thoughts about life through semi-abstract

in arts and culture. Her large amount of reading and her art teacher and

ﬁgure that was reminiscent of surrealism, which received much attention and

mentor, Shen Che-tsai (1926-), led her into the world of artistic creation. Her

praise from the art circle.

time in high school coincided with the wave of modern art in Taiwan in the 1960s. Although feminism was still unheard of at that time, Lai had already

Born and grew up in a turbulent time, this female artist came to Taiwan from

begun combining the female form and the floral imagery, dividing her

Xiamen. Perhaps it was because of an instable childhood, she seemed

image into ﬂuid forms and exploring her own existence and destiny. Her work

to gain more profound feelings and understanding from the sufferings

rendered her the ﬁrst feminist artist despite the lack of a manifesto.

than the sweet and wonderful things in life. She loved drawing as a child. After reaching adulthood, she was able to support herself and learn from

After 2000, Lai's work steered towards a wider and vaster world. She has

teachers. Her ﬁrst mentor was one of the Ton Fan Art Group's "Great Eight

started from her own experience and feeling as a woman; however, she

Outlaws" in the Taiwanese avant-garde painting movement, Wu Hao, who

does not let herself stay within the scope of the issues about women. More

taught her to look into one's self-consciousness to ﬁnd inspiration. She moved

often, her work transcends gender and touches upon the thinking about life

to the Philippines after marrying her diplomat husband. There, the renowned

overall. Lai's art-making stems from her deep exploration of the subconscious.

Filipino painter, Ang Kiukok, became her second mentor.

In her abstraction that seems to depict the human form, she voices the rage, sorrow, and happiness speciﬁc to the female sex. 18

Traveling in India in 1998 gave Lo Tsen an outlet for her "grief." The country

■

that used to endure great sufferings has nurtured the most profound

In addition to the female artists, Idea Hsieh (1949-) was also born and raised

philosophy and religion in the world. As a result, she was inspired to face life's

in Taiwan. Born in Hsinchu, Hsieh entered the Department of Fine Arts,

challenges with a different kind of attitude and method, and thus, retrieved

National Taiwan Academy of Arts in 1967, and won the ﬁrst prize of design

her original true self.

category in Taipei Annual Arts Competition the next year (1968). When he served his military service in 1970, he won the ﬁrst prize of Lu-Guang Art

With the self-reflection and self-understanding, Lo Tsen began to turn her

Competition in the army. Afterwards, he made a career in advertising and

eyes towards the inner realm, starting to divide, reduce, and eventually

real estate and was a member of the well-known Taiwanese design group,

abandon the human form that she once insisted on portraying; she ﬁnally

"Taiwan Amoeba Design Association."

went back to the calligraphic art that she used to be familiar with and had not picked up for a long time. The ﬂowing lines and her simple colors

Abstract works of male artists, in terms of the perceptive level, might not be as

gradually re-surfaced as the representation of the simple self.

sensitive and delicate as those of female artists. However, they might produce purer abstraction. Hsieh's abstract work reveals vivid texture and changes in colorful

In her recent work, the artist has also painted ink painting. These works reveal

layers, reminding people of architecture. The pure visual intensity in his work also

hair-thin lines like visualized musical rhythm that swing and ﬂoat in the image,

surpasses the demonstration of inner feelings and emotions by female artists.

constantly spinning and expanding while creating an impact of visual

One could form similar comparison when examining the work of a group

resonance. The ﬂuid and turning lines sometimes connect closely together,

of male abstract artists born during the 1940s to the 1960s. Unlike the

18 See Hsiao Chong-Ray's 'No-ism, Just Woman ─ Lai Mei-Hua's Self-Exploration.' "Artist." Issue 448. P. 258-261. Taipei: Artist Magazine, Sept. 2012.

029

這批大約也是在 80、90 年代之後陸續返台的抽象藝術家，除前

曲德義早期的作品，正是以冷熱兩種色面的垂直或傾斜並

提留學西班牙的陳世明、莊普外，另有：留法的曲德義 (1952-)、

置，造成一種帶著動勢與動能的不安定性；一如樂滿心 (Larry

胡坤榮 (1955-)、劉高興 (1958-)、陶文岳 (1961-)，和留義的陳

D.Lutchmansingh) 在 90 年代中期所形容的：曲德義個人最明

聖頌 (1954-)、劉永仁 (1958-)、耿晧剛 (1969-)，以及留美的張

顯的藝術表徵，就是對空間運動的掌握；他可以同時在畫中引發

正仁 (1953-)、郭博洲 (1960-)、紀嘉華 (1969-) 等。

空間運動，並延伸至畫外，有如立體派或拼貼作品中任意漂浮、擺盪的平面，又如那些充滿動力、活躍在二度空間畫面，同時也

身為韓國僑生的曲德義，1976 年自台灣師大美術系畢業，在學

躍出畫外的各種線條。19

期間，拜師台灣現代繪畫導師李仲生。1978 年，曲德義赴法留學，同時在法國國立高等藝術學院 (1979-1984) 及國立高等設

胡坤榮，1955 年生於台北三重，1977 年入國立台灣藝專美術

計學院 (1981-1983) 學習，並以俄國絕對主義藝術家馬勒維奇

科，受西班牙留學返國的陳世明影響，開始研讀西方現代藝術理

(Kazimir Severinovich Malevich,1878-1935) 的研究作為碩士

論並進行創作探討。作品以具幾何抽象的硬邊創作為主要風格；

論文的主題；而在他本人的創作上，也就走上結合李仲生的心象

1982 年在美國文化中心舉辦藝專畢業展、1984 年再於龍門畫廊

抽象 ( 熱抽 ) 與馬勒維奇色面構成 ( 冷抽 ) 的主軸風格。

個展，受到矚目。與此同時，林壽宇返國帶來的衝擊，更對他造成深刻啟發，既參與幾次的「異度空間」和「超度空間」展外，

抽象繪畫自其奠基者康丁斯基 (Kandinsky,1866) 身上，即已隱

也以立體創作獲得 1985 年台北市立美術館舉辦的第一屆現代雕

然立下「熱抽」與「冷抽」的兩條路徑：前者，是以即興的手法，

塑展優選，並獲典藏。1991 年，毅然赴法，客居巴黎 10 年，雖

憑藉直覺、任由潛意識的流露，進行感性的抒發，畫面成為帶著

未正式進入學院學習，但深受法國藝壇氛圍影響，專注於幾何抽

動力的形、色聚合；後者則是以較知性的手法，將一些變化不定

象繪畫之創作，2000 年返台後，創作不輟。

的幾何形，進行預想式的構成，呈現藝術家理念世界的某種秩序與空間關係。而曲德義正是企圖結合這兩條路徑，加上他自「支

胡坤榮的幾何抽象，以正方形色面為主，搭配一些斜面的構成；

架 ( 載體 ) ─張面」(Suport-Surface) 藝術的吸納，特別強調創

粉系的色調，讓知性的畫面，散發一股輕柔、感性的氛圍。繁複

作媒材本身的能指性，呈顯出一種媒材

卻具秩序的空間結構，充分展現都會生活的幸福情趣。

式

內容、筆觸空間、精神

色面、穩定

作品、感性

傾斜、硬邊

知性、形

肌理，乃至平面

物質……等等多元對立又疊合並置的特殊風格。

也是國立藝專畢業 (1979) 的劉高興，1958 年生於南台灣的高雄，曾參與高雄現代繪畫團體的「午馬畫會」。1985 年赴法，

1988 年曲德義返台在台北三原色舉行首次個展，並進入甫剛成

入巴黎高級美術學校，1990 年返台。劉高興的創作，以人為思

立的國立藝術學院 ( 今國立台北藝術大學 ) 任教；1995 年，薛保

考中心，但摒棄寫實、再現的技法，以較凝煉、簡化的象徵性形

瑕完成在美國的學業，也成為台南藝術學院 ( 今國立台南藝術大

式，表現一種壓縮、交疊的複雜情境；看似平面的構成，卻蘊含

學 ) 的老師。曲、薛兩人在創作上持續開展的同時，也都因他們

豐富的肌理、沈鬱的色彩，給人一種歲月滄桑的深沈感受，極具

傑出的行政長才，而先後擔任校內及校外各種重要的行政職務。

歷史感。近年作品，則加入一些自然空間的意象，看山似山、看

030

詳參蕭瓊瑞〈抽象雙極．動能對話─曲德義、薛保瑕雙個展〉，《今藝術》254 期，頁 140-143，台北：典藏今藝術，2013.11。

aforementioned female artists that mostly studied in the US, this group of

Arts (now Taipei National University of the Arts). In 1995, Ava Pao-Hsia Hsueh

male artists mainly pursued their education in European countries, such as

ﬁnished her study in the US and returned to teach at Tainan National College

France, Italy, and Spain.

of the Arts (now Tainan National University of the Arts). While continuing in making art, Chu and Hsueh both served important administrative positions in

Apart from Chen Shu-Ming and Tsong Pu that studied in Spain, this group

and outside of the schools due to their excellent administrative abilities.

of abstract artists who returned to Taiwan in the 1980s and 1990s could be divided into three groups, including Chu Teh-I (1952-), Hu Kun-Jung (1955-), Liu Kao-

Chu's early work was consisted of hot and cold color planes juxtaposed

Sing (1958-), and Tao Wen-Yueh (1961) who studied in France, C. Shenson

vertically or horizontally, creating a sense of movement and instable energy.

(1954-), Liu Yung-Jen (1958-), and Keng Hao-Kang (1969-) who studied in Italy,

As Larry D. Lutchmansingh described in the mid-1990s, the most prominent

and Chang Cheng-Jen (1953-), Kuo Bor-Jou (1960-), and Jason Chi (1969-)

characteristics in Chu's work was his mastery of the movement in space. He

who studied in the US.

had the ability to create movement in the image and extend it to outside of the frame, which was reminiscent of the randomly ﬂoating and swaying

Chu Teh-I is a Korean-born Chinese. He graduated from the Department of

planes in Cubist paintings and collages as well as their dynamic and lively

Fine Arts, National Taiwan Normal University in 1976. While studying at the

lines that seemed to jump out of the painting. 19

university, he was mentored by Li Chun-shan. In 1978, he went to pursue further education in France, and studied at L'Ecole Nationale Supérieure

Hu Kun-Jung was born in Sanchong, Taipei in 1955. He entered the

des Arts-Decoratifs de Paris (1979-1984) and L'Ecole Nationale Supérieure

Department of Fine Arts, National Taiwan Academy of Arts in 1977.

des Beaux-Arts de Paris (1981-1983), where he wrote his master thesis on the

Inﬂuenced by Chen Shu-Ming who had studied in Spain, Hu began studying

Russian painter of Suprematism, Kazimir Severinovich Malevich (1878-1935).

Western modern art theories and exploring them through artistic creation,

His work also revealed a combination of Li Chun-Shan's abstraction of mental

which focused on hard-edge geometric abstraction. In 1982, he had his

image (hot abstraction) and Malevich's abstraction composed of colorful

graduation exhibition at the American Cultural Center in Taipei, and in 1984,

planes (cold abstraction).

held a solo exhibition at Lung Men Art Gallery, which brought him much attention. He was also profoundly inspired by the impact of by Richard Lin's

Since the pioneering work of Wassily Kandinsky (1866-1944), abstract painting

return to Taiwan, and participated in the exhibitions, "Strange Space" and

was already divided into "hot abstraction" and "cold abstraction." The

"Transcend-dimensional Space." Moreover, he won the merit award in the ﬁrst

former adopts a spontaneous approach propelled by intuitive revelation

modern sculpture exhibition organized by Taipei Fine Arts Museum in 1985;

of the subconscious to create lyrical expression. The image surfaces

his three-dimensional work was then collected by the museum. In 1991, he

as an integration of moving forms and colors. The latter depends on a

moved to France and lived in Paris for ten years. Although he did not enroll in

more rational method, constructing image in advance with variating,

any formal schools, the French art scene had inﬂuenced him deeply, and he

undetermined geometric forms to demonstrate artists' idealized world as

continued in making geometric abstract painting. He returned to Taiwan in

well as its order and spatial relations. However, Chu combined the two by

2000, and has never stopping painting.

incorporating his understanding of the Supports/Surfaces. He emphasized on the media as signiﬁers, creating a unique style that was founded on polarities

Hu's geometric abstraction used colorful squares as predominant elements,

that were diverse yet opposing, overlapping but juxtaposing; the polarities

which were matched with some slant planes. The pastel tone of his work

he employed included medium and work, sensibility and rationality, form

conveyed a sense of intellectuality and created a soft and affective

and content, brushstrokes and color planes, stableness and tilt, hard-edge

atmosphere. The intricate yet orderly spatial structure fully demonstrated the

and texture, two-dimension and space, spiritual and material, etc.

delight and charm of the urban life.

Chu returned to Taiwan in 1988, and had his ﬁrst solo exhibition at Tri-Color

Also graduated from National Taiwan Academy of Arts (1979), Liu Kao-Sing

Art Center in Taipei. Later, he began teaching at National Institutes of the

was born in Kaohsiung in southern Taiwan in 1958. He was once a member of

19 See Hsiao Chong-Ray's 'Two Polarities of Abstraction．Dialogue between Momentums ─ Duo Exhibitions of Chu Teh-I and Ava Hsueh.' "Artco." Issue 254. P. 10-143. Taipei: Art & Collection

Group, Nov. 2013.

031

山不是山，橫長的構圖，更增添了視覺移動的心理轉換，是生命

業後，即任職文建會美術科，並擔任國際版畫雙年展執行秘書。

意境的呈現，也是鄉愁的展現。

1989 年前往巴黎遊學，1990 年轉往義大利米蘭，並舉行現代水墨個展。1991 年入義大利國立米蘭布雷拉 (Brera) 藝術研究院，

更年輕的陶文岳，1961 年出生於基隆的一個醫生家庭，自小極

創作關懷逐漸由水墨紙本轉向油彩畫布。1995 年取得該院碩士

受家人細心的呵護與期待。國立台灣藝專美術科畢業後，1987

學位。期間，曾先後為台灣《典藏》、《雄獅美術》、《藝術家》

年赴法，進入巴黎國立高等裝飾藝術學院；1991 年，獲得該學

雜誌撰文，尤其對 90 年代的威尼斯雙年展等多所評介，也是一

院的繪畫首獎，並於 1994 年取得同校空間藝術系碩士學位。優

位創作與評論兼擅的藝術家。

異的表現，使他得以留校擔任助教。劉永仁的創作，由現代水墨入手，在 1990 年代中期，脫離具象陶文岳留學、旅居法國，長達 20 年時間，在繪畫創作外，也專

表現，轉向單色光影分解的畫面構成，並形成所謂「呼吸概念」

研當代藝術理論，成為右手畫畫、左手寫評論的藝術家。

(concept of breathing) 的創作主軸，包括：「呼吸深度」 (2002-2010)、「呼吸形跡」(2010)、「呼吸滲透」(2011)、「呼

陶文岳的抽象繪畫，典雅、沈實，在豐美卻含蓄的色面中，時時

吸．取境」(2013) 等系列；2015 年之後，則轉向「抽象之弧」

浮現一些帶有象徵意義的符號和形狀，那往往是這位喜愛古物收

的探索。在這些帶著潛意識特色的作品中，劉永仁浸淫於形與

藏的藝術家，藉以表達內心情感、思維的一種媒介與衍化，也是

形、色與色之間的對應、卡位，而形成深具張力與平衡的新秩序

生活中的某種記憶、緬懷或象徵。他像一位優雅的哲士，面對生

與新樂章；拆卸知性思維的邏輯架構，創作的過程就猶如平素生

命中的種種挫折、試練與考驗，總是應之以淡然、超越的姿態，

活的「呼吸」之間，那樣的自然、舒緩，而平順。

從容、徐緩，且不著喜、怒、哀、樂的起伏痕跡。

目前劉永仁任職台北市立美術館展覽組，近年來策劃諸多和抽象留學義大利的陳聖頌，1954 年生於台灣雲林北港，1976 年國立

藝術相關的重要個展與特展，並撰著相關評介，頗受肯定。

台灣師大美術系畢業後，再入李仲生教室學習，獲得現代藝術理念的啟發。後赴義大利留學，1988 年自羅馬藝術學院繪畫系畢

同樣留學米蘭布雷拉藝術學院的耿晧剛，1969 年生於台北，同

業。陳聖頌早期的作品，從具象出發，經歷半抽象，而走入純粹

樣是帶有色面的符號的抽象繪畫，耿晧剛的創作則是變動的、視

抽象；在純粹抽象的構成中，陳聖頌選擇一種凝煉的色彩，由黑、

覺的、外在世界的映現與拼貼。

灰、白的無彩色出發，因為那是所有色彩的凝煉，之後加入黃、綠、褐等大自然的顏色，那是一種具體情感的投射；近年來，他

耿晧剛初期的作品，創作靈感來自對義大利特殊人文環境的強烈

從台灣原野的視覺特質中找尋靈感，在純粹的色彩線條構成中，

刺激；不過，他對這些外在視覺美感的吸納與運用，並不是納入

呈現了一種屬於土地與生命的情感與眷戀。

一種理性的掌握或歸納，也不是抒發成一種感性的情緒或發洩；毋寧說，他更像是一個行吟的詩人，以開敞、流動、適意的心靈，

1958 年生於台灣台東池上的劉永仁，1983 年文化大學美術系畢 20

032

讓這些色彩、形式，乃至衝突、拉拒的語彙，依他們自有的溫度、

蕭瓊瑞〈優雅的哲士─陶文岳和他的藝術〉，《藝術家》491 期，頁 244-247，台北：藝術家雜誌社，2016.4。

a modern painting group in Kaohsiung, called "Wu Ma Art Group." He went

and eventually, pure abstraction. In his pure abstract work, he chose to use

to France in 1985, and studied at L'Ecole Nationale Supérieure des Beaux-

reﬁned colors, ﬁrst starting with black, gray and white, which represented the

Arts de Paris, and returned to Taiwan in 1990. Liu's work centered on his

condensation of all colors for him. Later, he added colors found in nature,

thinking of humanity, abandoning realistic, representational techniques and

such as yellow, green, and brown, which allowed him to project and portray

replacing them with a more reﬁned and simpliﬁed symbolic form. It showed

emotions. In recent years, he has found inspiration in the visual characteristics

a complicated surface of compression and layers. The seemingly ﬂat image

of the Taiwanese wilderness, and created compositions of pure colors and

was informed by rich texture and pensive colors, conveying brooding

lines, delivering his feelings and affection for the land and life.

feelings from the passage of time and a sense of history. His work in recent years also incorporated imageries from nature. Yet, the mountainous forms

Liu Yung-Jen was born in Chishang, Taitung, Taiwan in 1958. After graduating

might not just be mountains in his long horizontal composition; contrarily,

from the Department of Fine Arts, Chinese Culture University in 1983, he

they transformed the visual movement of perspectives into psychological

started working at the Fine Art Division at the Council for Cultural Affairs,

momentum and delineated the circumstances of life as well as the artist's

Executive Yuan, and served as Executive Secretary at the International

heartfelt nostalgia.

Biennial Print Exhibition. In 1989, he studied for a short time in Paris, and then, went to Milan, Italy, where he held a modern ink painting exhibition in 1990.

Comparing to artists mentioned above, Tao Wen-Yueh is from a younger

In 1991, he began studying at Accademia di Belle Arti di Brera in Milan,

generation. Born in a doctor's family in Keelung in 1961, Tao was cared for

where his creative direction took a turn from ink to oil. In 1995, he completed

attentively and received high expectation since childhood. After graduating

the master program and received his MFA. During this period, he was also

from National Taiwan Academy of Arts, he went to France and entered

writing articles for art publications, such as "Art & Collection," "Lion Art," and

L'École National Supérieur des Arts Décoratifs in Paris in 1987. In 1991, he was

"Artist." His introduction and critical writing about the Venice Biennale in the

awarded the ﬁrst prize in painting by the school, and later, obtained an MFA

1990s made him an artist excelled in both artistic creation and art criticism.

in 1994. His outstanding record enabled him to secure a position as teaching assistant in the school. Tao has studied art and lived in France for two

Liu's artist career began with modern ink painting. In the mid-1990s, he

decades. In addition to painting, he also studied contemporary art theory,

moved away from figurative expression and turned to monochromatic

making himself a painter as well as an art critic.

representation of disintegrated light and shadow, forming the primary "concept of breathing" in his work and creating various series, including

His abstraction is elegant and solid and reveals certain symbolic signs and

"Deep Breathing" (2002-2010), "Between the Deep Breath of an Artist" (2010),

shapes in the enriched yet reserved color planes, which are media and

and "The Alchemy of Breathing" (2013). Since 2015 onward, he started

variations for this antique-loving artist to express his feelings and thoughts.

exploring the "abstract arc." In this series informed by characteristics of the

Additionally, the signs and shapes also represent certain memories,

subconscious, Liu was immersed in the correlation between and positioning

remembrances, or symbolization in his life. Like a gentle philosopher, he

of forms and colors, creating a new order and a new sense of musical

has always upheld a lay-back, transcending attitude towards all sorts of

rhythm inhabited by both incredible tension and balance. In his painting,

frustrations, trials, and tests in life, rendering him nonchalant and steady-

Liu deconstructed the logic of rational thinking; for him, the creative process

paced without showing emotional undulation. 20

resembled the act of "breathing" in ordinary life—natural, steady-paced, and smooth.

C. Shenson studied in Italy. Born in Beigang, Yunlin, Taiwan in 1954, he entered the Department of Fine Arts, National Taiwan Normal University in

At present, Liu works at the Exhibition Department of Taipei Fine Arts Museum,

1976, and later, received Li Chun-Shan's tutelage, from which he learned

and has curated many solo and group exhibitions of abstract art while

modern artistic concepts. He graduated from the Department of Painting,

writing related criticism, which have received much positive feedback.

Accademia di Belle Arti di Roma in Italy in 1988. The artist's early work focused on ﬁgurative expression. Afterwards, he turned to semi-abstraction,

Keng Hao-Kang also studied at Accademia di Belle Arti di Brera in Milan.

20 See Hsiao Chong-Ray's 'An Elegant Philosopher ─ Tao Wen-Yueh and His Art.' "Artist." Issue 491. P. 244-247. Taipei: Artist Magazine, Apr. 2016.

033

個性，同時呈現在畫面之中；有時，你會窺見某個建築古老的馬

史記憶加入畫面；近年來，則採較自由、流動的手法，以墨水、

賽克拼貼圖案；有時，你會發現猶如方格玻璃櫥窗後繽紛的色彩；

壓克力彩等多媒材，表現一種充滿力動與空間疊像之美的畫面效

耿晧剛的作品，充分反映一個多所關懷、凡事入心、凡物入眼的

果，深富詩性意象。

熱情藝術家的生命本質。更年輕的紀嘉華，1969 年生於台灣台中，父親開設五金行，隨著生活與工作環境的變遷，耿晧剛嘗試多種可能的表現手法和

卻熱衷於藝術，曾是席德進忠實的支持者，紀嘉華深受影響。

技巧；但他總能成功地將許多不同的事事物物，安置、集中在有

1983 年移居美國加州後，1991 年入美國羅德島設計學院，赴義

限的畫面中，而顯現出一定的意義或美感。明顯地，耿晧剛正是

大利羅馬分校學習一年，1992 年返回美國本校，獲藝術學士學

將這些原本獨立、片斷的物象或語彙，從自身的語彙脈絡中抽離

位，隔年 (1993) 再獲同校建築學士學位。1995 年則完成賓州大

出來，又併置、拼貼到另一個脈絡或文本中，形成新的意義或語

學藝術碩士學位。

境，增加了觀眾觀看、理解的空間，甚至不同的詮釋或感動。

紀嘉華的抽象繪畫，充滿詩質韻味，在充滿明亮、愉悅色彩的平這波留學熱潮中，另有留學美國的張正仁 (1953-)，生於台灣台

行筆觸中，猶如一首首生命的情詩，平和、寧靜，而細膩，也是

北。1977 年國立台灣師大美術系畢業，1984 年前往美國紐約市

一頁頁生活的記錄，親切、可感，又引人遐思。

立大學，獲得碩士學位；返台後，任教國立台北藝術大學美術系，也是「二號公寓」的重要成員。張正仁的創作，擷取都會生活與

除了這些留學海外的藝術家，1957 年生於台灣雲林的蔡志榮，

個人經驗的片斷影像，包括攝影的圖像，以蒙太奇 (Montage)

雖沒有留學海外的經歷，卻是一位活躍於國際當代藝壇的抽象藝

的手法，進行隨機的截取、編排、串接，形成一種多元視角與差

術家。早年蔡志榮，是「台北畫派」的創始成員，之後，以海外

異性的呈現；在看似無意識的構成中，卻又呈顯了一種兼俱包容

活動為主，並多次擔任策展工作。

與批判的象徵意義。是當代抽象繪畫創作中，富於社會關懷與個人自覺的特殊個案。

在創作上，蔡志榮先以條碼和 QRcode 作為語彙，成為反映現代社會科技假生活的律動與美學。近年來，提出「環境動力美學」

同樣留學美國的郭博州，1960 年出生於台南，1982 年台灣師大

的概念，以規整卻又富於微妙律動變化的直線、橫線構成，表達

美術系畢業後赴美，1991 年獲紐約市立大學藝術碩士；返台後，

了現代都會建築與生活的美感，頗富視覺的震撼，亦引人生發人

任教國立台北教育大學藝術與造形設計學系。

文的反思。

郭博州就讀台灣師大美術系時期，適逢旅美華裔畫家趙春翔返台

1960 年生於台東的楊智富，則是一位長期耕耘本土的抽象藝術

客座，深受其現代彩墨藝術創作啟發，赴美後，在融合東西方的

家。1985 年文化大學美術系畢業後，曾長期參與帝門藝術基金

路向上多所嘗試；也是採取蒙太奇的手法，將生活的片斷或實

會的工作，對台灣藝評、藝術史料的整理，及藝術活動的推廣，

物引入作品中。返台後，一度努力於將台灣特有的民俗元素與歷

均曾付出心力，也策劃過不少頗具特色的展覽，兼擅論述，頗受

034

詳參蕭瓊瑞〈吟詠第三自然─耿晧剛的時尚詩情〉，《藝術家》495 期，頁 184-187，台北 : 藝術家雜誌社，2016.8。

He was born in Taipei in 1969. He also painted abstraction with symbols

Kuo Bor-Jou, born in Tainan in 1960, also came back to Taiwan after his study

embedded in color planes; however, Keng's work has always reﬂected and

in the US. Graduated from the Department of Fine Arts, National Taiwan

represented a collage of the constantly changing, visual, external world.

Normal University in 1982, Kuo went to the US afterwards and obtained an MFA from the State University of New York in 1991. He began teaching at the

Keng's early work was inspired by the intense stimulation of the unique

Department of Arts and Design, National Taipei University of Education after

cultural surrounding of Italy. However, he did not try to rationalize and

returning to Taiwan.

transform his absorption and utilization of the visual beauty; nor did he turn it into lyrical expression. It is fair to say that he has assumed the role of a bard,

While studying at National Taiwan Normal University, the US-based Chinese

and represented the colors and forms as well as the visualization of struggle

painter, Chao Chun-Hsiang, happened to teach as an adjunct lecturer

and resistance according to their temperature and characteristics in the

in the university. Under the influence of Chao's modern color ink painting,

image with an open, fluid, and unrestrained mind. Sometimes, one might

Kuo attempted to combine the Eastern and the Western painting after

have a glimpse of some mosaic pattern from an old architecture; at other

he went to the US. He adopted the technique of montage to incorporate

times, one could discover the splendid colors behind some glass windows.

fragments of life or objects in life into his work. After he returned to Taiwan,

Keng's work reflects in full range life's essence of a passionate artist who

he also integrated unique Taiwanese folk elements and historic memories

cares, perceives, and pays attention to the ordinary things around him.

into his work. In recent years, he has tended to employ a freer and more ﬂuid approach, using various media such as ink and acrylic to express the

As his life and working environment changed, Keng has attempted various

beautiful and profoundly poetic representation invested with momentum

possible techniques and approaches. However, he could always successfully

and overlapped spaces.

assemble different things and elements in a limited scope of an image to deliver certain meanings and aesthetic beauty. It is clear that Keng has

Jason Chi, born in Taichung, Taiwan in 1969, belonged to a younger

taken these separate, fragmented images of objects or vocabularies out

generation. His father ran a hardware store, but Chi fell in love with art. He

of their original context, and juxtaposed them in another context or text,

was a loyal supporter of Shiy De Jinn, who was a great inﬂuence to Chi's art.

making a collage out of them to form a new meaning or different context

He moved to California in 1983, and entered Rhode Island School of Design

while expanding the audience's space of viewing and understanding that,

in 1991, and studied at the school's branch in Rome for a year. He returned

in turn, could bring about dissimilar interpretation or realization. 21

to the US in 1992 and obtained his BFA. The next year (1993), he obtained a BA in Architecture from the same school, and received his MFA from the

Amidst this wave of studying abroad, Chang Cheng-Jen (1953-) pursued

University of Pennsylvania in 1995.

an education in the US. Born in Taipei, Taiwan, Chang received his BFA from National Taiwan Normal University. He entered the City University of New York

Chi's abstract painting is poetic and charming, ﬁlled with bright, joyful colors

in 1984, and obtained an MFA. After returning to Taiwan, he taught at Taipei

painted with paralleled brushstrokes. Like life-celebrating love poems, the

National University of the Arts, and became a key member of Apartment

tranquil, peaceful and delicate images also resemble his documentation of

No. 2. Chang's work utilized fragments of images, including photographic

life, which is intimate, relatable, and intriguing.

images, taken from urban life and individual experience. Using the technique of montage, he randomly captured, arranged, and combined the images to

Aside from these artists who had experiences of studying overseas, born in

form differentiated representations of diverse perspectives. In his seemingly

Yunlin, Taiwan in 1957, Dino Tsai was also an active abstract painter among

unintentional composition, one could also detect certain symbolic meanings

the international contemporary art scene despite the lack of any experience

that have encompassed both tolerance and judgment, rendering Chang's

of pursuing an education abroad. At first, Tsai was one of the founding

contemporary abstraction a unique example that has been informed by

members of the "Taipei Art Group." Later, he focused on international

social care and individual awareness.

activities, and had worked as curators for many exhibitions.

21 See Hsiao Chong-Ray's 'In Praise of the Third Nature ─ Keng Hao-Kang's Poetics of Fashion.' "Artist." Issue 495. P. 184-187. Taipei: Artist Magazine, Aug. 2016.

035

肯定。帝門轉型後，楊智富回歸全力創作，展現一種形色的爆發力。

■ 如前所述，台灣抽象藝術的發展，不能忽略抽象水墨的表現。

楊智富的抽象創作，兼具一種表現形式的畫面揮灑與形色組構的

除前提的黃朝湖、李重重外，50 年代出生的許雨人 (1951-)，和

感性合成，但色彩的豐美對比與細緻變化，在看似隨機構成的混

60 年代的劉國興 (1960-)、黃致陽 (1965-)、張富峻 (1965-) 等，

沌紛亂中，卻有著細膩收拾的微妙用心。整體畫面，給人一種形

都是重要的創作者。

色合一、渾然天成的氣韻感。近年，也嘗試裝置的創作。許雨仁，原名許雨人，是畫壇的一朵奇葩。出生台南佳里的他，長期深耕於土地的，另有顏頂生 (1960-) 與林鴻文 (1961-)，兩

從小看到書本就會頭暈，卻奇蹟地在 1971 年考上國立台灣藝專，

人均為台南人，同為國立台灣藝專美術科畢業，也是「南台灣新

就讀美術科國畫組。在藝專求學的五年中，台北故宮和彰化的李

風格展」(1986-) 的成員。

仲生，分別提供他對傳統的認識與現代藝術的啟蒙。

出身中醫世家的顏頂生，早期便以混含著中藥藥材為媒材所創作

繪畫是他面對現實療癒的唯一葯方，遊牧的生活方式，則是他自

的「種子」系列，引起畫壇極大的注目。內斂、沈著的個性，顏

處的最佳選擇。他的一生經歷各式各樣的職業，也住過許多不同

頂生像一個辛勤耕耘，卻不問收穫的農夫，長期匿居於南台灣，

的地方，包括：在紐約賣過珠寶，在洛杉磯蓋過房子，在南部

鮮少參與藝壇的活動；即使受邀主持藝術空間，也以低調、平實

老家動手建造魚塭，到花蓮依傍大山大水，在三芝構築纜車畫

的手法經營。

室……，不變的是他質樸、深邃的心靈，和創作不懈的毅力。

他近年來的作品，一掃早年的沈實、鬱結，展現一種如「元畫」

從早期筆觸填滿的油畫作品，到近期幾乎空無幾筆的水墨長軸，許

般的舒朗與開闊，簡約的畫面，散發一種淡然、超越的處世哲學。

雨仁的創作事實上始終不離現實的生活；但也始終不拘限於現實的生活。他以細筆直線，顛覆現代水墨所謂「革中鋒的命」的主張，

同樣長期生活在台南府城的林鴻文，人如其名：林間飛鴻留爪紋，

從頭到尾都用中鋒，也只用中鋒；他挑戰傳統中國文人水墨對直線、

他那始於心象、終於心象的作品，從早期的「紅城心式」，到近

直角的禁忌，他的畫面經常出現直線、直角，甚至只有直線、直角。

年的「無限於間隙間」，都帶著一種「可有可無」的隨意與隨緣；

中國人忌諱談「4」，因為那是「死」的諧音，他卻偏偏偏愛「4」，

但偏偏這些看似「可有可無」的形、色，又有著一種「不精準中

因為這在構成上是最具象徵性與結構性的數字。他的水墨，有墨無

的精準」，像一齣齣武功高強的「醉拳」招式，看似一幅步伐零

水，卻喜愛用墨線表現水的流動與無限。許雨仁的抽象繪畫，是生

落、要倒不倒的身形中，卻是招招到位、恰到好處。他也是一位

活的，也是觀念的；或有現實的影子，卻是潛意識的呈現；他是城

繪畫和雕塑同時並進的藝術家。

市中的野人、鄉野中的哲士；為台灣 60 年代之後的現代水墨，乃至台灣抽象繪畫發展，開拓了一個嶄新的面貌。

顏、林二人，均有台南府城內斂、淡雅，又帶著某種孤高、寂寞的共同人文特質。22

詳參蕭瓊瑞〈雙城組曲．一闕寂寞─寫記南台灣新風格展的緣起緣落〉，原刊《1997 南台灣新風格展專輯》，頁 6-11，1997.9，收入著《島嶼測量──台灣美術定向》，台北：三民書局，2004.6。

036

1960 年出生於台灣新竹的劉國興，1988 年以國畫組第一名的成

Tsai transformed barcodes and QRcode into his artistic vocabularies to

period and demonstrated a kind of brightness and broad-mindedness

reflect the rhythm and aesthetics of the unrealistic technological life in

reminiscent of the paintings from the Yuan dynasty. The simple,

the modern society. In recent years, he has proposed the concept of

uncomplicated image conveys a sense of calmness as well as a life

"environment-momentum aesthetics," using regular yet rhythmic vertical and

philosophy free from the mundane world.

horizontal lines to delineate the aesthetics of modern urban architecture and life. His work is as visually stimulating as it is thought-provoking.

Also living in the historic city of Tainan, Lin Hong-Wen, like what his name suggests, is like a big bird that leaves claw prints in the woods without being

Born in Taitung in 1960, C. D. Yang is an abstract artist who has been

seen. His work centers on representation of mental images; from his early

cultivating the local art field. After graduating from the Department of

"The Resident State of Mind" to the recent "Infinity in Interstices," there has

Fine Arts, Chinese Culture University in 1985, Yang worked at Dimension

always been a kind of casualness as if whatever surfaces in his image comes

Endowment of Art for a long time, and dedicated much efforts to the

spontaneously and naturally. However, these "casual" forms and colors still

work of writing art criticism, organizing art historic materials, and promoting

possess a sense of "unintended" precision, as if the artist were a martial art

artistic activities. He also curated quite a few distinctive exhibitions and has

master excelled in drunken boxing—while a movement might appear to be

been known for his work of curatorial theorization. After the re-organization

useless and unpracticed at ﬁrst, it hits the right spot and serves its purpose

of Dimension Endowment of Art, Yang became fully dedicated to artistic

perfectly. Additionally, Lin is a diligent and hard-working painter as he is a

creation and has demonstrated explosive creativity in forms and colors.

sculptor.

Yang's abstraction combines the image construction of formal expression

Both Yen and Lin embody similar cultural characteristics of Tainan, in a sense

and the perceptual integration of forms and colors. However, in the

that they are both reserved, elegant and quiet, traits that could be found

seemingly random and spontaneous combination of contrasting colors

in the ancient city of Tainan, while giving out a kind of self-respected and

and subtle variations, one could detect the artist's careful and delicate

solitary quality. 22

delineation. Overall, his painting conveys a natural charm originating from

■

the perfect unison of forms and colors. In recent years, he also makes

As it was mentioned earlier, to discuss the development of Taiwanese

installations.

abstract art, one could not ignore the contribution of abstract ink painting. In addition to Huang Chao-Hu and Lee Chung-Chung, Hsu Yu-Jen (1951-), who

There are two other artists who have been making efforts in the local regions.

was born in the 1950s, Liu Kuo-Hsing (1960-), Huang Zhi-Yang (1965-), and

They were Yen Ding-Sheng (1960-) and Ling Hong-Wen (1961-). The two artists

Chang Fu-Chun (1965-), who were born in the 1960s, have been important

are both from Tainan, studied at the Department of Art, National Taiwan

artists in the ﬁeld as well.

Academy of Arts, and were members of "New Style Painting Society of Southern Taiwan" (1986-).

Hsu Yu-Jen is an unusual example in the art circle. He was born in Chiali, Tainan. As a child, he could not bear to read a book without getting

Grew up in a household of Chinese medicine, Yen Ding-Sheng captured the

dizzy. Miraculously, he still passed the exam and entered National Taiwan

attention of the art world with his "Seed" series, which he made with media

Academy of Arts in 1971 and began studying Chinese painting. During the

mixed with Chinese herbs. A reserved, Introvert, Yen has been like a diligent

ﬁve years in school, National Palace Museum in Taipei and Li Chun-Shan in

farmer who cultivates the ﬁeld without giving much thoughts to his reward.

Changhua respectively provided him knowledge of the traditional arts and

He keeps his whereabouts unknown and rarely participates in activities of the

information about modern art.

art circle. Even when he was invited to run an art space, he did the work in a

Painting was the only method he had to cope with reality. He adopted a

low-proﬁle, steadfast way.

nomadic way of life, and had done different kinds of jobs in many places, including selling jewelry in New York, building houses in L.A., building ﬁsh farms

His work in recent years has shed the heaviness and gloom from his early

in his hometown in southern Taiwan, living in Hualien, and making a cable

22 See Hsiao Chong-Ray's 'A Tale of Two Cities．A Palace of Loneliness ─ On the Beginning and End of New Style Painting Society of Southern Taiwan.' Originally published in "The Exhibition

Catalogue of 1997 Exhibition of New Style Painting Society of Southern Taiwan." P. 6-11. Sept. 1997. Later anthologized into "Measuring the Island ─ Directions of Taiwanese Art." Taipei: San Min Book, Jun. 2004.

037

績畢業於台北文化大學美術系；隔年 (1989)，即入漢聲出版社

感，那是一種屬於東方文人精神的至高境界。

擔任美術編輯，前後 11 年。由於工作的關係，接觸了各國各地不同的文化藝術，也開拓了思維的視野。早期的作品，帶著較多

張富峻的生命是超然的，但生活是落實的；他一手畫畫、一手寫

文化尋根與社會批判的意味；之後走入純粹的抽象造型。流動的

詩，也經常為三義地區的藝術家進行策展，是一位面冷心熱、優

水墨紋理，散發猶如釉色般細緻的趣味，這或許和他早年學習陶

遊於出世與入世之間的傑出藝術家。

瓷的經驗有關。90 年代中期之後，加入電腦繪畫的輔助，開發出極富個人特色的「新意象山水」系列，成為當代現代水墨及抽

抽象藝術在台灣的發展，因為有現代水墨的介入，而增添更為豐

象畫壇，風格鮮明的一位創作者。

美殊異的風貌表現。

以現代水墨進行的抽象創作，同為 1965 年出生的黃致陽和張富

曾凱智 (1974-) 和吳東龍 (1976-) 是新一代的抽象藝術家。從改

峻，也是頗具代表性的兩位。

制後的國立台灣藝術大學美術系畢業 (2003) 的曾凱智，是出生於台灣嘉義；原本台中商專美工科畢業的他，長期從事美工設計，

生於台北的黃致陽，原名黃志陽，文化大學美術系畢業。1990

尤其是台灣知名的少數郵票設計者；然而，曾凱智始終未忘懷純

年代前期，以結合水墨和裝置手法的「

形產房」系列，浮現藝

粹藝術的創作，2007 年以後，更持續舉辦個展，發表新作。初

壇；1996 年獲亞洲文化基金會獎，遊學美國舊金山、紐約等地，

期的創作，以關懷非洲頻臨絕種動物為題材；之後，轉入純粹抽

並旅行工作於歐、美，後設工作室於北京。

象的創作，以「生命」為主題；具象徵性的符號，表現宇宙生成、不斷聚散、離合的各種元素。這些或大、或小，或有形、或無形

黃致陽的創作，最早從社會的倫理及權力的批判入手，以象徵性

的生命型態，在浩瀚的宇宙中，以大地為孕床，不斷生發、湧現，

的符號，進行較為強烈的表現；之後，風格逐漸轉為內斂、含蓄，

也不斷幻化、滅亡……。以炭筆、粉彩為媒材，也展現了不同於

蘊涵東方神秘氣息，是一位經常自我突破、不斷超越，又勤於創

油彩、壓克力、水墨的視覺趣味。

作發表的重要藝術家。 1976 年出生於台北的吳東龍，1998 年自國立台灣藝專改制後的張富峻出生於台灣花蓮，復興商工美工科畢業後，再入台中東海

台灣藝術學院美術系畢業。2004 年再於國立台南藝術學院 ( 今

大學美術系，1989 年畢；同年，即獲得第 14 屆雄獅美術新人獎

國立台南藝術大學 ) 造形藝術研究所畢業。在當年同儕多投入多

及台北市立美術館水墨創新獎，受到畫壇矚目。

媒材、裝置、數位，或新寫實繪畫的時潮中，吳東龍堅持抽象形式的繪畫創作。

張富峻的現代水墨，一開始就是以抽象的筆法，表現對大自然山

038

林、溪流的鳥瞰與宏觀，那是一種宇宙生機的流動與推擠。隨著

在看似單純、低限的圖形畫面中，其實蘊含了吳東龍來自現實生

生命的成熟，張富峻幾近隱居的生活和修行的心靈境界，作品

活環境中的種種細緻觀察與體驗；那可能是空氣的濕潤或乾冷，

愈趨空靈、簡化，在看似如符號的深淺筆墨線條間，張富峻掌握

也可能是腳下泥土的鬆軟或枯乾，或是嗅覺的味道：木頭的香味，

了山林林脈分佈的靈動感，呈顯一種生機無限、靈氣洶湧的豐足

混合著大麥發酵的香氣，和不知名雜草的芬芳……。吳東龍畫面

car studio in Sanzhi. What has remained unchanged, though, is his untainted,

Huang Zhi-Yang was born in Taipei. He graduated from the Department of

profound mind and his perseverance in artistic creation.

Fine Arts, Chinese Culture University. In the ﬁrst half of the 1990s, he combined ink painting and installation to create the "Space Series," which put his name

From his early oil paintings, which were invested with brushstrokes, to his

on the map of the art world. In 1996, he was awarded a fellowship by Asian

recent ink scroll paintings, which were created with a few delineating

Cultural Council, which enabled him to travel to San Francisco and New

lines, Hsu's work has always centered on the real life. Nonetheless, reality

York; afterwards, he also worked and travelled to Europe and other places in

never seems to confine him. His thin brush digressed from modern ink

the US before he set up a studio in Beijing.

painting, which argued to "revolutionize ink painting created with the medium, reserved brush work." In fact, Hsu only used this type of brush

Huang's early work focused on social ethics and the critique of power, using

work throughout his work. He challenged the traditional literati painting by

symbolic signs to conduct powerful representations. Afterwards, his style took

painting straight lines and perpendicular angles, elements avoided in the

a different turn and became more reserved and gentle, conveying a sense

art form. His painting often showed straight lines and perpendicular angles,

of Eastern mysteriousness. Huang is an important artist who often challenges

and sometimes only these two elements. Moreover, the number "four" is a

and surpasses himself, and consistently publishes new work.

taboo in Chinese culture as the Chinese pronunciation of the number sounds like the Chinese word for "die." However, he seems to have a preference

Chang Fu-Chun was born in Hualien, Taiwan. After graduating from the

for this particular number because he considers it to be the most symbolic

Department of Fine Art, Fu-Hsin Trade and Arts School, he pursued further

and structural in composition. His ink painting is painted with ink but scarcely

study at the Department of Fine Arts, Tunghai University, and graduated in

any trace of moisture. However, he likes to use ink to portray the ﬂowing and

1989. In the same year, he won the 14th Lion Art New Artist Award and Taipei

infiniteness of water. Hsu's abstraction delineates life as well as concept.

Fine Arts Museum's Innovative Contemporary Ink Art Award, which put him

It seems to be representing reality, but actually reveals the subconscious.

under the spotlight in the art scene.

Hsu is like a primitive man in the city, and a philosopher in the ﬁelds. He has created a new direction for Taiwanese modern ink painting after the 1960s,

Chang's modern ink painting adopted an abstract style since the very

and even for Taiwanese abstract painting.

beginning, portraying natural forest, rivers and streams from an aerial and macroscopic view and representing the lively ﬂuidness and collision in the

Liu Kuo-Hsing was born in Hsinchu, Taiwan in 1960. He graduated first of

cosmos. As he grew older, he began living in seclusion and focused on

his class in the Chinese painting division from the Department of Fine Arts,

spiritual practice, and his work became more and more transcendental

Chinese Culture University in 1988. The next year (1989), he began working

and simpliﬁed. With light and dark ink lines that resembled certain symbols,

as an art editor in Han Sheng Publishing, and stayed there for eleven years.

Chang could fully capture the vitality of mountains and forests, delivering

Because of this work, he had the opportunity to see and learn about

an incredibly abundance of overﬂowing lushness that materialized the ﬁnest

cultures and arts of different countries, which helped him to expand his

concept of Eastern literati spirit.

horizon. His early work focused on ﬁnding his cultural roots and carried traits of social criticism. Later, he moved towards pure abstraction. The fluid ink

Chang's life philosophy might be transcendental, but his life is still down-to-

texture in his work was like refined glaze colors; a possible influence of his

earth. He paints and writes poetry, and often curates exhibitions for artists in

experience in learning pottery. After the mid-1990s, he used techniques

Sanyi. His dedicative work shows his enthusiasm and warm heart, and makes

of computer drawing and created the individualistic and unique " New

him an excellent artist who has achieved a perfect balance between a

Imagery Landscape" series, which rendered him an artist of distinctive style in

spiritual and social life.

contemporary modern ink and abstract painting. Because of modern ink painting, the development of abstract art in Taiwan When talking about modern ink abstraction, Huang Zhi-Yang and Chang Fu-

has become more diverse and enriched.

Chun, who were both born in 1965, are two representative artists. Cliff Tseng (1974-) and Wu Tung-Lung (1976-) are abstract artists of the new

039

中的那些色彩、圖形，都是來自這些感官、觸覺、嗅覺的凝煉與

並自做了一個小窯爐，獨自摸索，研究陶雕；此後，不斷擴大窯

統合。

爐，且都是親手自做。因此在毫無師承的情形下，從建窯、配土、成形，到配釉、燒窯，完全自我探討，從錯誤中學習經驗，不斷

■

改進，也創造了自己的風貌，完全脫離傳統瓶、缶器形的拘限，

台灣抽象藝術的表現，除了平面的繪畫，立體造型也自成一個系

進行純粹抽象造型的建構。1979 年，由於國立歷史博物館的推

統，繁茂開展。

薦，作品參展第 37 屆義大利華恩札國際陶藝展，因出身雕塑的訓練，使得他的作品有別於其他大部份由拉坯成型的陶藝家的作

1939 年出生於台灣嘉義的楊元太，本名楊國雄，幼年時期受美

品，而展現了強烈的雕塑性。

術老師鼓勵，立下向美術發展的志向；1956 年考入省立台北師範 ( 簡稱「北師」，今國立台北教育大學 ) 藝術科，接受正統的

1980 年，楊元太毅然辭去教職，前往美國阿肯色大學進修，後

美術教育，也開拓了美術的視野與理念，尤其當時幾份雜誌，如：

因母親病危被迫返國，但這趟旅程對其視野的開拓，已帶來了巨

《今日世界》、《TIME》、《LIFE》等，都提供了他對歐美各地

大的影響。

藝術發展的基本認識。不過，當時楊元太的興趣主要集中在西畫的學習上；1962 年，考入國立藝專美術科雕塑組，才開啟他對

楊元太的創作取材多元，但整體而言，仍以抽象的造型最具撼人

「三度空間」探討的熱忱。

的力量，在虛實的對應中，展現一種禪定、永恆、生滅不息的意象；或是在簡潔的量體中，呈顯了整座山的穩重與氣勢。有時更

初期的藝專雕塑組，設備較為簡易，教室裡只有塑造用的泥土與

結合陶、鐵等媒材，予人一種蒼涼、神秘的力量。

可轉動的檯座，學生的學習也就偏重泥塑課程，尤其是對寫實人體的研究；但楊元太對「現代雕塑」的理念，始終深感興趣，

也是北師藝術科畢業的高燦興，1945 年生於台北一個以焊造為

1965 年，也就是藝專畢業那年，他和李朝進等四位同學籌組成

專業的家庭；因此，高燦興的親手焊接、講究細節，也成為台灣

立「太陽畫會」，在國立藝術館舉辦「太陽展」。那正是台灣現

鐵雕創作的典範。

代藝術運動風起雲湧的年代。打破自然形象的模擬、再造，高燦興的創作來自一種投射個人心和其同學在木、石、銅等媒材上的努力不同，楊元太一開始就用

理狀態的純粹造型，展現完全屬於精神層面的訴求。他在一篇題

心於陶雕的探討。這個路向，似乎和他出身嘉義朴子農村有密切

為〈現代鋼鐵雕塑與其表現的關係〉文章中，說明了自我創作的

關聯，對泥土的熟悉與熱愛，也成了他終生創作的重要能量。

形式觀念，他說「現代鋼鐵雕塑所追求的是分析或發展生活中的『內在現象』，以一種『再造的觀念』去塑造出『非人或物』的

但楊元太對陶雕的探討，幾乎完全來自自我學習。1966 年 5 月，

結構，以便達到精神上的領域。」

隨部隊由金門移防台灣，所有官兵的行李中，藏的都是金門高梁

040

酒，惟獨楊元太裝的是金門的白色陶土。退伍後，在教學的工作

1990 年的〈我心深處〉是一件極具典範性的作品，在一個類似

中，始終不忘創作。1966 年冬天，他將家中的農舍改為工作室，

牢籠的鐵柵欄中，一些彎曲而長刺的鋼條，蔓生、纏繞成如心臟、

generation. Graduated from National Taiwan University of Arts (2003), Cliff

from magazines, such as "Today's World," "Time," and "Life." However, Yang's

Tseng was born in Chiayi, Taiwan. He had studied at the Department of Fine

early learning mainly focused on Western painting; it was after he got

Art, National Taichung College of Business, and worked as a designer. He

into the Sculpture Group of the Department of Fine Arts, National Taiwan

was known to be one of the few stamp designers in Taiwan as well. However,

Academy of Arts in 1962 that he began to zealously explore the art of

despite his designer career, he has never forgotten about being an artist.

sculpture.

After 2007, he continued in holding solo exhibitions and publishing new works. His early work paid attention to endangered animals in Africa; later, he

When the Sculpture Group of the Academy was ﬁrst established, there were

started creating pure abstraction based on the theme of "life." He depicted

only simple equipment mainly clay to make sculptures and spinning wheels.

the origination of the universe as well as all the constantly merging and

Therefore, students mostly learn clay sculpting with an emphasis on the study

splitting cosmic elements through symbols. Relying on the land as a breeding

of human body. However, Yang had always possessed a great interest in the

ground, these life forms of different sizes, whether tangible or intangible,

concept of "modern sculpture." When he graduated from the Academy in

continued to appear, surge, transform, and fade away in the universe. Tseng

1965, Yang and other four classmates, including Li Chao-Jin, founded "The

chooses charcoal and pastel as his media and demonstrates a visual charm

Sun Art Group," and held "The Sun Art Group Exhibition" at National Center

different from that of oil, acrylic and ink.

of Arts. The year also coincided with the era when Taiwanese modern art movement rose.

Born in Taipei, in 1976, Wu Tung-Lung received his BFA from National Taiwan University of Arts (former National Taiwan Academy of Arts) in 1998, and

Different from his classmates, who mostly used media like wood, stone, and

received his MFA from Tainan National College of the Arts (now Tainan

copper, Yang had been fascinated with ceramics since the very beginning.

National University of the Arts) in 2004. When most of his peers delved into

His choice might have been related to his childhood in the countryside in

the rising and popular multi-media art, installation, digital art, or neo-realistic

Puzi, Chiayi, where he developed a sense of familiarity and passion in soil.

painting, Wu insisted on painting abstraction.

This passion also became an important force that has propelled his artistic career.

His painting might seem simple and minimalistic, but is embedded with Wu's subtle observation and experience gathered in real life and from his living

Noticeably, Yang studied and explored the ceramic art almost entirely by

environment. It might be the moistness or coldness of the air, the softness or

himself. In May, 1966, the army in Kinmen retrieved back to Taiwan. Whereas

dryness of the soil under the feet, or smells picked up by the olfactory sense,

other army soldiers' suitcases were ﬁlled with Kaoliang, a famous local liquor,

such as the scent of wood mixed with the fragrance of fermented barley

Yang's suitcase was ﬁlled with white clay found speciﬁcally in Kinmen. After

and the scent of unknown grass. In Wu's work, those colors and forms all

finishing his military service, he never gave up artistic creation despite his

originated from the reﬁnement and integration of different senses, such as

work of teaching. In the winter of 1966, he converted the family farmhouse

the senses of touch and smell.

into a studio and made a small kiln by himself to create ceramics. Since then,

■

he expanded the kiln more and more by himself. Without being mentored

In addition to painting, sculpture also formed an independent and ﬂourishing

by any teachers, Yang taught himself every procedure necessary in the art

system in Taiwanese abstract art.

of ceramics, including building a kiln, mixing clay, clay sculpting, applying glaze, and ﬁring. He learned from his own mistakes and kept improving his

Yang Yuan-Tai was born in Chiayi, Taiwan in 1939, with the given name Yang

skills while creating unique works of pure abstraction that were free from the

Kuo-Hsiung. Because of the encouragement of his childhood art teacher,

limitation of traditional vases and jars. In 1979, recommended by National

he had made up his mind to become an artist since childhood. In 1956, he

Museum of History, he participated in the 37th International Competition

passed the exam and entered the Department of Fine Arts, Taipei Municipal

of Contemporary Ceramic Art in Faenza, Italy. Being a sculptor, his work

Teacher's College (now National Taipei University of Education), where he

demonstrated vivid sculptural characteristics and stood out from other

received formal academic training and expanded his artistic vision and

potters' works that were made with hand-molding techniques.

ideal. He also absorbed knowledge of European and American art trends

In 1980, Yang left his teaching position and pursued further education at the

041

血管的造型。直線與曲線的對比，本身就構成一種巨大的衝突，

材的創作型式，並任教國立成功大學建築系。

而巨大卻又不可捉摸的純粹造型，更形成視覺的震撼。黃步青最早的立體創作，以報紙為媒材，結合一些自海邊撿拾的和這件具穿透空間特性的作品相對應的，應是 1991 年的〈獸性．

漂流物，如：玻璃瓶、動物骨骼，包括魚骨頭等，給人一種生命、

人性．神性〉，以三片平行直立的鐵板，分別以截角自插、截角

死亡、儀式、救贖的聯想。

未斷，以及方整未截等三種型態，暗寓獸、人、神三種不同的境界，純抽象的造型，猶如一首無調性的音樂，也似一篇以數字寫

黃步青的立體創作，由多媒材逐漸走向大型的空間裝置，但始終

成的論文，給人純粹、超絕的精神想像。

展現極為強烈的雕塑性，歷經三十多年的時間，當代藝壇已進入數位媒體的時代，黃步青仍堅持拾荒，在文明中見到荒蕪，在荒

1998 年參展成功大學校園雕塑大展的〈鹿〉，以一把修長向天

蕪中走出文明。黃步青的創作不是以拾來的素材拼裝出作品，而

如武士刀的造型，結合一個曲折如鹿角的基座，表現了一種高

是先有草圖才在拾荒中發現適用的媒材，完成作品。因此他的作

貴、昂揚的精神力量，而刀柄上鑲焊的細膩紋飾，更給人貴族般

品往往具有一種緊密的結構，深沈的內蘊。生命

的徽紋聯想。

是他一貫關懷的主題，堅持以拾荒的手法完成一件件動人的創

環境

文明，

作，走出荒蕪之境，重見文明的省思。以〈鹿〉的造型為基底，發展成 2002 年的〈飛奔〉，舖陳出猶如群鹿奔揚的壯闊意象。

近年，他的創作，更關懷整個工業化與生態保護的課題，運用的媒材，也擴及更多的鐵件，2013 年的〈星際家族〉，是對太陽、

2013 年的〈有機抽象〉，則是運用許多切割剩餘的捲曲線形鐵

星星、月亮的歌頌，具有一種詩質的重量。

屑，摶成一個個球形的造型，貫穿在一支斜立的鐵棍上，讓原本無機生冷的鋼材，生發出有機生命的情感。

來自香港的黎志文，1973 年藝專雕塑科畢業後，即前往義大利卡拉拉 (Carrara) 的亨魯 (Henraux) 工作室，從事大理石創作，

高燦興對鐵雕藝術的堅持，以技進藝、由藝進道，從物質的精微

前後三年。1977 年，個展於荷蘭阿姆斯特丹的迪晏畫廊 (Gallery

處理，達到苦修般的精神境界，不媚俗、不妥協，是台灣雕塑界

Dèendt)；同年，取得美國雕塑家羅．魯寧的三年研究金，前往

的一個異數，值得給予高度的肯定與敬意。

美國；並在 1980 年取得美國懷俄明大學的雕塑碩士學位。此後活躍於歐美、香港、台北等地藝壇。1985 年更勇奪台北市立美

1948 年生的黃步青，是台灣具重要代表性的裝置藝術家；1999

術館第一屆現代雕塑展的大獎。

年，以〈野宴〉一作，代表台灣參加威尼斯雙年展，頗獲好評。

042

出生嘉義鹿港的他，就讀國立台灣師大美術系期間，即拜師李仲

黎志文早期的雕塑，是在近似低限主義的風格取向下，展現一種

生，並加入以李氏學生為主軸組成的「自由畫會」(1977-)、「現

既含文字意念，又具視覺辨證性和觸覺可親性的造型趣味。早年

代眼」畫會 (1983-) 。1981 年，和夫人李錦繡雙雙赴巴黎進修；

黎志文的雕塑，以石材為主，利用簡潔的造型或低限的手法，

1987 年，取得法國巴黎大學造型藝術碩士。返台後，展開多媒

有時也會搭配一些其他媒材，尤其是鐵件的組構，形成一種輕

University of Arkansas in the US. Although, his mother's illness forced him to

Shown at National Cheng Kung University Sculpture Exhibition in 1998,

halt his study and come back to Taiwan, the journey had already widened

"Deer" was like a sharp and long samurai sword combined with a base that

his perspective and ushered in tremendous changes in his work.

looked like a twisting deer antler, displaying a kind of noble, majestic spiritual

Yang's work covers a wide ranges of topics, but overall, his abstract form

power. The elaborate pattern on the hilt reminded people of an aristocratic

creates the most powerful impact. From an interplay between the real and

emblem.

the void, his work demonstrates an imagery of Zen, eternity, and neverending life. Or, with simple and sheer volume, his sculpture materializes

Based on the form of "Deer," Kao created "Gallop" in 2002, which portrayed

the stableness and sublime of an entire mountain. Sometimes, he also

the magniﬁcent scene of a group of running deer. "Organic Abstract" from

incorporates metal material like iron into his ceramic work to create a sense

2013 used metal balls of curving iron strings, a leftover material from cutting

of desolate, mysterious power.

metal. A slant iron rod penetrated these metal balls, infusing a sense of organic life and feelings into the previously cold and inanimate steel.

Also an alumnae of the Department of Fine Arts, National Taipei Teacher's College, Kao Tsan-Hsing was born in a family that ran a welding business in

Kao's unwavering attitude in making metal sculpture, his consistent reﬁning

Taipei in 1945. That was the reason why Kao has always placed an emphasis

and improving of skills and concepts, his mastery and delicate handling of

on the details when he welded and made his own work, which could be

the material pushed him to another spiritual level in his art. Uncompromising

seen as a role model in Taiwanese iron sculpture.

and does not cater to the popular taste, Kao is a unique example in Taiwanese sculpture, who deserves immense accolades and respect.

Kao's work departed from the imitation and representation of natural images, and presented itself as pure forms inspired by his psychological

Born in 1948, Hwang Buh-Ching is an important installation artist in Taiwan.

perception, demonstrating a pursuit of the spiritual. In an article, titled "The

In 1999, he represented Taiwan in the Venice Biennale, in which he won

Art and Expression of Modern Steel Sculpture," the artist described his artistic

critical acclaim with the work, "Feast in the Wild." Born in Lukang, Chiayi, he

concept, stating that "modern steel sculpture has aimed to analyze or

was a student of Li Chun-Shan when he was studying at the Department of

develop the 'inner phenomena' in life, and to create 'none-ﬁgural or none-

Fine Arts, National Taiwan Normal University, and had joined the "Liberty Art

object' structures with a 'concept of transformation' so that one could reach

Group" (1977), which was formed mainly with Li's students, and "Modern Eyes

a spiritual level."

Art Group" (1983). In 1981, Hwang and his wife, Lii Jiin-Shiow, went to study in Paris, and in 1987, he obtained an MFA in Plastic Arts from the University

Kao's "Within the Deep of My Heart," created in 1990, was a highly

of Paris. Upon returning to Taiwan, he started making multi-media art, and

paradigmatic example. Within an iron fence that very much resembled a

began teaching at the Department of Architecture, National Cheng Kung

cage, some curve, thorny steel rods grew and intertwined around something

University.

that looked like a heart covered in veins. The strong contrast between straight lines and curves created tension of conﬂicts whereas the gigantic

Hwang's early three-dimensional work used newspaper combined with

and abstract form presented a confounding visual impact.

objects found by the sea, such as glass bottles and ﬁsh bones, allowing him to create an association with life, death, ritual, and redemption.

Contrasting to this work that highlighted penetrable spatiality was "Animal Nature, Human Nature and Divine Nature," created in 1991. Kao used three

Later, his work moved from multi-media art to large-scale spatial installation.

pieces of freestanding iron plates to symbolize the animal, human, and

What has remained the same is the strong sculptural quality in his work. After

godly states. One plate had a corner cut off and attached to itself; another

more than three decades, although contemporary art has entered the era

had a corner cut but still not completely severed; the other was intact and

of digital media, Hwang still insists on his scavenging approach, visualizing

uncut. Their purely abstract forms reminded audience of the atonal music

the desolate in civilization and creating civilization out of the desolate. When

or a thesis wrote in numbers, representing Kao's imagination of the pure,

Hwang makes his work, he does not spontaneously combine materials he

absolute spiritual realm.

has found; he makes sketches ﬁrst, and looks for suitable materials during his

043

重、虛

實的對比，「山水」是他經常採取的主題。

都是西洋的東西，欠缺一個自我思想的體系；而就在這樣的困境中，無意間在台北重慶南路的書店中翻到一本《六祖壇經》，他

近期的作品，經常運用現成物，包裹金屬薄片，成為一種既實又

忽然發現：只要把經中所有的「佛」字，換成「藝術」兩字，整

虛的聯想，如同漂泊在荒蕪之海的已逝文明。

本書就成了一本藝術論。

1950 年生於台北的蔡根，原名蔡懷國，早期以寫實人物雕塑為

這種發現，就如蘋果掉到牛頓的頭上就發現了地心引力那般簡

主，深受前輩雕塑家陳夏雨執著態度的感召，投身人體雕塑的研

單，其實那只是靈魂透悟的一個外力因緣。自來對佛學就有著相

究，前後 13 年。後因出國遊歷的體驗，深覺東西文化思維的不

當體悟的李光裕，在《六祖壇經》中發現的藝術體系，也就是一

同，開始放棄人物的形塑，改以各種物件的拼合創作。初期以木

套對人、對世界、對萬有的理解體系，讓他在西方學得的雕塑技

材為主，這和他在藝專負責木工坊有關，基於惜物的心情，收集

法與觀念，一下子找到了屬於自我、也是屬於東方的一套理解方

了大量學生裁切拋棄的木材，他因此加以利用；後期則逐漸擴大

式與路徑。

不同素材的運用，形成有趣的對話。這些作品，都是以人的身體局部為題材，分別是頭、腳和手，然之後，任教新成立的國立藝術學院 ( 今國立台北藝術大學 ) 美術

而就如手一作的題目〈手非手〉所示，其他兩件，其實也都是〈頭

系，即使使用的是各種不同的媒材，但他對媒材的處理，就一如

非頭〉、〈腳非腳〉；簡單地說：以局部代替整體，「人」是李

對人際關係的處理，重點在於其間的和諧性與相融度。他曾說：

光裕關懷的主題，就像他的老師托雷多是歐洲知名的人體雕塑大

「我三十歲以後就沒有跟任何人吵過架！」正是這樣的性情，

師；但是老師所關心的，是結構、空間，和量體，而李光裕在這

蔡根的創作，始終予人以一種平和、從容，乃至幽默的感受。

些人體的局部中，呈顯的，卻是對東方式的山水思想、人的解脫

2000 年後的作品，更加入一種中國庭園式的文人心境意象。

與自處等等問題的關懷與探討。人和風景的一體化，從這個時期開始，就成了李光裕人文雕塑的核心思維與特徵。

1954 年生於南台灣南高雄的李光裕，1972 年進入藝專雕塑科， 1978 年，李光裕前往西班牙，並進入歐洲聞名的聖費南多 (San

2013 年之後，藝術家心境進入一個新的階段，對世俗的看淡，

Fernado) 藝術學院，跟隨以人體結構著稱的西班牙雕塑家托雷

在創作中有意以輕盈取代豐實，以片狀取代實體，形式上，也由

多 (Toledo) 教授學習；在這裡獲得了藝術知識的開展，那是一

半抽象進入幾近純抽象的造型。

種從實踐中獲得的生命啟蒙。畢業後又進入馬德里大學美術學院，取得碩士。1984 年返台，適逢國立藝術學院 ( 今國立台北

李光裕這些由生命出發，以西方技法為基底，創作出深具東方精

藝術大學 ) 成立，順利進入該校任教，直到 2006 年退休。

神思維、又不失現代形式趣味的大批作品，實為台灣近代雕塑自黃土水以來，歷經戰後現代主義抽象風格的衝擊，而能將西方雕

044

李光裕的創作，1986 年是其藝術生命初步成熟的關鍵年代。初

塑以「手作的抒情」，進入精神空間的掌握與肌理律動的調控，

回藝術學院任教的一兩年間，李光裕為自己的所學、所教所困

最具標竿意義的一位傑出雕塑家，美麗如一朵風中搖曳的荷葉。

擾，總覺得自己像是一個推銷洋貨的買辦，能夠提供給學生的，

即使 2013 年之後，逐漸轉為以片狀為組合的主要語彙，一如中

scavenging excursions to complete his ideas. Therefore, one could sense a

he started using other materials to create an intriguing dialogue between

kind of sturdiness in his structure as well as a sense of poetic profoundness.

different media.

Life, environment, and civilization together form the everlasting theme in his oeuvre, and he has insisted on his approach of scavenging to create his

Afterwards, he taught at the newly established Department of Fine Arts,

touching works that guide his audience out of the desolate scene and revisit

National Institutes of the Arts (now Taipei National University of the Arts).

as well as contemplate on the meaning of civilization.

Although he used all sorts of materials in his work, his handling of materials was just like his relationship with other people, in which harmony and

In his recent work, he has placed an emphasis on the issues of industrialization

compatibility were the most important factors. He once stated that he

and protecting the ecology, using more metal objects. His "Star Family" from

"has never had a fight with anyone after reaching thirty." Because of his

2013 was a homage to the sun, the moon and the stars, conveying a unique,

personality, perhaps, Tsai's work always gives people a feeling of calmness

poetic charm.

and unhurriedness, even mixed with a sense of humor. His work created after 2000 also incorporated the literati imagery embodied by traditional Chinese

Lai Chiman came from Hong Kong. After graduating from the Department

garden design.

of Sculpture, National Taiwan Academy of Arts in 1973, he worked as an independent sculptor at the Henraux Studio in Carrara, Italy for three years.

Born in Kaohsiung in 1954, Lee Kuang-Yu entered the Department of

In 1977, he held a solo exhibition at Gallery Dèendt in Amsterdam, Holland;

Sculpture, National Taiwan Academy of Arts in 1972. In 1978, he went to

in the same year, he was awarded the three-year Robert Russin fellowship

Spain and entered the renowned European art institute, Real Academia

and traveled to the US, and eventually obtained an MFA in Sculpture from

de Bellas Artes de San Fernando, where he was mentored by Toledo, the

the University of Wyoming. Afterwards, he became active among the art

celebrated Spanish sculptor known for his work of the human form. Lee's

scenes in Europe, US, Hong Kang and Taipei, and won the grand prize of

artistic knowledge was expanded there, an enlightenment in life gained

the 1st Modern Sculpture Exhibition organized by Taipei Fine Arts Museum

from actual practice. After graduation, he entered Universidad Complutense

in 1985. Lai's early work revealed an intriguing form that was reminiscent

de Madrid and obtained an MFA. He returned to Taiwan in 1984, a short time

of linguistic signiﬁers while being visually dialectic and tactilely friendly. He

after the establishment of National Institute of the Arts (now Taipei National

used mainly stone materials in his early sculptures, adopting simplified or

University of the Arts), where he began teaching until his retirement in 2006.

minimalistic forms. Sometimes, he also incorporated other media, such as

Lee's work began to mature in the 1986. During the first and second year

metal structures, to create a contrast between lightness and weight as well

teaching at the Institute, Lee felt bothered by what he had learned and

as the void and the real. "Landscape" is a theme he frequently depicted.

what he was able to teach. He realized that he could only teach Western concepts, as if he were a salesman selling imported goods. There seemed

His recent work makes use of ready-made objects wrapping with thin metal

to be a lack of his own system of thoughts and ideas. In such predicament,

sheets to create a combination of the real and the void to symbolize the

he accidentally found a copy of "Platform Sutra" in one of the bookstores on

disappeared civilization in the sea of desolation.

Chongqing South Road in Taipei. He suddenly realized that once the word "Buddha" in the book was replaced with "art," the entire sutra became a

Tsai Ken, given name Tsai Huai-Kuo, was born in Taipei in 1950. His early work

book on art theory.

focused on realistic figure sculpture. Inspired by the predecessor sculptor, Chen Sha-yiu, Tsai delved into the exploration of ﬁgure sculpture for about

This discovery was like the apple falling on top of Newton's head, which led to

thirteen years. However, his experience of travelling to other countries made

the scientist's discovery of gravity; an external factor gave the artist an epiphany.

him realize the difference between Eastern and Western culture. He then

Before his epiphany, Lee already had some understanding of Buddhism. The "artistic

gave up ﬁgure sculpture and began making works by combining different

system" he discovered in the Buddhist sutra was precisely a system to comprehend

objects together. At first, he used wood, which was because he used to

humanity, the world and everything in the universe. It enabled him to contextualize

run the woodwork studio in National Taiwan Academy of Arts. Thrift as he

himself amidst the Western sculptural techniques and concepts he had acquired,

was, he made his work with wood materials thrown away by students. Later,

ﬁnding a system and path that belonged to himself as well as the East.

045

國紙雕的意念，但其基本的造型思維，仍不脫那原本來自泥塑訓

裁縫師，也是知名服飾品牌「小雨的兒子」的主人。蒼白斯文、

練的脈絡與影響。

沈靜寡言的裁縫師，習慣處理柔軟織品的手，竟然沈迷於堅硬鐵雕的創作；而恰恰是裁縫師設計女裝的敏思，讓他的鐵雕作品也

1955 年出生的徐永旭，1980 年代中期開始自學陶藝，90 年代

充滿了詩情的美感、音樂的流動，乃至哲思的深邃。

之後再隨楊文霓學習陶作，隨吳毓棠學習釉藥，作品曾獲高雄縣美展第一名，及台北市美展陶藝類特優首獎等榮譽。徐永旭的創

已故鐵雕大師陳庭詩曾讚美蔡志賢的創作：紮實簡練，接合處自

作極具企圖心，跨越媒材的限制，在尺寸上進行極度的挑戰。

然順暢，沒有突兀不妥之處，整體造型單純、樸拙，就像他本人

2003 年，入國立台南藝術大學應用藝術研究所進修，2005 年赴

給人的印象一樣，沒有多餘的形色，沒有多餘的廢話，沒有多餘

美遊學，深受激勵；加上返台後一次生死交關的重大車禍，使他

的空間交會。同時，作品是富於空間節奏的造型音樂性的，蘊含

的創作轉向內在的思考，脫離物象拘限，進入純粹抽象的造型。

著一股內斂純拙、奮鬥不懈的生命力。

1957 年次的梁任宏，是一位來自台南農家的小孩。東方工專 ( 今

台灣鋼雕創作的熱潮，在 2000 年之後，因高雄「國際貨櫃藝術

東方技術學院 ) 美工科畢業後，長居高雄，投入美工設計、房地

節」、「國際鋼雕藝術節」這兩個輪替舉辦的藝術節慶的倡導、

產銷售等工作；在年逾不惑後，毅然投身創作，成為全職藝術家。

鼓舞外，2008 年起，更有國家文藝會與東和鋼鐵共同策劃、執

以鋼鐵媒材進行的機動藝術，是他代表性的創作類型；2001 年

行的藝企合作計劃「東鋼藝術家駐廠創作專案」，也是一個重要

接連獲得「高雄獎」、「台北獎」兩大獎項的首獎，成為備受囑

的支撐力量。

目的藝術家。為求更為精進的知識，他也以高齡入學國立台南藝術學院 ( 今國立台南藝術大學 ) 造形藝研究所，並在 2002 年取

前提 1961 年次的林鴻文，是第三期進駐的藝術家。這位早期以

得碩士學位。

平面抽象繪畫知名的藝術家，之後，涉入以竹、木為媒材進行的大型裝置藝術，東和的駐廠，則讓他有機會進行一批以鋼材為媒

來自農家的背景，卻投身都會，使他的作品同時具備一種神秘的

介的創作機會。

宗教氣息與前衛的工業機能；這兩種看似矛盾的元素，在梁任宏的巧手巧思下，自然地融為一體，並成為環境的一部份，散發一

和其他雕塑出身的駐廠藝術家之不同，林鴻文沒有一個主導鐵材造

份優雅、舒緩，既深沈又幽默的氣質。

型的企圖心，材料就他而言，本身即是一個存在，本身就是一個生命，藝術家反而只是這些生命生發、成長的一個媒介。小學三年級

梁任宏的創作，沒有深奧的哲學，卻富含深沈的智慧；他的作品，

時，父親送他一把焊槍，林鴻文便學會了使用焊槍，從那樣的少年

不受學院、派別的拘束，自在自發，優遊伸展，與觀眾互動、與

時代開始，林鴻文就不曾企圖運用焊槍去切割或拼合出一個什麼物

自然相融，尤其近年的鋼雕機動藝術，在高度科技、精準計算的

象來，他只是將可以尋找到的「碎形」，讓他們依形與形的呼應，

支撐下，提供令人莞爾的人文反思。

組構起來，一如細胞的分裂或植物的生長，有時像個蛹、有時像萌芽的種子；而透過這個生命體的生發，藝術家和外界也有了一種對

1958 年生於嘉義布袋的蔡志賢，藝名「小雨」，真正的職業是

046

話或結合，並藉以生發、演化，時而收斂、時而散發。

The works he created afterwards adopted human body parts as the subject

Liang Jen-Heng was born in 1957, and grew up in an agricultural family

matter, which might be head, foot, or hand. However, just like his work of

in Tainan. After graduating from the Department of Art, Tung Fang Junior

human hand, "Non-Hand," the other two works of human body parts were

College of Technology and Commerce (now Tung Fang Design Institute),

also titled "Non-Head" and "Non-Foot." Simply put, he used the partial to

he moved to Kaohsiung and started working as a designer and real estate

represent the whole. "Human" has become the central theme in Lee's work,

agent. After reaching forty, he decided to become a full-time artist. He is

just like his teacher, Toledo, was known for his figure sculpture in Europe.

known for his kinetic art made of steel. In 2001, he won the ﬁrst prize of both

However, his teacher was concerned with structure, space, and volume

Kaohsiung Award and Taipei Art Award, and caught the attention of the art

whereas Lee aimed to demonstrate Eastern conceptualization of landscape,

world. In order to pursue more advanced knowledge, he later studied at

liberation of humanity, and how people could place themselves through

the Graduate School of Plastic Arts, Tainan National College of the Arts (now

his work of partial human body. Lee integrated human and landscape,

Tainan National University of the Arts), and obtained a MFA in 2002.

and from this period onward, this integration became a core concept and feature in Lee's humanistic sculpture.

The mixture of an agricultural background and the urban life gave Liang's work both a mysterious, religious air and an avant-garde, industrialized

After 2013, the artist's state of mind entered a new stage, in which the

quality. These two seemingly contradictory characteristics were naturally

mundane world has become less important to him and he intended to

combined through his ingenuity and became part of the environment,

replace volume with lightness and mass with structure made of metal sheets.

emitting an elegant, leisurely, profound yet humorous charm.

In terms of form, he also moved from semi-abstract to pure abstract. Liang's work does not stem from profound philosophical ideas, yet it conveys Lee's work originates from life, is based on Western techniques, and conveys

profound wisdom. Without being confined by academic and scholastic

profound Eastern spiritual thinking without losing the charm of the modern

ideas, his work is free and liberating in the interaction with audience and the

form. In the history of Taiwanese modern sculpture, since Huang Tu-Shui

integration with nature. In recent years, his steel kinetic work of advanced

and the impact of post-war modernism and the abstract style, Lee has

technology and precise calculation offers interesting reflections on

made himself an excellent, representative sculptor, who brought the hand-

humanistic thinking.

made lyrical representation in Western sculpture into a precisely mastered spiritual realm with perfect control of texture and rhythm, with the grace of a

Born in Budai, Chiayi in 1958, Tsai Chih-Hsien is often called by his nickname,

beautiful swaying lotus leaf in the wind. Since 2013 onward, Lee has adopted

"Xiao Yu" (meaning "small rain"). His official occupation is a tailor, and the

a new vocabulary of using sheet-structure, which reminds people of Chinese

owner of the fashion brand, "Shigure." This gentle, pale-looking, quiet tailor

paper-cutting art; but his sculptural form still stems from the context and

is both accustomed to handle soft fabric and fascinated by hard metal

inﬂuence of his clay modeling training.

sculpture. Because of his creativity in designing women's clothing, his iron sculpture is informed by poetic beauty, musical rhythm, and profound

Born in 1955, Hsu Junghsu taught himself pottery since the mid-1980s. In the

philosophical thinking.

1990s, he studied the ceramic art with Winnie Yang and studied glaze with Wu Yu-Tang. He has won the ﬁrst prize of Kaohsiung County Art Exhibition and

The departed iron sculpture master, Chen Ting-Shih, once praised Tsai's work:

the ﬁrst prize of pottery in Taipei Annual Art Exhibition. Hsu's work shows his

his work is solid and reﬁned. The joints are smooth and natural and show no

ambition in artistic creation; it transcends the limitation of media and takes

abruptness or mistakes. Overall, his sculptural form is pure and simple, just like

on the challenge of dimension. In 2003, Hsu entered the Graduate Institute of

the impression he makes. There is no excessive form and color, or excessive

Applied Arts, Tainan National University of the Arts. In 2005, he went to study

expression and intersection of spaces. Meanwhile, his work is musical and

for a short time in the US, where he received tremendous encouragement

enriched with spatial rhythm, conveying a sense of reserved innocence as

and stimulation. A major car accident after he returned to Taiwan changed

well as persistent force of life.

his thinking about art-making, and he gradually shed the confinement of external appearance and started exploring pure abstract form.

After 2000, the wave of steel and iron sculpture in Taiwan has been fueled

047

詩的特質在其不可確定性，但詩的成功也正在其表達的精準；林

張清淵在 1993 年返台後，先後服務於母校國立台灣藝術大學工

鴻文的鐵雕創作，正可用詩的心情來看待與接近，那正是一種

藝系，及輔仁大學應用美術系，1997 年專任於國立台南藝術大

「不確定的精準」的完美呈現。

學應用藝術研究所。作為一位極具觀念性與實驗性的創作者，張清淵也是一位行動力極強的教育家與推動者。他經常利用暑假返

1960 年生於台灣屏東的張清淵，原為國立台灣藝專美工科工藝

回紐約母校羅徹斯特學院，和密蘇里州立大學哥倫比亞分校等，

設計組學生，某次偶然的機會，陶塑的作品，被來校兼課的陶藝

擔任客座教授。近年來更協助許多地方政府的文化單位，策劃各

前輩林葆家看到，頗為欣賞，乃邀請他到工作室擔任助教，也因

種國際性的陶藝專題展，包括：新北市的鶯歌陶瓷博物館，和台

此展開了張清淵此後陶藝追尋的道路。

南總爺文化園區等。至於他任教的台南藝術大學，更是培養了許多陶藝新秀。張清淵是年輕一輩、具教父級地位的重要藝術工作

張清淵前往林葆家工作室擔任助教期間，林氏工作室的主要創作

者。

形態，集中在對釉葯的試驗、開發，造形上則多為傳統瓶罐造型的有限變形。張清淵深覺不足，乃在林老師鼓勵下開始搜集國外

也是東和鋼鐵 2014 年駐場創作藝術家之一的宋璽德，1964 年

資訊，瞭解現代陶藝的可能性；並於 1988 年，前往美國羅徹斯

生於基隆。中原大學商業設計系畢業後，赴日本國立東京藝術大

特學院研究所進修，專攻陶藝創作，兼修金屬工藝及雕塑，並於

學美術研究科，取得博士畢業，先在日本 AIM 株式會社服務，

1989 年取得碩士學位。

2000 年舉辦「兩種類的時間──宋璽德造形展」於松下電工藝廊。2001 年返台後，任教國立台灣藝術大學設計學院視覺傳達

1990 年，張清淵以一件巨型的陶製景觀作品〈現象．蛻變〉，

設計系，後轉雕塑學系。

獲得徵件比賽的優勝，矗立在美國紐約州立高地公園內，打破陶藝創作的尺幅拘限；類似的觀念，也為台中的台灣省立美術館創

宋璽德以金屬造形及機動藝術為專長，也一度投入結合光藝術的

作另一件〈牆〉。

創作。2006 年，分別在朱銘美術館推出「兩種時間的動」個展，及在靜宜大學藝術中心舉辦「宋璽德機動藝術個展」；2008 年，

事實上，這些作品都沒有構成張清淵創作的「風格」；因為對張

在基隆市文化中心舉辦「海．光──一個老港都的故事」個展；

清淵而言，創作的突破與實驗，遠比「風格」的塑成還來得重

2010 年及 2011 年先後在國立台灣藝術大學及高雄正修科技大

要。張清淵這種強調實驗、突破的精神，也展現在日後的各類創

學舉辦「光．動──宋璽德紙動藝術個展」，2012 年，即受邀

作中，有以現成物加入的〈無題〉系列，也有以方陣排列的〈間

參與「高雄國際鋼雕藝術節──全民大戀鋼」，展出於駁二藝術

隙〉系列，以及從容器觀念出發的〈錯置的母體〉系列等；其中，

特區。

創作於 1991 年的〈無題之 7〉，是以多種不同陶土，經由多次

048

不同溫度與燒法，燒製後組合而成的作品，呈顯一種極具學術趣

宋璽德較小型的作品，造型簡潔、優雅，帶著詩意與想像的趣味，

味的拼貼意象。

如 2006 年的〈流星雨系列〉，以 LED 燈模擬雨滴凝結在玻璃窗

至於以容器概念出發的〈錯置的母體〉系列，則暗含了一種文化

前的影像，在鏡面的鋼板上，藉由穿透及導角的方式，形成點、

認同與歸屬的困境與錯亂，兼具思維的衝擊與視覺的愉悅。

線、面之間疊影的效果。至於尺度較大的作品，則強調和觀眾或

and encouraged by two art festivals that take place in turn each year.

Working as an assistant at Lin's studio, Chang saw that the studio emphasized

They are Kaohsiung International Container Arts Festival and Kaohsiung

on the experimentation and development of glaze as well as the changing

International Steel and Iron Art Festival. Since 2008 onward, National Culture

forms of traditional vases and jars, which were inadequate for Chang.

and Arts Foundation has been collaborating with Tung Ho Steel Enterprise

Encouraged by Lin, Chang began to gather more information from abroad,

in realizing an Art-Corporation collaborative program, "Tung Ho Steel Artist

hoping to explore modern ceramics and its possibility. In 1988, he entered

in Residence Program," which has also become an important source that

the School for American Craftsmen, Rochester Institute of Technology to

supports the making of steel and iron sculpture.

study ceramics, metal art and sculpture, and obtained his MFA in 1989.

Born in 1961, Lin Hong-Wen, who has been mentioned earlier in this article,

In 1990, Chang won a competition with a large ceramic landscape artwork,

was the artist-in-residence for the third term. Lin, who was known for his

"Phenomenon Transformation," which transcended the limits in size for

abstract painting, also made large installations with bamboo and wood. The

ceramics and was later placed in Highland Park in New York. With similar

residency in Tung He's steel factory offered him a chance to experimenting

concept, he also created another work, "Wall," for National Taiwan Museum.

with steel.

In truth, these works did not contribute to the formation of Chang's "style" because Chang considered having breakthroughs and experimentation

Different from other artists-in-residence who had training in sculpture, Lin

in artistic creation was much more important than forming a certain

did not possess any ambition to control the steel. For him, the material

"style." Chang's spirit in emphasizing on experimentation and aiming for

represented a certain form of existence, a kind of life, and an artist was

breakthrough was also visible in his later work, which included the "Untitled"

simply a medium that led the life to grow and blossom. Lin had learned

series that incorporated ready-mades, the "Void" series that was arranged

how to use a welding torch as a third-grader when his father gave him one

in matrix, and the "Mislocated Matrix" series that re-conceptualized utensils.

as a present. However, since his youth, he had never attempted to use the

Among these works, his "Untitled - 7" was created with different types of

welding torch to cut or create something. On the contrary, he looked for

clay and through various firing methods under different temperature,

"fragmented forms," and combined the forms according to the correlations

demonstrating a collage effect that was not without an academic

between these forms. It was like the dividing of cells or the growth of

inclination.

plants, and sometimes, it was like a cocoon or a sprouting seed. Through the germination of this organic form, the artist could create a dialogue or

Chang's "Mislocated Matrix" series, which was based on the

an integration with the external world, and was able to make something

reconceptualization of common utensils, symbolized the predicament and

happen and evolve, at times in a reserved manner, or a diffusive manner at

confusion of cultural identiďŹ cation and the sense of belonging with thought-

other times.

provoking and visually pleasing forms and colors.

The poetic quality comes from a sense of uncertainty; yet the success of

After returning to Taiwan in 1993, Chang ďŹ rst taught at his alma mater, the

poetry is deďŹ ned by the precision of expression. Lin's iron sculpture could be

Crafts and Design Department of National Taiwan University of Arts, and later,

viewed in the way poetry is read, which is the perfect representation of the

at the Department of Applied Arts, Fu-Jen University. Since 1997 onward,

"precision of uncertainty."

he has been teaching at the Graduate Institute of Applied Arts, Tainan National University of the Arts. A highly conceptual and experimental artist,

Born Pingtung, Taiwan in 1960, Chang Ching-Yuan was a student in the Craft

Chang is also an active educator and advocator of arts. He often teaches

Design Group, Department of Fine Art, National Taiwan Academy of Arts

as a visiting professor at Rochester Institute of Technology and University of

when his ceramic work was seen and praised by Lin Pao-Chia, a ceramic

Missouri-Columbia (MU) during summer vacation. In recent years, he has also

artist who taught part-time at the school. Lin was impressed by Chang's work

assisted local governments and cultural institutions in curating international

and invited him to work as a teaching assistant at his studio, which marked

ceramic art exhibitions, including New Taipei City Yingge Ceramics Museum

the beginning of Chang's career as a ceramic artist.

and Tsung-Yeh Arts and Cultural Center. In the meantime, Tainan National University of the Arts, where Chang works, has also nurtured many talented

049

環境間的互動；如：2004 年為澎湖馬公機場旅客大廳前廣場的

屬於 70 年代出生的吳孟璋 (1971-)，高雄人，1993 年台藝雕塑

〈風在說話〉，藉由當地強勁的風勢，設置許多猶如竹蜻蜓意欲

科畢業後，1997 年再入南藝造形藝術研究所，專研石雕創作。

飛翔、升騰的螺旋槳形立柱，形成一種眾聲喧嘩、相互對話的意象。至於 2013 年設置在駁二特區的〈慢活〉，則以三角挺立的

吳孟璋的石雕創作，分為兩條路線並進，一是以生命為思考、帶

鋼鐵結構，創作出一個可以讓觀眾休閑、談心的裝置。

有裝置意味的類型，如：高雄市立美術館典藏的〈信物〉(1999)，以舊米黃及大理石結合，幾支猶如人骨或獸骨的造型，就放置

2015 年發表的〈鋼鐵風景〉系列，則是以海上島礁石結構及傳

在幾乎被壓沈的一個石材檯座上。另件 2001 年的〈蠢動〉，則

統山水意象為原素，表現出鋼鐵柔性、多變的另一面向，是一位

以一尾似乎蠕蠕蠢動的蟲體，取代較堅硬的骨頭，檯座更有被啃

對鋼材媒介擁有多元掌握與表現的鋼雕藝術家。

蝕、破損的痕跡。

屬於年輕世代的廖迎晰 (1968-)，是這幾年頗受囑目的女性鋼

吳孟璋的另一創作類型，則是以低限手法所完成、帶有幾何趣味

雕藝術家，東海大學美術研究所西畫組畢業的她，卻是 2013、

的作品，如：〈磐〉(2015) 和〈處〉(2016)，都是以精細打磨

2014 年連續兩屆「全國美展」雕塑類金牌獎的得主，也是活躍

的手法，將堅硬、冰冷的岩石，塑造出具紋理與溫度、既圓潤又

於兩岸公共景觀界的傑出藝術家。

具尖角的微妙造型，一方面保存岩石原始的結構，二方面加入人為的打磨。吳孟璋的此類創作，深具冥想與內斂的人文特質。

廖迎晰的創作風格頗為多樣，不過都能將生硬的不鏽鋼予以柔軟多變的造型變化；如：2013 年獲得全國美展金牌獎的〈晴時多

比吳孟璋年輕一歲的姜憲明 (1972-)，也是台藝畢業 (1995) 後，

雲偶陣雨〉，作品分為三層，最上層的雲，暗含著人體的造型，

1998 年再入南藝造形所，也以石雕為專研。他的作品，以一種

柔中帶剛；中間是以紅銅加以氧化，意含都市叢林之滄桑；下層

結合理性思維與物理特性的造型為特色。1998 年，也就是甫入

則是代表了雨滴的不鏽鋼造型，滴水穿石而下，既是大自然無窮

南藝造形所那年，便以作品〈萌芽〉(1996) 參展「世紀黎明」

的力量，也是愛與包容的人心體現。

成大校園雕塑大展，作品猶如一棵即將萌芽的樹苗，圓潤、飽滿，又具生長的動力。

另如：2014 年的〈雲裳羽衣〉，曾參展當年在廣州舉辦的「亞洲雕塑展」，以一件帝王的披風為發想，採極簡的手法，將主題

1999 年的〈泉〉，是在一個長方幾何的造型前，流溢出一股猶

抽象化，由曲面的波浪狀，表現出如綢緞般柔美流暢的感覺，結

如蜜乳的液體，加上黑色底座的襯托，益顯乳白色的潔淨。這是

合白色烤漆與不鏽鋼的對照、共融，也予人以蚌殼曲面的聯想，

以物理的特性考驗石材的表現力與極限性，柔軟與堅硬的對照、

精緻而美麗。

張力與引力的拉扯。

2016 年的新作〈米寶向前衝〉，則以卡通式的可愛造型，寄寓

2001 年的〈內在世界 II〉，更是將石材的特性表現到極致，他

對台灣農業復興的期望，引人親近、逗趣。

以濕潤細緻如白玉的大理石，採精細寫實的手法，表現出猶如布丁或豆腐般的綿密質感；細膩又富彈性。

050

ceramic artists. Among artists of the young generation, Chang has become

Liao Ying-Hsi (1968-), a female artist from a younger generation, has caught

an important and highly esteemed artist.

the public's attention in recent years. Holding an MFA in Western Painting from Tunghai University, Liao was the gold medalist in sculpture in the

Sung Hsi-Te was the artist-in-residence at Tung Ho Steel Enterprise in 2014. Born

National Exhibition of Fine Arts in 2013 and 2014 as well as an active artist in

in Keelung in 1964, after graduating from the Department of Commercial

the public art scene in both China and Taiwan.

Design, Chung Yuan Christian University, Sung pursued further education at the Department of Fine Arts, Tokyo University of the Arts, and obtained

Liao has a rather diverse artistic style and possesses the ability to transform

a DA. Afterwards, he worked at AIM Power Motor in Japan, and held his

cold and solid stainless steel into soft and versatile forms. Her "Sunny but

solo exhibition, "Two Types of Time—An Exhibition of Style by Sung Hsi-Te," at

Cloudy with Occasional Rain," which won the gold medal in the National

Panasonic Handicraft Gallery in 2000. After he returned to Taiwan in 2001,

Exhibition of Fine Arts in 2013, was a three-layered work. The clouds in the top

he ﬁrst taught at the Department of Visual Communication Design, National

layer were suggestive of the human form, mixing softness and strength. The

Taiwan University of Arts, and later at the university's Department of Sculpture.

middle layer was made of oxidized copper, implying the vicissitudinous life

Sung specializes in metal sculpture and kinetic art, and creates works that

in the urban jungle. The bottom layer was comprised of stainless raindrops,

incorporate light art. In 2006, he held “Two Different Motions of Time—Hsi-

embodying the immense power of nature that could penetrate stone while

Te Sung Solo Exhibition" at Juming Museum and "Hsi-Te Sung Kinetic Art

materializing human being's love and tolerance.

Exhibition" at Providence University Art Center. In 2008, he held " Sea, Shine, Rain—The Story of An Old Port City" at Keelung Cultural Center, and in 2010

Her "Feathered Cloud" created in 2014 was shown at Asian Contemporary

and 2011, he held "Light and Propulsion—Sung Hsi-Te Kinetic Art Exhibition"

Sculpture Exhibition in Guangzhou. The work was inspired by a royal cape

respectively at National Taiwan University of Arts in Taipei and Cheng Shiu

and adopted a minimalistic approach to represent the theme in curvy,

University in Kaohsiung. He was also invited to "Kaohsiung International Steel

rippling abstract form. The smooth, soft, and fluid form with a contrasting

Sculpture Festival: All People Love Steel" at Pier-2 Art Center in Kaohsiung.

combination of the white coating and stainless steel surface was also reminiscent of the form of a clamshell, which was delicate and beautiful.

Sung's smaller works inhabit an elegant, simpliﬁed form that conveys a sense

Her new work "Go, Rice!" created in 2016 adopted an adorable, cartoon-

of poetry and imagination. For example, his "Shooting Stars" series employed

styled look, and conveyed the expectation of reviving the agricultural

LED lights to simulate rain drops falling in front of glass windows. On mirror-

industry in Taiwan in a friendly, affectionate way.

surface steel plates, the work created an overlapping effect of dots, lines, and planes through penetrating and chamfer. His larger works emphasized

Born in Kaohsiung in 1971 and specializing in stone sculpture, Wu Meng-

on the interaction with the audience or environment. Moreover, installed on

Chang graduated from the Department of Sculpture, National Taiwan

the plaza in front of the passenger hall at Magong Airport in Penghu in 2004,

University of Arts in 1993, and obtained an MFA from the Graduate Institute of

his "Wind Speaking" made use of the strong wind to power many standing

Plastic Arts, Tainan National University of the Arts in 1997.

poles that resembled bamboo-copters appearing to take off into the air, creating a bustling scene of dialogue. His "Downshifting" at Pier-2 Center in

Wu's stone sculpture could be divided into two types. The ﬁrst is inspired by

2013 was a steel structure in the form of a triangular pyramid, in which visitors

his thinking about life and carries characteristics of installation. For example,

could linger and relax.

"A Token of Promise" (1999), collected by Kaohsiung Museum of Fine Arts, was made of yellow and white marble carved into forms that resembled

In 2015, he published the "Steel Landscape" series, which adopted the

human or animal bones placed on a seemingly flattened stone platform.

imagery of islets and traditional landscape ink painting to demonstrate the

Another work, "Wriggling" created in 2001, on the other hand, replaced the

gentle and versatile aspect of steel, proving that Sung is indeed an excellent

solid bones in "A Token of Promise" with a squirmy worm on a platform that

steel sculptor who has mastered the diverse qualities and expressiveness of

seemed to have been eaten away.

steel. Wu's another type of work is all made with minimalistic method with a hint

051

2015 年的〈內在世界〉和〈光立方〉，則是不鏽鋼的作品，也

57 位，展出作品多達 103 件，是一場深具學術價值與歷史意義

是姜憲明較新的嘗試。

的藝術盛宴。#

和姜憲明同齡，且為藝壇夫妻檔的陳麗杏 (1972-)，也是由台藝雕塑組而南藝研究所，她的作品具有一種高度柔美的女性特質，將原本看似笨重的石材，處理得猶如美玉一般的輕、軟、薄、透……。不同於其他裝置媒材或可塑性的軟雕塑材質，石雕堅硬的內聚力，恰巧滿足、且傳達了藝術家追求內在和諧與穩定的需求。

和夫婿相同的走向，2015 年的〈888888〉和 2016 年的〈家的旋律〉，也都轉為不鏽鋼的媒材，這應是兩人因應公共藝術的委託製作而有的媒材轉換。

■ 不同於西方抽象藝術的形色思考，台灣的抽象藝術發展，一開始，就和「水墨」媒材產生難以分割的思辨，計白守黑的水墨美學，也就成為台灣抽象藝術發展的重要面向與特色之一。但 1960 年代中期，在「現實回歸」的反省下，一些現成物的加入，也使抽象藝術開始走向多元媒材與多元手法的探索。1970 年代，是抽象藝術由繪畫、版畫，走向立體表現的時代，舉凡雕塑、陶藝……，都有超越傳統的開展。1980 年代，隨著「第二波西潮」與「美術館時代」的來臨，低限、裝置、空間，與白色的震撼，也展開了另一波抽象藝術的轉向。而解嚴後，大批留學歸來的抽象藝術創作者，更展現了不同關懷的面向與手法；其中女性抽象藝術家的大批湧現，是特別凸顯的現象。21 世紀的來臨，年輕世代的介入抽象藝術表現，證明此一創作類型仍在持續開展……。

「當代台灣．抽象藝術經典展」正是採取歷史回顧的角度，以仍然在世的藝術家作品，舖陳抽象藝術在台灣生根、發展的具體面貌，是戰後台灣最具規模的一次抽象藝術大展；參展藝術家合計

052

of geometric charm. For example, "Boulder" (2015) and "Place" (2016)

Chen's creative direction also coincided with that of her husband's. Her

transformed finely polished rocks into intriguing forms that carried texture

"888888" created in 2015 and "Rhythm of Home" from 2016 have adopted

and a sense of warmth as well as round and sharp edges, showing both the

stainless steel, showing a change in materials that probably took place due

original structure of the stone material and artificial processing marks. This

to their commissioned public art projects.

type of work has embodied Wu's profound contemplative and humanistic

■

characteristics.

Different from the thinking about form and color in Western abstract art, the development of Taiwanese abstract art originated from an inseverable

One year younger than Wu Meng-Chang, Jiang Shen-Min (1972-) also

relationship with ink painting since the very beginning. The aesthetics of

graduated from National Taiwan University of Arts (1995), and pursued further

ink art, therefore, was integrated into Taiwanese abstract art and has

education at the Graduate Institute of Plastic Arts, Tainan National University

become an important aspect and feature. However, in the mid-1960s, as

of the Arts in 1998. Like Wu, Jiang also specializes in stone sculpture, and is

the concept of "returning to reality" became prevailing, the use of ready-

known for his work that integrates rational thinking and the material's physical

made objects pushed abstract art toward the exploration of diverse media

properties. In 1998, the year Jiang entered the Graduate Institute of Plastic

and techniques. In the 1970s, abstract art turned from painting and prints

Arts, he participated in "At the Dawn of the Century: National Cheng Kung

to three-dimensional arts, including sculpture, ceramics, etc., which had

University Sculpture Exhibition" with the work, "Germination" (1996), which

surpassed traditional practices and facilitated innovative development. In

conveyed the image of a germinating sapling with a mellow, ample and

the 1980s, as "the second wave of Western art" and "the era of museums"

lively force of life.

arrived, minimalism, installation art, space, and the White Impact fueled another turn of direction of the abstract art. After the lifting of martial law,

"Fountain," created in 1999, revealed a rectangular form overﬂowing with a

many abstract artists returned from abroad adopted different techniques

liquid shape that resembled sweet milk. Contrasting to the black plinth, the

to express their ideas and issues they cared about. Among them, the surge

milky whiteness seemed particularly pure. Jiang tested the expressiveness

of the large group of female abstract artists was a prominent phenomenon.

and limits of the stone's physical properties, presenting a visual juxtaposition

As the world entered the 21st century, a younger generation has also joined

of softness and solidness as well as tension and gravitation.

the making of abstract art, proving that this particular type of art is still developing and unfolding.

"Inner World II" created in 2001 pushed the expressiveness of stone to its limit. Jiang used exquisite alabaster marble and adopted a realistic method to

"Contemporary Taiwan: An Exhibition of Abstract Art Classics" has adopted a

delineate the soft and dense texture that reminded people of the ﬁne and

retrospective perspective to revisit the artworks by artists that are still with us

spongy surface and texture of pudding or tofu.

while attempting to form a comprehensive picture of how the abstract art has taken root and ﬂourished in Taiwan. It is the largest abstract art exhibition

"Inner World" and "Light Cube" were stainless steel sculptures created in 2015,

in post-war Taiwan so far. With one hundred artworks by fifty-seven artists

which were the latest attempts by the artist.

on view in this exhibition, it is unquestionably an artistic feast that possesses tremendous academic and historic values.

Jiang has an artist wife, Chen Li-Hsing (1972-), who is the same age as he is. Chen also holds an MFA in Sculpture from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Her work demonstrates a tender quality unique to women, which is revealed through her ability to create jade-like lightness, softness, thinness and translucence out of heavy and bulky stone materials. Unlike other soft, plastic, sculptural materials often used in installation, the solidness embodied by stone sculpture conveys and satisﬁes the artist's pursuit of the inner harmony and stability.

053

054

058 062 066

096 098 084 088 092

068 072 076

118 102 106 114

136 126 130 134

繪畫類藝術家 Artists / Painting

1920

1930

朱為白 (1929-)

霍剛 (1932-)

CHU, Wei-Bor

1940

1950

蕭勤 (1935-)

李重重 (1942-)

賴美華 (1948-)

許雨仁 (1951-)

喆 (1934-)

李錫奇 (1938-)

陳張莉 (1945-)

陳世明 (1948-)

曲德義 (1952-)

陳正雄 (1935-)

黃朝湖 (1939-)

楊識宏 (1947-)

楊世芝 (1949-)

賴純純 (1953-)

謝義錩 (1949-)

張正仁 (1953-)

HO, Kan

莊

CHUANG, Che

CHEN, Cheng-Hsuing

HSIAO, Chin

LEE, Shi-Chi

HUANG, Chao-Hu

LEE, Chung-Chung

Jenny CHEN

YANG, Chi-Hung

莊

普 (1947-)

TSONG, Pu

洛

LAI, Mei-Hua

CHEN, Shu-Ming

Emily S.C. YANG

Idea HSIEH

HSU, Yu-Jen

CHU, Teh-I

LAI, Jun T.

CHANG, Cheng-Jen

貞 (1947-)

LO, Tsen

雕塑類藝術家

楊元太(1939-)

高燦興(1945-)

蔡

Artists / Sculpture

YANG, Yuan-Tai

KAO, Tsan-Hsing

TSAI, Ken

黃步青(1948-)

李光裕(1954-)

HWANG, Buh-Ching

LEE, Kuang-Yu

黎志文(1949-)

徐永旭 (1955-)

LAI, Chiman

080

054

根(1950-)

HSU, Yunghsu

090 110 120

124 144 152

156 140 148 154

192 200 180 184 188

160 168 172

218 202 206 210

236 222 226 232

1960

250 254

1970

陳聖頌 (1954-)

蔡志榮 (1957-)

劉國興 (1960-)

林鴻文 (1961-)

張富峻 (1965-)

曾凱智 (1974-)

胡坤榮 (1955-)

劉永仁 (1958-)

顏頂生 (1960-)

陶文岳 (1961-)

謝貽娟 (1967-)

吳東龍 (1976-)

薛保瑕 (1956-)

劉高興 (1958-)

郭博州 (1960-)

董心如 (1964-)

耿晧剛 (1969-)

楊智富 (1960-)

黃致陽 (1965-)

紀嘉華 (1969-)

C. Shenson

HU, Kun-Jung

Ava, Pao-Shia HSUEH

徐畢華 (1957-) Jessica Pi-Hua HSU

Dino TSAI

LIU, Yung-Jen

LIU, Kao-Sing

LIU, Kuo-Hsing

YEN, Ding-Sheng

KUO, Bor-Jou

C.D.YANG

LIN, Hong-Wen

TAO, Wen-Yueh

TUNG, Hsin-Ru

HUANG, Zhi-Yang

CHANG, Fu-Chun

Jo HSIEH

Cliff TSENG

WU, Tung-Lung

KENG, Hao-Kang

Jason CHI

謝鴻均 (1961-) Juin SHIEH

梁任宏(1957-)

張清淵(1960-)

吳孟璋(1971-)

LIANG, Jen-Hung

CHANG, Ching-Yuan

WU, Meng-Chang

蔡志賢(1958-)

宋璽德(1964-)

姜憲明(1972-)

TSAI, Chih-Hsien

SUNG, Hsi-Te

JIANG, Shen-Min

廖迎晰(1968-)

陳麗杏(1972-)

LIAO, Ying-Hsi

164 176

CHEN, Li-Hsing

196 214 230

238 242 246

055

朱為白

CHU, Wei-Bor (1929-) 1929

生於中國南京

1929

Born in Nanjing, China

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2014

「春耕逸境—朱為白個展」，大象藝術空間館，台中，台灣 2014

“Tell a Spring Paradise - Chu Weiber Solo Exhibition”,

「抽象．符碼．東方情—台灣現代藝術巨匠大展」，尊彩藝術中心

Remarkable Cultivation Art Museum, Tainan

Da Xiang Art Space, Taichung

台北，台灣

“ABSTRACT / SYMBOL / ORIENTAL – Exhibition of Taiwan’s Masters of

「台灣美術散步道：1927-2014」，尊彩藝術中心，台北，台灣 2013

「從零開始 Part 2．無限大的小」，形而上畫廊，台北，台灣

Modern Art”, Liang Gallery, Taipei

「非形之形—台灣抽象藝術展」，廣東美術館，廣東，中國

“Walking by Taiwanese Art: 1927-2014”, Liang Galley, Taipei

「台灣 50 現代畫展第一展」，築空間，台北，台灣

2013

2012

2011

“Start from Zero”, Metaphysical Art Gallery, Taipei “Formless Form - Taiwanese Abstract Art”, Guangdong Museum of Art,

「現代．迭起—2013 台灣的當代藝術」，國父紀念館，台北，台灣「黑與白—朱為⽩版畫個展」，⽉臨畫廊，台中，台灣

Guangdong

「造空者—朱為白個展」，關渡美術館，台北，台灣

“Taiwan 50 Modern Art Exhibition”, ARKI GALERIA, Taipei

「非形之形—台灣抽象藝術展」，台北市立美術館，台北，台灣

“Now, Again 2013 Contemporary Art”, National Dr. Sun Yat-Sen Memorial Hall, Taipei

「現代潮五Ｏ、六Ｏ年代台灣美術」，國立台灣美術館，台中，台灣

2012

“Black and White - Print Exhibition”, Moon Gallery, Taipei “Sunyata - Chu Wei-Bor Solo Exhibition”, Kuandu Museum of Fine Art,

「國美無雙—館藏精品常設展」，國立台灣美術館，台中，台灣

Taipei

「藝林頂足—朱為白、廖修平、李錫奇聯展」，國父紀念館

“Formless Form - Taiwanese Abstract Art”, Taipei Fine Arts Museum,

台北，台灣

Taipei 2011

“Unique Vision: Highlights from the National Taiwan Museum of Fine Arts Collection”, National Taiwan Museum of Fine Arts, Taichung “The Modernist Wave - Taiwan Art in the 1950s and 1960s”, National Taiwan Museum of Fine Arts, Taichung “A Group Exhibition of Chu Wei-Bor, Liao Shiou-Ping and Lee Shi-Chi”, National Dr.Sun Yat-Sen Memorial Hall, Taipei

056

朱為白 CHU, Wei-Bor 天地 The Earth

1984 棉線、無酸膠、畫布 Cotton line and acid-free glue on canvas 162x130cm

057

朱為白 CHU, Wei-Bor 一念破萬象 One Thought Eliminates Ten Thousand Illusions 1998 複合媒材 Mixed media 162x130cm (x2)

058

059

霍剛

HO, Kan (1932-) 1932

生於中國南京

1932

Born in Nanjing

1953

畢業於台北師範學校藝術科

1953

Graduated from Department of Art, Taipei Teacher’s School

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

「霍剛．寂弦激韻」，台北市立美術館，台北，台灣

“Contemplating the Original Point – The Oriental Abstract Language of HO Kan”, Chini Gallery, Taipei

韓國國際藝術博覽會，首爾，韓國 2015

“Reverberations • HO KAN”, Taipei Fine Arts Museum, Taipei

「霍剛個展」，月臨畫廊，台中，台灣「晝夜之象」，夢 12 美學空間，台北，台灣

2014

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「原點．解析—霍剛的東方抽象語法」，采泥藝術，台北，台灣

「東方視覺—霍剛個展」，夢 12 美學空間，台北，台灣

KIAF 2016/ ART SEOUL, Seoul 2015

“Ho Kan Solo Exhibition”, Moon 12 Art, Taipei

「抽象．符碼· 東方情—台灣現代藝術巨匠大展」，尊彩藝術中心台北，台灣

“Ho Kan Solo Exhibition”, Moon Gallery, Taichung

2014

“Ho Kan Solo Exhibition”, Moon 12 Art, Taipei “ABSTRACT / SYMBOL / ORIENTAL – Exhibition of Taiwan’s Masters of

「台灣美術散步道：1927-2014」，尊彩藝術中心，台北，台灣 2013

「霍剛原創手稿展」，LOVE SPACE 藝聚空間，台北，台灣

Modern Art”, Liang Gallery, Taipei

2012

「霍剛八十．素描展」，大象藝術空間館，台中，台灣

“Walking by Taiwanese Art: 1927-2014”, Liang Galley, Taipei

2011

「藝拓荒原—東方八大響馬」，大象藝術空間館，台中，台灣

2013

“Ho Kan Original Sketch Exhibition”, LOVE Space, Taipei

「非形之形—台灣抽象藝術」，台北市立美術館，台北，台灣

2012

“Age 80•Ho Kan's Drawing Exhibition”, Da Xiang Art Space, Taichung “Exploring the Wasteland – The Eight Highwaymen of the East”, Da

「藝載乾坤—霍剛校園巡迴展」清華大學，新竹；靜宜大學，台中；

Xiang Art Space, Taichung

成功大學，台南，台灣

“Formless Form - Taiwanese Abstract Art”, Taipei Fine Arts Museum, Taipei 2011

“Universal Eternity – Ho Kan Solo Exhibition”, Tsing Hua University Art Center, Hsinchu; Providence University Art Center, Taichung; Cheng Kung University Art Center, Tainan, Taiwan.

060

霍剛 HO, Kan 承合之 5、承合之 2 Continuity 5, Continuity 2 2011 油彩、畫布 Oil on canvas 200x120cm / 200x80cm

061

霍剛 HO, Kan 抽象 2016-005 Abstract 2016-005 2016 油彩、畫布 Oil on canvas 130x162cm

062

063

莊喆

CHUANG, Che (1934-) 1934

生於中國北京

1934

Born in 1934 in Beijing, China

1958

畢業於台灣師範大學美術系

1958

Graduate from National Taiwan Normal University

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「1960—台灣現代藝術的濫觴」，亞洲藝術中心，台北，台灣

Remarkable Cultivation Art Museum, Tainan

2015

「鴻濛與酣暢→莊喆回顧展」，台北市立美術館，台北，台灣

“1960 - The Origin of Taiwan’s Modern Art”, Asia Art Center, Taipei

2012

「統覽．微觀」，亞洲藝術中心，台北，台灣

2015

“CHUANG CHE Retrospective Exhibition”, Taipei Fine Arts Museum, Taipei

2010

「新東方精神 II—承啟」，亞洲藝術中心，北京，中國

2012

“Holistic View•Microscopic Vision”, Asia Art Center, Taipei

2008

「沉積：新東方精神」，亞洲藝術中心，北京，中國

2010

“Spirit of the East II - Bridging”, Asia Art Center, Beijing

「石蒼雲燦」，亞洲藝術中心，台北，台灣

2008

“Green Rock and Splendid Cloud”, Asia Art Center, Taipei

2007

「嶺深道遠」，中國美術館，北京，中國

2006

「筆意縱橫．參於造化」，亞洲藝術中心，台北，台灣

2007

“Deep Ridge VS Remote Way”, National Art Museum of China, Beijing

「第三空間：抽象藝術的中國文本」，上海美術館、寧波美術館、

2006

“Chuang Che Solo exhibition”, Asia Art Center, Taipei

“Accumulations - The Spirit of the East”, Asia Art Center, Beijing

北京 798 藝術區，上海 / 寧波 / 北京，中國 2005

「主題．原象」，國立歷史博物館，台北，台灣

2003

「六十年代台灣繪畫」，台北市立美術館，台北

1991

「台北—紐約：現代畫之遇合展」，台北市立美術館，台北，台灣

1981

“The Third Space: Chinese Text of Abstract Art”, Shanghai Art Museum, Ningbo Art Museum, Beijing 798 Art District, Shanghai/Ningbo/Beijing 2005

“Primal Form - An Exhibition of Chuang Che’s Painting”,

「東方與五月畫會廿五年紀念展」，台灣省立博物館，台北，台灣

2003

“Taiwan Paintings in the Sixties:”, Taipei Fine Art Museum, Taipei, 2003

1959

「巴西聖保羅國際雙年展」，聖保羅，巴西

1991

“Taipei - New York Confrontation of Modernism”,

1958

「五月畫展」, 台北 1981

“Fifth Moon and Ton Fan 25th Anniversary Joint Exhibition”,

1959

“The Bienal De Sao Paulo”, San Paulo

1958

“Fifth Moon Group Exhibition”,Taipei, 1958

National Museum of History, Taipei

Taipei Fine Arts Museum, Taipei

Taiwan-Provincial Museum, Taipei

064

* 圖片由藝術家與亞洲藝術中心提供 Courtesy of Artist and Asia Art Center

莊喆 CHUANG, Che 抽象山水 Abstract Landscape 1976 油彩、畫布 Oil on canvas 143.5x107.5cm

065

莊喆 CHUANG, Che 掠影浮光 Shadow Floating on the Light 1981 壓克力、畫布 Acrylic on canvas 122x183cm

066

* 圖片由藝術家與亞洲藝術中心提供 Courtesy of Artist and Asia Art Center

067

陳正雄

CHEN, Cheng-Hsuing (1935-) 1935

生於台灣台北

1935

Born in Taipei, Taiwan

1963-67

台灣全省美展及台陽美展七次獲獎

1963-67

Awarded 7 awards at the ‘Annual Taiwan Art Exhibition’and ‘Taiyang Art

1974

英國皇家藝術學會終生院士

1982

中華民國現代畫學會創立人、理事長

1974

Life-fellow, Royal Society of Arts, Great Britain

1989-99

代表台灣出席「聯合國教科文組織」第 12-15 屆國際藝術聯盟會議

1982

Founder and Chairman of the National Association of Modern Art, Taiwan

1999-01

兩度獲「佛羅倫斯國際當代藝術雙年展」最高獎－「終身藝術成就獎」及

1989-99

Represented Taiwan, at the 12th ~ 15th IAA Assembly Sponsored by UNESCO

「偉大的羅倫佐金質獎章」 2014

Exhibition’, Taiwan

1999-2001 Awarded the “Lorenzo il Magniﬁca Lite-time Achievement in Art Award” at the

獲第 18 屆「國家文藝獎」國立台北大學「傑出校友」

“Florence Biennale Internazionale Dell’ Arte Contemporanea” 2014

Awarded “The 18th National Award for Arts”, Taiwan Awarded “The Outstanding Graduate” from National Taipei University, Taiwan

精選展歷 Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2014-15 「陳正雄回顧展：1953-2013」，台北市立美術館，台北；中華藝術宮，上海，

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”, Remarkable

2015-14

“Chen Cheng-Hsiang A Retrospective: 1953-2013”, Taipei Fine Art Museum, Taipei;

2014

“Abstract / Symbol / Oriental – An Exhibition of Taiwan’s Masters of Modern Art”,

Cultivation Art Museum, Tainan

中國；交通大學藝文中心，新竹，台灣 2014

「抽象．符號．東方情—台灣現代藝術巨匠大展」，尊彩藝術中心，台北，台灣

2013

「美麗台灣—台灣近現代名家經典作品展 (1911~2011)」，中國美術館、中華藝術宮，北京 / 上海，中國

China Art Museum, Shanghai; NCTU Arts Center, National Chiao Tung University, Hsinchu

2013-12 「非形之形—台灣抽象藝術」，台北市立美術館，台北；廣東美術館，廣州，中國 2009

「陳正雄回顧展：1976-2006」，雀兒喜當代美術館，紐約，美國

Liang Gallery, Taipei 2013

Majestice Island: The Development of Modern Art in Taiwan 1911-2011, travelled to

2013-12

“Formless Form: Taiwanese Abstract Art”, Taipei Fine Arts Museum, Taipei;

2009

“Chen Cheng-hsiung, 30 year retrospective: 1976-2006”, Chelsea Art Museum, New York

2009-1999「第 2-6 屆佛羅倫斯國際當代藝術雙年展」，巴索大要塞藝術空間，

佛羅倫斯，義大利

National Art Museum of China, and China Art Palace, Beijing/Shanghai Guangdoing Art Museum, Guangzhou

2004-1995「陳正雄巡迴展」，創價藝文中心；台灣創價學會，台北、台中、高雄、

新竹，台灣 2004

「中國當代藝術大展」，貝雷維雷藝術空間，巴黎，法國

2003

「陳正雄繪畫 50 年回顧展」，歷史博物館、台北，台灣；中國國家博物館、上海美術館、廣東美術館，北京 / 上海 / 廣州，中國

2002-1995「第 37-44 屆今日大師與新秀展」，艾菲爾布朗麗展覽空間，巴黎，法國

2009-1999 “'99-'09 Florence Biennale Internazionale Dell'Arte Contemporanea”, Fortezza da

Basso, Firenze 2004

“Art Chinois Contemporain”, Espace Belleville,Paris.

2003

“Chen Cheng-hsiung, A 50 Year Retrospective: 1952-2002”, National Museum of

2001-1991 第 46-53 屆「巴黎五月沙龍展」，巴黎大皇宮，法國

1994

上海，中國 1993-92

History, Taipei; National Museum of China, Shanghai Art Museum, Guangdong

「陳正雄抽象畫巡迴展：1964–1994」，中國美術館、上海美術館，北京 / 「陳正雄四十年回顧展：1958–1992」，台灣省立美術館，台北市立美術館，台中 / 台北，台灣

Museum of Art, Beijing/Shanghai/Guangzhou 2002-1995 “Le 37-44e Salon Grand et Jeunes d’Aujourd'hui", Espace Eiffel-Branly, Paris. 2001-1991 “Le 46e- 53e Salon de Mai”, Grand Palais, Paris

1994

“Robert Chen Cheng-hsiung Traveling Exhibition 1964-1994,” National Art Museum of China, Shanghai Art Museum, Beijing/Shanghai

1993-1992 “Chen Cheng-hsiung, A 40 Year Retrospective: 1958-1992”, National Taiwan

Museum of Art, Taipei Fine Arts Museum, Taichung/Taipei

068

陳正雄 CHEN, Cheng-Hsuing < 紅林 > 系列七 Red Forest Series 7 2014 壓克力、畫布 Acrylic on canvas 123x183cm

069

蕭勤

HSIAO, Chin (1935-) 1935

生於中國上海

1935

Born in Shanghai, China

1951

進入台北師範學校藝術科

1951

Enters the Art Department at Provincial Taipei Teacher’s College

精選展歷

Selected Exhibitions

2016

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「蕭勤無盡能量 2016」， 3812 畫廊，香港，中國

Remarkable Cultivation Art Museum, Tainan

「蕭勤新能量終點亦為起點」，耿畫廊，台北，台灣

“Endless Energy”, 3812 Gallery, Hong Kong “Novel Energy : The End is the Beginning”, Tina Keng Gallery, Taipei

「抽象、和諧與形態的六年歷程」，德薩畫廊，香港，中國「八能量—蕭勤回顧展望」，國台灣美術館，台中，台灣

2013

「能量」，未來林舍畫廊，台北，台灣

2010

「炁之境—向大師致敬系列：蕭勤 75 回顧展」，雄市美術館，高雄，台灣

2015

Sixty Years of Abstract, Harmony and Form, de Sarthe Gallery, Hong Kong 80 Years of Energy, Hsiao Chin’s Retrospect & Prospect, National Taiwan Museum of Fine Arts, Taichung

2013

Great All, Lin & Lin Gallery, Taipei

2010

Homage to the Master—Retrospective of Hsiao Chin: Inﬁnity of Chi,

2009

「蕭勤—無限之旅 1955-2008 」，蘭三年展會場

2008

「蕭勤回顧展」，巴爾瑪學，義大利

2006

「榮源—蕭勤七回顧展 1955-2005 」，中國美術舘，北京，中國

2009

Viaggio in-ﬁnito 1995- 2008, Milan Triennial

2005

「蕭勤 1954-2004 歸源之旅」，廣東美術館，廣州，中國

2008

Retrospective of Hsiao Chin, University of Parma

「蕭勤歷程展」，萊卡那迪市美術舘、阿德利市阿卦韋伐宮，

2006

Glory to the Source. A retrospective exhibition of Hsiao Chin 1955-2005,

2005

Hsiao Chin 1954-2004. A Journey back to the Source, Guangdong

Kaohsiung Museum of Fine Arts, Kaohsiung

National Art Museum of China, Beijing

義大利「蕭勤 1954-2004 歸源之旅」，中山美術舘，廣東，中國 2004

「蕭勤繪畫歷程展 1958-2004 」，上海美術館，上海，中國

Museum of Art, Guangdong

2003

「蕭勤作品展」，佛萊雀畫廊，日內瓦，瑞士

Hsiao Chin, Recanati, Museo Civico, Villa Colloredo Mels Hsiao Chin 1954-2004. A Journey back to the Source, Zhongshan

台灣「向世界」系列歷程展

Museum of Art, Guangdong 2004

The Journey of Hsiao Chin's painting 1958-2004, Shanghai Art Museum,

2003

Hsiao Chin, Gallery Leda Fletcher, Geneva,

Shanghai

“Towards the Spiritual World”, Series anthological exhibitions

070

蕭勤 HSIAO, Chin 源之冥思 - 6 Contemplation on the Origin - 6 1999 壓克力、畫布 Acrylic on canvas 80x110cm

071

072

蕭勤 HSIAO, Chin 飛越永久的花園 - 20 Flying Over the Eternal Garden - 20 1998 壓克力、畫布 Acrylic on canvas 110x250cm

073

李錫奇

LEE, Shi-Chi (1938-) 1938

生於台灣金門

1938

Born in Kinmen, Taiwan

1955

保送入台北師範學校藝術科

1955

Enter Department of Art, Taipei Teacher’s School

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

2012

「台灣報到—台灣美術雙年展」，國立台灣美術館，台中，台灣

“ Orientation Splendor of Flame - A Retrospective Exhibition of Lee Shi-

2011

「藝林鼎足—朱為白、廖修平、李錫奇藝術展」，國父紀念館，台北，台灣

074

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「本位．色焰—李錫奇八十回顧展」，歷史博物館，台北，台灣

Chi at 80”, National Museum of History, Taipei 2012

“YES TAIWAN - Taiwan Biennial 2012”, National Taiwan Museum of Fine

2011

“CHU Wei-Bei, LIAO Hsiu-Ping, Lee Sih-Chi” Joint Exhibition,

2006

“70•Orientation•Lee Shi-chi-Modern Art in Taiwan Through the Past

2006

「70．本位 · 李錫奇個展」，國父紀念館，台北，台灣

2004

「李錫奇個展」，Gulerir Leda Fletcher，日內瓦，瑞士

2002

「浮生十帖—錯位 · 變置 · 李錫奇」個展，歷史博物館，台北，台灣

1996

「李錫奇創作歷程展」，台北市立美術館，台北，台灣

1992

「李錫奇個展」，Kean 畫廊，紐約，美國

1987

「李錫奇個展」，Eagling Gallery，舊金山，美國

2004

“Lee Shi-Chi Solo Exhibition”, Gallery Leda Fletcher, Geneva

1981

「李錫奇個展」，香港藝術中心，香港，中國

2002

"Ten Aspects of My Artistic Life - Transposition, Variation,

1980

「李錫奇個展」，多明尼克畫廊，馬尼拉，菲律賓

1978

「李錫奇個展」，SKY 畫廊，紐約，美國

1996

“Lee Shi-chi's Creative Career”, Taipei Fine Arts Museum, Taipei

1976

「李錫奇個展」，亞洲藝術中心，西雅圖，美國

1992

“Lee Shi-Chi Solo Exhibition”, Kean Gallery, New York

1987

“Lee Shi-Chi Solo Exhibition”, Eagling Gallery, San Francisco

1981

“Lee Shi-Chi Solo Exhibition”, Hong Kong Arts Center, Hong Kong

1980

“Lee Shi-Chi Solo Exhibition”, Dominique Gallery, Manila

1978

“Lee Shi-Chi Solo Exhibition”, Sky Gallery, New York

1976

“Lee Shi-Chi Solo Exhibition”, Asian Art Center, Seattle

Art, Taichung

National Dr. Sun Yat-sen Memorial Hall, Taipei

50 Years”, National Dr. Sun Yat-sen Memorial Hall, Taipei

Lee Shi-chi Solo Exhibition," the National Museum of History, Taipei

李錫奇 LEE, Shi-Chi 漢采 · 本位 2012-3 The Elegance of Han Dynasty．Oriental 2012-3 2012 複合媒材 Mixed media 96.5x160cm

075

李錫奇 LEE, Shi-Chi 漢采 · 本位 2012-5 The Elegance of Han Dynasty．Oriental 2012-5 2012 複合媒材 Mixed media 96.5x160cm

076

077

黃朝湖

HUANG, Chao-Hu (1939-) 1939

生於台灣台中

1939

Born in Taichung, Taiwan Graduated from National Taichung Teachers College

畢業於台中師院精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”, Remarkable Cultivation Art Museum, Tainan

「黃朝湖彩墨蛻變展」，中友百貨時尚藝廊，台中，台灣

“Huang Chao-Hu Ink Painting Exhibition”, Chung-yo Department Store,

馬來西亞國際彩墨大展，博雅藝術中心，馬來西亞 2015

泰國國際視覺藝術展，皇后美術館，泰國

Taichung

2014

台灣彩墨西班牙巡迴展，新馬特博物館，西班牙

“International Contemporary Ink Painting Exhibition”, Top-Art School of Art

2013

台灣美術家刺客列傳展，國立台灣美術館，台中，台灣

2015

2012

國際水墨大展，國父紀念館中山國家畫廊，台北，台灣

2014

“Taiwan Ink Painting Touring Exhibition in Spain”, Monasterio Simat

黃朝湖藝術演化展，順天藝術中心，台中，台灣

2013

"The Pioneers" of Taiwanese Artists, 1931-1940”, National Taiwan

2012

“International Ink Painting Exhibition”, Dr. Sun Yat-sen memorial Hall

2009 2005

GALERILA LA FORGE 畫廊，里昂，法國

Zhongshan Gallery, Taipei

休士頓國際畫廊，休士頓，美國

“Artistic Evolution of Huang Chao-hu”, The 201 Art, Taichung

馬來西亞博雅藝術中心，馬來西亞 2004

Museum of Fine Arts, Taichung

黃朝湖藝術文件展，台中市文化局，台中，台灣西班牙個展，瓦倫西亞 San Francesc 22 藝廊，西班牙

“Thailand International Visual Art Exhibition”, Queen's Gallery

2009

“Art and Documents of Huang Chao-hu”, Cultural Affairs Bureau of Taichung City Government, Taichung

台北市卡氏珍藏美術館，台北，台灣

“Solo exhibition”, San Francesc 22 Gallery, Valencia 2005

Galerila La Forge, Leon International Modern Art Gallery, Houston Top-Art School of Art, Malaysia

2004

078

Kass Treasure Art Museum, Taipei, Taiwan

黃朝湖 HUANG, Chao-Hu 深情款款 Intimate Feelings

1987 墨水、壓克力、京和紙 Ink and acrylic on paper 91.5x215cm

079

黃朝湖 HUANG, Chao-Hu 黎明的記憶 Memories of the Dawn

1987 墨水、壓克力、京和紙 Ink and acrylic on paper 91.5x216cm

080

081

楊元太

YANG, Yuan-Tai (1939-) 1939

生於台灣嘉義

1939

Born in Chiayi County, Taiwan

1959

畢業於省立台北師範學校藝術科

1959

Graduated from the Provincial Taipei Pedagogical Academy

1965

畢業於國立台灣藝專美術科雕塑組

1965

Graduated from Sculpture Department of the National Taiwan Institute of Arts

精選展歷 Selected Exhibitions 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2015

「遞景與拾光─楊元太、蘇信義雙個展」，嘉義縣文化局梅嶺美

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”, Remarkable Cultivation Art Museum, Tainan

術館，嘉義，台灣 2011

「如如─ 2011 楊元太個展」，國立中興大學藝術中心，台中，台灣

2015

”Duo Exhibition of YANG Yuan-tai & SU Hsih-yi”, Meiling Art Museum, Chiayi

2010

「形．無形─台灣中堅輩陶藝家系列特展」，鶯歌陶瓷博物館，

2011

“As It Is!Yang Yuan-Tai Solo Exhibition, 2011”, National Chung Hsing

2010

“Form, No signifer-An Exhibition of Established Ceramics in Taiwan”,

2008

“The Flow of Life: Yang Yuan-Tai 2008 Ceramic Art Exhibition”, TAI YU

2007

“Asian Ceramic Delta: Korea, Taiwan, Japan”, Yingge Ceramics

2006

“Empty Fields - A Dialogue between Contemporary Art and

University Art Center, Taichung

新北，台灣 2008

「生命的流動─楊元太 2008 陶雕個展」，泰郁美學堂，嘉義，台灣

2007

「亞細亞陶藝三角洲─韓國、台灣、日本巡迴展」，鶯歌陶瓷博物館，新北，台灣

2006

Yingge Ceramics Museum, New Taipei City

Beaux Arts Salon, Chiayi

「空場─台灣當代藝術與哲學的對話」，關渡美術館，新北，台灣「與佛對話─陶佛個展」，祥太文化藝術基金會文化館，嘉義，台灣

2005

「很土的傳說」聯展，嘉義鐵道倉庫，嘉義，台灣

2004

「反思」七○年代台灣美術發展，台北市立美術館，台北，台灣

2003

「楊元太個展─生命的感悟」，景陶坊，高雄，台灣

Philosophy”, Kuandu Museum of Arts, New Taipei City

2002

「升溫與降溫」陶藝四人創作展，國立歷史博物館，台北，台灣

“A Dialogue with Buddha: Buddhist Ceramic Solo Exhibition”, Cheung

Museum, New Taipei City

Tai Culture and Art Foundation, Chiayi

「土．台灣．當代陶藝展」，法國、義大利 2005

“A Very Earthy Legend Group Exhibition”, Chiayi Railway Warehouse, Chiayi

2004

“Reﬂections of the 70s: Taiwan Explores Its Own Reality”, Taipei Fine Arts

2003

“Yang Yuan-Tai Ceramic Art Exhibition: Perception of Life”, Jin Tao

2002

“Heating and Cooling: Ceramic Art Exhibition Featuring Four Artists”,

Museum, Taipei

Fang Ceramics Art Gallery, Kaohsiung

National Museum of History, Taipei “Clay Taiwan the Contemporary Ceramics Exhibition”, Paris/Italy

082

楊元太 YANG, Yuan-Tai 回歸 Return 1992 陶 Pottery 55x25xH85cm

083

楊元太 YANG, Yuan-Tai 對語 Dialogue 1991 陶 Pottery 60x25xH85cm

084

085

李重重

LEE, Chung-Chung (1942-) 1942

生於中國安徽

1942

Born in Anhui, China

1965

畢業於政戰學校藝術系

1965

Graduated from the Department of Fine Arts, Fu Hsing Kang College, Taipei, Taiwan

精選展歷 Selected Exhibitions 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣「綿綿若存—新進典藏展」，台北市立美術館，台北，台灣

2015

2014

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「瀚墨芳華—李重重個展」，尊彩藝術中心，台北，台灣

Remarkable Cultivation Art Museum, Tainan

「2016 藝術北京」，全國農業展覽館，北京，中國

“Boundless Visions – New Acquisitions from the Permanent Collection”,

「三月三日天氣新」，尊彩藝術中心，台北，台灣

Taipei Fine Arts Museum, Taipei

「山水風華—李重重個展」，尊彩藝術中心，台北，台灣

“The Alluring Vastness of Ink – Lee Chung-Chung Solo Exhibition”,

「返景入深林—當代水墨的內在觀照」，月臨畫廊，台中，台灣

Liang Gallery, Taipei

「超驗與象徵—台灣新造形藝術展」，尊彩藝術中心，台北，台灣

“Art Beijing 2016”, National Agriculture Exhibition Center, Beijing, China

「跨地域的水墨經驗—上海新水墨藝術大展」，喜瑪拉雅美術館，

2015

“Freshness of March”, Liang Gallery, Taipei “Elegance of Landscape – Lee Chung-Chung Solo Exhibition”,

上海，中國「典藏奇遇記—藝享天開詩與樂」，高雄市立美術館，高雄，台灣

Liang Gallery, Taipei

「女人—家：以亞洲女性藝術家之名」，高雄市立美術館，

“Exhibition of Contemporary Ink Painting”, Moon Gallery, Taichung “Transcendence and Symbol: The Exhibition of Neoplastic Art in

高雄，台灣

Taiwan”, Liang Gallery, Taipei

「典藏．對話：演繹台灣當代水墨」，高雄市立美術館，高雄，台灣 2014

“On-site: Cross-contextual Ink Art Experience – Parallel Exhibition of Shanghai New Ink Painting Art Exhibition”, Shanghai Himalayas Museum, Shanghai “Marvelous Encounters in the Collection: On Wings of Music and Poetry”, Kaohsiung Museum of Fine Arts, Kaohsiung “Women – Home: In the Name of Asian Female Artists”, Kaohsiung Museum of Fine Arts, Kaohsiung “Collection and Dialogue – Taiwan’s Contemporary Ink Painting”, Kaohsiung Museum of Fine Arts, Kaohsiung

086

李重重 LEE, Chung-Chung 山水入象 Resemblance of Landscape

2014 水墨設色、紙本 Ink and color on paper 90.7x121.2cm

087

李重重 LEE, Chung-Chung 逸境 Realm of Fancy

2014 水墨設色、紙本 Ink and color on paper 122x122cm

088

089

陳張莉

Jenny CHEN (1945-) 1945

生於中國重慶

1945

Born in Chongqing, China

1968

國立政治大學文學士

1968

B.A. National Cheng-Chi University

1990

畢業於紐約布魯克林普拉特學院，獲藝術碩士學位

1990

M.F.A., Pratt Institute, New York, USA

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「水與火可以相容嗎？」，加力畫廊，台南，台灣

Remarkable Cultivation Art Museum, Tainan

2014

「彩色繽紛繽紛色彩」，真善美畫廊，台灣，台北

“Can possibly stay well between Water and Fire”, Inart Space Tainan

2013

「束無縛」，就在藝術空間，台北，台灣 Art-Taipei 2013，台北國際貿易中心，台北，台灣

2012

2014

"Living Color”, Kalo Gallery, Taipei, Taiwan

2013

“Unfettered mind”, Project Fullﬁll Art Space, Taipei

2012

“Without End”, ISE Cultural Foundation, New York

Art Taipei 2013, Taipei, Taiwan

「不止」，ISE 基金會，紐約，美國「詩韻」， MOT/ARTS，台北，台灣

“Variations of the Tone Poet”, MOT/ARTS, Taipei

「抽象風景」，斯多伊雅諾夫畫廊，紐約，美國 2011

“Landscape Abstract Paintings”, Stephan Stoyanov Gallery, New York

「游移」，非畫廊，台北，台灣 Art-Taipei 2011，台北國際貿易中心，台北，台灣

2011

“Flowing”, Beyond Gallery, Taipei

2010

「時間流」，關渡美術館，台北，台灣

2009

「自在流意」，MOT/ARTS，台北，台灣

2010

“Time-Flow-Works by Jenny Chen”, Kuandu Museum of Fine Arts,Taipei

2008

「苦澀之美」，天理文化學院，紐約，美國

2009

“Fluid Exploration”, MOT/ARTS, Taipei

「自在流意」，台北文化中心，紐約，美國

2008

“Jenny Chen: The Beauty of Solitude”, Tenri Cultural Institute, New York

Art Taipei 2011, Taipei, Taiwan

“Fluid Exploration- works by Jenny Chen” , Taipei Cultural Center, New York

090

陳張莉 Jenny CHEN 混沌 Chaos

2015 複合媒材、畫布 Mixed media on canvas 201x100.5cm (x2)

091

高燦興

KAO, Tsan-Hsing (1945-) 1945

生於台灣台北

1945

Born in Taipei, Taiwan

1969

畢業於國立台灣藝專美術科雕塑組

1969

Graduated From Sculpture Department of the National Taiwan

2004

畢業於美國密蘇里州芳邦大學，獲藝術碩士學位 2004

M.A, Fontbonne University, St. Louis, Missouri, U.S.A.

Institute of Arts

精選展歷 Selected Exhibitions 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016-15「被火紋身的烙記─高燦興雕塑展」，創價藝文中心，彰化、

2016

092

2014

「隨心所欲─高燦興雕塑個展」，新畫廊，台北，台灣

2011

「告白─高燦興雕塑展」，也趣藝廊，台北，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”, Remarkable Cultivation Art Museum, Tainan

安南、台中、台北，台灣

2016-15 “Charred Scars of a Burned Body –A Sculpture Exhibition of Kao, Tsan-Hsing”, Taiwan Soka Association, Changhua, Annan, Taichung, Taipei

2009-08「我心深處」高燦興雕塑個展，清華大學科管院，新竹，台灣

2014

“At Will – A Sculpture Exhibition of Kao, Tsan-Hsing”, Nou Gallery, Taipei

2006

「不銹之秀─金屬雕塑教學展」，台灣藝術大學，新北，台灣

2011

“Reﬂection – Kao, Tsan Hsing’s Sculpture Exhibition”, Aki Gallery, Taipei

2005

「野趣」個展，也趣畫廊，台北，台灣

2009-08 “Within The Deep of My Soul - The Exhibitionof Sculpture By Kao,

2002

「鋼鐵雕塑的 DNA」個展，國立中央大學藝文中心，桃園，台灣

1999

「痕」個展，清華大學藝術中心，新竹，台灣

1998

「藝術與文化的糧倉」，卡茲考，德國

2006

1997

「台灣之美」個展，喬艾思中心，都柏林，愛爾蘭

2005

“Fleld Fun”, Aki Gallery, Taipei, Taiwan

1996

「無言的本質」個展，台北縣立文化中心，台北，台灣

2002

National Center University Art and Cultural Center, Taiwan

「無言」個展，福華沙龍，台北，台灣

1999

National Tsing Hua University Arts Center, Hsinchu

1998

The Sculpture Park, Katzow, Germany

1997

The James Joyce Centre, Dublin, Ireland

1996

“Speechless”, Taipei County Cultural Center, Taipei

Tsan-Hsing”, The College of Technology Management of National Tsing Hua University “Show of Antirust – Metal Sculpture And Teaching Exhibition”, Taipei

高燦興 KAO, Tsan-Hsing 有機抽象 Organic Abstract 2013 鐵 Iron 40x105xH240cm

093

楊識宏

YANG, Chi-Hung (1947-) 1947

生於台灣中壢

1947

Born in Chungli, Taiwan

1968

畢業於國立藝專美術科

1968

Graduated from National Academy of Arts

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「1960—台灣現代藝術的濫觴」，亞洲藝術中心，台北，台灣

Remarkable Cultivation Art Museum, Tainan

2015

「永恆的當下—楊識宏近作展」，上野之森美術館，東京，日本

“1960–The Origin of Taiwan’s Modern Art”, Asia Art Center, Taipei

2014

「複調的詩學—楊識宏個展」，亞洲藝術中心，台北，台灣

2013

「文化．精神．生成」，威尼斯藝術雙年展，威尼斯

2012

「非形之形 —台灣抽象藝術」，台北市立美術館，台北，台灣

2015

“Eternal Present-Recent Paintings by Yang Chihung",

2014

“The Poetics of Polyphony: Yang Chihung Solo Exhibition”,

2013

“Culture · Mind · Becoming”, Venice Biennale, Venice

2012

“Formless Form: Taiwanese Abstract Art”, Taipei Fine Arts Museum, Taipei

Ueno Royal Museum, Tokyo

Asia Art Center, Taipei

「心境—楊識宏個展」，亞洲藝術中心，台北，台灣 2010

「歲月．流光—楊識宏創作歷程 40 年」，國立台灣美術館台中，台灣「新東方精神 II—承啟」，亞洲藝術中心，北京，中國

2004

「象由心生—楊識宏作品展」，國立歷史博物館，台北，台灣

“Mindscape: Chihung Yang Solo Exhibition”, Asia Art Center, Taipei 2010

“Chihung Yang 40 Years of Painting”, National Taiwan Museum of

「開新—80 年代台灣美術發展」，台北市立美術館，台北，台灣

Fine Arts, Taichung

1998

「當代藝術中的古典神話與意象」，皇后美術館，紐約，美國

“Spirit of the East II – Bridging”, Asia Art Center, Beijing

1991

「台北．紐約 : 現代藝術的遇合」，台北市立美術館，台北，台灣

1978

「台灣當代九人展」，香港藝術中心，香港

1977

「中華現代繪畫十人展」，東京都美術館，東京

2004

“The Images of the Mind”, National Museum of History, Taipei “The Transitional Eighties Taiwan’s Art Breaks New Ground”, Taipei Fine Arts Museum, Taipei

1998

“Classical Myth and Imagery in Contemporary Art”,

1991

“Taipei-New York: Confrontation of Modernism”,

1978

“Contemporary Chinese Art from Taiwan”, Hong Kong Arts Centre,

1977

“10 Chinese Leading Artists”, Metropolitan Museum of Art, Tokyo

The Queens Museum, New York

Taipei Fine Arts Museum, Taipei

Hong Kong

094

* 圖片由藝術家與亞洲藝術中心提供 Courtesy of Artist and Asia Art Center

楊識宏 YANG, Chi-Hung 植物學研究 Botanical Studies

1994 壓克力、畫布 Acrylic on canvas 152.5x198.5cm

095

楊識宏 YANG, Chi-Hung 火種 Tinder

2012 壓克力、畫布 Acrylic on canvas 194x130.5cm

096

* 圖片由藝術家與亞洲藝術中心提供 Courtesy of Artist and Asia Art Center

097

莊普

︶ TSONG, Pu (19471947

生於中國上海

1947

Born in Shanghai, China

1978

畢業於西班牙馬德里大學藝術學院

1978

Graduated form Universidad Complutense de Madrid, Spain

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2014

「光陰的聚落」，大趨勢畫廊，台北，台灣 2014

“Beckoning to a Myth”, Main Trend Gallery, Taipei

「召喚神話」，大趨勢畫廊，台北，台灣

Remarkable Cultivation Art Museum, Tainan

2013

「閃耀的星塔」， Apartment of Art，幕尼黑，德國

2012

「斜角上遇馬遠」，大趨勢畫廊，台北，台灣

2013

“Der Turm der leuchtenden Sterne”, Apartment of Art, Munich

「7,034,071,329 之 1」，加力畫廊，台南，台灣

2012

“Drifting Towards An End”, Kuandu Museum of Fine Arts, Taipei

“Settlement of Time”, Main Trend Gallery, Taipei

“One of 7,034,071,329,” Inart Space, Tainan

「末日漂流」，關渡美術館，台北，台灣 2011

「粼粼」，財團法人榮嘉文化藝術基金會，新竹，台灣

2010

「疏遠的節奏」，大趨勢畫廊，台北，台灣

2011

“Gleamingly Gleaming”, Yeh Rong Jai Culture & Art Foundation, Hsinchu

「莊普地下藝術展」，台北市立美術館，台北，台灣

2010

“Art from the Underground”, Taipei Fine Arts Museum, Taipei

2008

“Estranged Rhythm”, Main Trend Gallery, Taipei

「我討厭村上隆」，伊通公園，台北，台灣「弱水三千，只取一瓢」，大趨勢畫廊，台北，台灣

098

“Ma Yuan at A Corner”, Main Trend Gallery, Taipei

2008

“I Hate Takashi Murakami”, IT Park, Taipei

莊普 TSONG, Pu 直斜水清 Clarity Filled with Directness and Indirectness 2000 壓克力、畫布 Acrylic on canvas 200x150cm

099

洛貞

LO, Tsen (1947-) 1947

生於中國福建

1947

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣「來與回的路上」，King Space 當代畫廊，桃園，台灣

2015 2014

Art Solo 藝術博覽會，台北，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”, Remarkable Cultivation Art Museum, Tainan King Space Contemporary Art Gallery, Shinchu

「從本質延伸」，國父紀念館逸仙藝廊，台北，台灣「質地衍生」，99 藝術中心，台北，台灣

2015

“Emanating from Essence”, Yat-Sen Gallery, Taipei

2014

Art Solo 2014, Taipei, Taiwan

2011

「再生原生」，A7958 畫廊，台中，台灣

2009

「冉冉再生」，天使美術館，台北，台灣

2011

A7958 Art Gallery, Taichung

2008

「原形所在」，國立台灣美術館，台中，台灣

2009

Angel Art Gallery, Taipei

「原形系譜」，天使美術館，台北，台灣

2008

National Taiwan Museum of Fine Arts , Taichung

2006

Tian Pone Art Gallery, Taipei

2005

Start’s Studio, Taipei

2006 2005

“Derivation from Essence”, 99 Art Center, Taipei

Angel Art Gallery, Taipei

「基因圖譜」，雲河藝術中心，台北，台灣「基因圖譜」，天棚藝術村，台北，台灣

100

Bron in Amoy, Fukien, China Department of Art, Montgomery College, Maryland, USA

美國馬里蘭州蒙哥馬利學院藝術系

Moon River Art Center, Taipei

「原形異形」，時空藝術會場，台北，台灣

洛貞 LO, Tsen 延伸 Extending

2014 混合媒材、帆布 Mixed media on canvas 112x194cm

101

洛貞 LO, Tsen 時空行 Time Travelling

2012 混合媒材、帆布 Mixed media on canvas 110x180cm

102

103

賴美華

LAI, Mei-Hua (1948-) 1948

生於台灣嘉義

1948

Born in Chiayi, Taiwan

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

「賴美華個展」，微笑虎山，台南，台灣

“International Women Artist Exhibition”, National Taitung Living Art Center, Taitung

「女性主義再出發—2016 國際女性藝術家台東邀請展」，

“Art Group Show”, Chonn Art Space, Tainan

國立台東生活美學館，台東，台灣

“2016 International Contemporary Art Invitational Exhibition”,

「視我．非我」，南台灣藝術大師聯展，崇藝術空間，台南，台灣 2015

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「愛．幻想」油畫個展，台南 102 藝術空間，台南，台灣

「刺客外傳國際交流展」，台南文化中心，台南，台灣

Tainan Municipal Cultural Center, Tainan

「時間．記憶」油畫個展，新營文化中心，台南，台灣

“Solo Exhibition”, 102 Contemporary Art Space, Tainan “Solo Exhibition”, Smile Hoo Café Gallery, Tainan

「2015 高雄國際女性藝術家邀請展」，婦女館，高雄，台灣「2015 高雄國際女性藝術家邀請展」巴黎巡迴展展，

2015

59 RIVOLI，巴黎，法國

“Solo Exhibition”, Xinying Cultural Center, Tainan “International Women Artist Exhibition”, Kaohsiung “International Women Artist Exhibition”, Paris

「蕩氣廻腸」南方藝術聯盟聯展，高雄市立文化中心，高雄，台灣 2014

「異花園」蘇世雄、賴美華、蘇小夢創作聯展，富貴陶園，新北

2013

「異風景賴美華個展」，台南市十八卯屋，台南，台灣

2014

“Art Group Show”, Fu-Guei Gallery, Taoyuan, Miaoli

2012

「賴美華創作展」，台南市立文化中心，台南，台灣

2013

“Strange Scenery-Mei-Hua Lai Solo Exhibition”, Daybreak 18 Teahouse,

2012

“Mei-Hua Lai Solo Exhibition”, Tainan Municipal Cultural Center, Tainan

“Art Group Show”, Kaohsiung Cultural Center, Kaohsiung

Tainan

「花．心」賴美華個展，高苑科技大學藝文中心，高雄，台灣

“Flower•Heart, Mei-Hua Lai Solo Exhibition”, Arts Center of Kao Yuan University, Kaohsiung

104

賴美華 LAI, Mei-Hua 大地之歌 - 地 Song of the Earth-Land 2002-2016 油彩、畫布 Oil on canvas 91x351cm

105

106

賴美華 LAI, Mei-Hua 大地之歌 - 雲 Song of the Earth-Cloud 2016 墨水、紙 Ink on paper 57x308cm

107

陳世明

CHEN, Shu-Ming (1948-) 1948

生於台灣彰化

1948

Born in Chang-hwa, Taiwan

1970

畢業於國立台灣藝專美術科

1970

Graduated from National Taiwan Academy of Arts

1976

畢業於西班牙馬德里費南多高級美術學院

1976

Graduated from La Escuela Superior de Bellas Artes de San Fernando de Madrid, Spain

精選展歷 Selected Exhibitions 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2013

「原道．中國當代藝術的新概念」，香港藝術館，香港，中國

2012

「陳世明縱探語境」，台北市立美術館，台北，台灣

2005

「台灣具象繪畫展」，台北市立美術館，台北，台灣

2004

「幾何．抽象．詩情」，台北市立美術館，台北，台灣

2003

「氣動寫形」，台北縣藝文中心，新北，台灣

2000

「真相大白」，誠品畫廊，台北，台灣

1999 1998

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2013

“THE ORIGIN OF DAO· New Dimensions in Chinese Contemporary Art”,

2012

“CHEN SHU-MING Exploring Visual Language”,

「當代台灣藝術展」，薩拉歌薩市政府，西班牙

2005

“Figurative Painting in Taiwan”, Taipei Fine Arts Museum, Taipei

「複數元視野—台灣當代美術」，中國美術館，北京，中國

2004

“Geometric•Abstract•Poetics”, Taipei Fine Arts Museum, Taipei

「複次元的世代—台灣現代藝術」，巴黎文化中心，法國；

2003

“Qi in Motion”, Taipei County Arts Center, , Taipei

2000

“The Truth Revealed”, Eslite Gallery, Taipei

1999

“Visions of Pluralism, Contemporary Art in Taiwan 1988-1999”,

台北市立美術館，台北，台灣「線的力量—當代國際素描展」，紐約，美國；台北畫廊，

Remarkable Cultivation Art Museum, Tainan

Hong Kong Museum of Art, Hong Kong

Taipei Fine Arts Museum, Taipei

China Art Museum, Beijing

台北，台灣 1993

“Contemporary Art in Taiwan”, Zaragoza Province, Spain

「台灣美術新風貌」，台北市立美術館，台北，台灣「台灣訊息展—中華民國當代藝術」，國立台灣美術館，台中，台灣

1998

“Grands et Jeunes D’aujourd’hui 1958~1998”, Espace Eiffel- branly,

1993

“Taiwan Art”, Taiwan Fine Arts Museum, Taipei

Paris, France; Taipei Fine Arts Museum, Taipei

“Message from Taiwan - The Contemporary Art of the Republic of China”, National Taiwan Museum of Fine Arts, Taichung

108

陳世明 CHEN, Shu-Ming 方園 Square Garden 2016 數位輸出 Digital Printing 102x194cm

109

陳世明 CHEN, Shu-Ming 綠園 Green Garden 2016 數位輸出 Digital Printing 102x207cm

110

111

黃步青

HWANG, Buh-Ching (1948-) 1948

生於台灣彰化

1948

Born in Changhua, Taiwan

1991

畢業於法國巴黎大學造型藝術系，獲碩士學位

1991

MFA, Department of Plastic Art, University of Paris St-Denis, France

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2014

「門外家園：荒蕪的邊緣─黃步青個展」，台北當代藝術館，台北

2012

「雙凝．空間裝置展—國際建築暨設計展」，英國文化協會，

2014

“Homeland: Edge of Desolation—Hwang Buh-Ching Solo Exhibition”,

2011

「荒蕪與文明─黃步青個展」，台東美術館，台東，台灣

2012

“Gaze, a Site-speciﬁc Installation—International Architecture and

2009

「大地生命與愛戀」黃步青個展，金枝藝術，苗栗，台灣

2008

「種子、生命與愛戀」黃步青裝置個展，三義木雕博物館，苗栗，

2011

“Homeland: Edge of Desolation—Hwang Buh-Ching Solo Exhibition”,

2006

「飄浪、生命與暗戀」黃步青裝置個展，台南成大藝術中心，台南，

2009

“Earth, Life & Love—Buh-Ching Hwang's Installation” , Jin-Zhi Gallery, Miaoli

2008

“Seed, Life & Love—Buh-Ching Hwang's Installation”, Sanyi Wood

2006

“Drifting Wave, Life and Secret Love—Hwang Buh-ching Solo

Remarkable Cultivation Art Museum, Tainan

Museum of Contemporary Art, Taipei

倫敦，英國

Design Exhibition." British Council, London, UK

Taitung Art Museum, Taitung

台灣台灣「自然的遙想」黃步青裝置個展，台中 107 畫展，台中，台灣 2005

以「當代」為名，威尼斯雙年展，台灣參展回顧 1995-2003，

Sculpture Museum, Miaoli

Exhibition”, National Cheng Kung University Art Center, Tainan

台北市立美術館，台北，台灣 2004

「海洋與內陸的對話─台灣藝術在匈牙利」，匈牙利

2003

「海洋錯合─歷史的物殖」，澳門石頭公社，澳門，中國

2002

「水．生命」，婆仔屋，澳門，中國

“Meditation over Nature—Hwang Buh-ching Solo Exhibition” , Taichung Gallery 107, Taichung 2005

”Contemporary Art from Taiwan at the Venice Biennale, 1995-2003”,

2004

“A Dialogue Between the Ocean and the Land—Taiwanese Art in

2003

“Interlocking Oceans—Growth of Historical Objects”, Stone Commune,

2002

“Water Life”, Albergue, Macau, China

「空間通道」，布達佩斯 .K.A.S 畫廊，匈牙利 2000

「海上．上海—上海國際雙年展」，上海美術館，上海，中國

1999

「第 48 屆國際威尼斯雙年展」，威尼斯，義大利

Taipei Fine Arts Museum, Taipei

Hungary”, Hungary

Macau

“Space and Path”, K.A.S. Gallery, Budapest, Hungary

112

2000

"Shanghai Spirit—Shanghai Biennial." Shanghai Art Museum, Shanghai, China

1999

"The 48th Venice Biennale." Venice, Italy

黃步青 HWANG, Buh-Ching 噪音的空間方程式 Equation of Noise in Space

2013 機械零件、鋼板、剎車線 Components, iron boards and brake wire 144x23xH77cm

113

114

黃步青 HWANG, Buh-Ching 星際家族 Star Family

2013 鐵件、木材、金屬零件 Iron, wood and metal components 480x60xH98cm

115

楊世芝

Emily S.C. YANG (1949-) 1949

生於中國青島

1949

Born in Qingdao, China

1979

畢業於美國舊金山州立大學藝術系

1979

Graduated from Department of Art, San Francisco State University, USA

1983

美國舊金山州立大學藝術研究所肄業

1983

Department of Art, Graduate Program, San Francisco State University, USA

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2015-14「伊通公園限量版」，伊通公園，台北，台灣 2013

107 畫廊個展，台中，台灣「從那之後：伊通公園 25 週年慶」，伊通公園，台北，台灣

2012

Remarkable Cultivation Art Museum, Tainan 2015-14 “IT PARK Limited Editions”, IT Park, Taipei 2013

107 Gallery, Taichung, Taiwan “Ever After-Celebrating 25 Years of IT Park”, IT Park, Taipei

「前前後後來來回回流動的空間」個展，伊通公園，台北，台灣「台灣報到—台灣美術雙年展」，國立台灣美術館，台中，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2012

“The Pervasive Space”, IT Park, Taipei “Time Games: Contemporary Appropriations of the Past”, Taipei Fine

「台灣當代．玩古喻今」，台北市立美術館，台北，台灣 2010

「斷變之間」個展，伊通公園，台北，台灣

Arts Museum, Taipei

2007

「筆墨可以橫著走」個展，伊通公園，台北，台灣

“Yes, Taiwan: 2012 Taiwan Biennial”, National Taiwan Museum of Fine

2002

「視覺的統合經驗」個展，伊通公園，台北，台灣

1999

「探討多重共存的視覺經驗」個展，伊通公園，台北，台灣

2010

“Disorderly in Order”, IT Park, Taipei

1997

「人體速寫個展」，元智工學院藝術中心，內壢，台灣

2007

“Unconventional Strokes”, IT Park, Taipei

「另類視覺的歷程」，清華大學藝術中心，新竹，台灣

2002

“The Co-existentiality in Visual Experience”, IT Park, Taipei

Arts, Taichung

1999

“To Explore the Co-existentiality in Visual Experience”, IT Park, Taipei

1997

National Tsing Hwa Univ. Art Center Shin-Chuen, Hsinchu Yuan-Ze Univ. Center for Humanities and Arts, Taoyuan

116

楊世芝 Emily S.C. YANG 凝結的時空 The Solidification of Time and Space 1998 壓克力、麻布 Acrylic on linen 180x145cm

117

118

楊世芝 Emily S.C. YANG 生命的曲線 An Elusive Curve 2005 壓克力、麻布 Acrylic on linen 180x300cm (x2)

119

謝義錩

Idea HSIEH (1949-) 1949

生於台灣新竹

1949

Born in Hsinchu, Taiwan

1967

畢業於國立藝專美工科

1967

Graduated from the Department of Art, National Taiwan Academy of Arts

Selected Exhibitions 2016

耘非凡美術館

2016

Remarkable Cultivation Art Museum

2015

Yi Yuan Art Gallery

2013

Yuanlih Age of Water, Guanyin Mountain 33

Cathay Bank Gallery

國泰世華藝術中心 2015

高雄益緣人文會館

Able Art Gallery

台北大可為畫廊 2013

元利水世紀 33 觀音山

Shanghai Grand Theatre Gallery

上海大劇院畫廊

120

2012

海峽會

2012

C.S. Club

2011

長流美術館

2011

Chan Liu Art Museum

2001

長流畫廊

2001

Chan Liu Art Gallery

1974

天琴廳

1974

Tien Chin Cafe

謝義錩 Idea HSIEH 十萬個天使之一 One Hundred Thousand Angels No.1 2016 油彩、畫布 Oil on canvas 194x130cm

謝義錩 Idea HSIEH 十萬個天使之二 One Hundred Thousand Angels No.2 2016 油彩、畫布 Oil on canvas 194x130cm

121

黎志文

LAI, Chiman (1949-) 1949

生於香港

1949

Born in Hong Kong

1973

畢業於國立台灣藝專

1973

Graduated from National Taiwan Academy of Arts

1974-77 義大利亨魯工作室從事石雕創作

1974-77 Worked as an independent sculptor in the Henraux Studio, Italy

1980

美國懷俄明大學雕塑碩士

Received MFA Degree from University of Wyoming, U.S.A.

精選展歷

Selected Exhibitions

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2013

“Sculpture Solo Exhibition”, Beyond Gallery, Taipei

2013

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣「境與象之間」個展，台北藝境畫廊，台北，台灣

2012

2010 2008

2004

2012

“Paper Work Exhibition”, Pema Lamo Gallery, Taipei

「非形之形─台灣抽象藝術展」，台北市立美術館，台北，台灣

“Sculpture Solo Exhibition”, Square and Circle Sculpture, Taichung

「感性生產」聯展，國立台北藝術大學關渡美術館，台北，台灣

“Formless Form–Taiwanese Abstract Art”, Taipei Fine Arts Museum, Taipei “Production of Sense”, Kuandu Museum of Fine Arts, TNUA, Taipei

「人與自然」個展，非畫廊，台北，台灣個展，泰郁美學堂，嘉義，台灣「紙上雕塑」個展，非畫廊，台北，台灣國際雕塑展，義大利

2005

“Between Nature and Mind”, ARTDOOR Gallery, Taipei

紙上作品展，貝瑪畫廊，台北，台灣雕塑個展，方圓雕塑，台中，台灣

2011

Remarkable Cultivation Art Museum, Tainan

雕塑個展，非畫廊，台北，台灣

2011

“Man and Nature”, Beyond Gallery, Taipei

2010

“Solo Exhibition”, Taiyu Beaux Arts Salon, Chiayi

2008

“Sculpture on Paper”, Beyond Gallery, Taipei “International Sculpture Exhibition”, Italy

「虛與實」黎志文雕塑個展，現代畫廊，台中，台灣個展，伊通公園，台北，台灣

2005

“Virtual and Real–Solo Exhibition of Lai Chi-man”, Modern Art Gallery,

2004

“Solo Exhibition”, IT Park, Taipei, Taiwan

Taichung

“Space and Tension”, Huashan 1914 Creative Park, Taipei

122

黎志文 LAI, Chiman 船 Boat

2016 鉛包石膏 Lead wrapped in plaster 282x75xH120cm

123

124

黎志文 LAI, Chiman 夢 · 主體 Oneiric Subjectity

2016 現成物、鉛、木 Ready-made, lead and wood 282x75xH120cm

125

蔡根

TSAI, Ken (1950-) 1950

生於台灣

1950

Born in Taiwan

1972

畢業於國立台灣藝專雕塑系

1972

Graduated from Sculpture Department of National Academy of the Arts, Taiwan

精選展歷 Selected Exhibitions

126

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2015

「我形我素」蔡根個展，關渡美術館，台北，台灣

2014

「它似藝術」蔡根個展，淡水藝文工坊，新北，台灣

2010

「耕形四十」蔡根個展，國立中央大學藝文中心，桃園，台灣

2009

「大象無形─ 2009 蔡根個展」，大趨勢畫廊，台北，台灣

2006

「2006 靜物展 Still_Life」，大趨勢畫廊，台北，台灣

2000

「圓瓜．瓜園」第五次個展，誠品畫廊，台北，台灣

1998

「蔡根談」個展，國立清華大學藝術中心，新竹，台灣

1997

「飛行．非形」個展，誠品畫廊，台北，台灣

1996

「線．遊戲 Lineplay」專題展，台北縣立文化中心，新北，台灣

1995

「生活如是」個展，誠品畫廊，台北，台灣

1993 1990

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2015

“Wandering in the Creative Play of Forms and Materials”,

2014

“IT LOOKS LIKE ART: Tsai Ken’s Solo Exhibition”, Tamsui Art Gallry, New

2010

“Forty Years of Forming”, National Central University Art Center, Center,

2009

“The Great Form Without Shape - 2009 Tsai Ken’s Solo Exhibition”, Main

「第二次個展」，誠品畫廊，台北，台灣

2006

“2006 Still Life”, Main Trend Gallery, Taipei

「雙個展」，誠品畫廊，台北，台灣

2000

“Round Melon; Melon Ground”, Eslite Gallery, Taipei

1998

“Tsai Ken’s Talking”, National Tsing Hua University Arts Center, Hsinchu

1997

“Beyond the Horizon; Beyond the Form”, Eslite Gallery, Taipei

1996

“Lineplay", Taipei Country Cultural Center

1995

“C’est La Vie”, Eslite Gallery, Taipei

1993

“Tsai Ken’s Solo Exhibition”, Eslite Gallery, Taipei

1990

“First double solo exhibition”, Eslite Gallery, Taipei

Remarkable Cultivation Art Museum, Tainan

Kuandu Museum of Fine Arts, TNUA, Taipei

Taipei City

Taoyuan

Trend Gallery, Taipei

蔡根 TSAI, Ken 山上家園 Home in the Mountain 2012 複合材料 Mixed media 94x76xH180cm

127

許雨仁

HSU, Yu-Jen (1951-) 1951

生於台灣台南

1951 Born in Tainan, Taiwan

1975

畢業於國立藝專美術科

1975 Graduated from National Taiwan Academy of Arts

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2014

「許雨仁」，漢雅軒，香港，中國 2014

“HSU Yu-Jen”, Hanart TZ Gallery, Hong Kong

「墨影無涯」許雨仁個展，家畫廊，台北，台灣 2013

Remarkable Cultivation Art Museum, Tainan

“Ink Unlimited – Solo exhibiton by Hsu Yu-Jen”, Jia Art Gallery, Taipei

「在世界的倒影中」許雨仁個展，月臨畫廊，台北，台灣「許雨仁個展—粗細間境」，關渡美術館，台北，台灣

2013

“In the Inverted Reﬂections of the World – Solo Exhibition of HSU Yu-

2012

「花園沁夏」許雨仁水墨個展，櫟莊園，台北，台灣

Jen”, Moon Gallery, Taichung

2010

「從有形型 A…過…沒形形 A…?」許雨仁個展，小室畫廊，

“Between Coarse and Fine Brusheworks – Hsu Yu-Jen Solo Exhibition”,

2009

「身體裡有朵花在開」許雨仁、張金蓮雙個展，家畫廊

2008

「靜無言」許雨仁水墨個展，奕源莊，北京，中國

2007

「透明的天光」許雨仁水墨個展，漢雅軒，香港，中國

Kuandu Museum of Fine Arts, Taipei

台北，台灣台北，台灣

2012

“Summer Garden – Ink Paintings by HSU Yu-Jen”, Leearchi, Miaoli

2010

“A Form Between Visible and Invisible – Hsu Yu-Jen Solo Exhibition”, La

2009

“A Flower Booming within the Body – Double-Solo Exhibitions by Hsu

2008

“Worldless in Tranquility – Hsu Yu-Jen Solo Exhibition”, Expol-Sources Art

2007

“A Translucent Sky – Ink Painting by Hsu Yu-Jen”, Hanart TZ Gallery,

Chambre Art Gallery & Society, Taipei

Yu-Jen & Chang Jin-Lieng”, Jia Art Gallery, Taipei

「透明的天光」許雨仁水墨個展，罐子書店，北京，中國「空—間」許雨仁水墨個展，長店基地，北京，中國

Space, Beijing

Hong Kong “A Translucent Sky – Ink Painting by Hsu Yu-Jen”, Cans Bookshop, Beijing “A Blank Space – Ink Painting by Hsu Yu-Jen”, Changdian Base, Beijing

128

許雨仁 HSU, Yu-Jen

粗筆系列之十一 Rough-brush Ink Painting Series No.11 (L) 2007 水墨、紙 Ink on paper 53x234cm

許雨仁 HSU, Yu-Jen

粗筆系列之十六 Rough-brush Ink Painting Series No.16 (R) 2007 水墨、紙 Ink on paper 53x234cm

129

許雨仁 HSU, Yu-Jen 粗筆系列之四十四 Rough-brush Ink Painting Series No.44 2008 水墨、紙 Ink on paper 96x180cm

130

131

曲德義

CHU, Teh-I (1952-)

1952 年出生

Born in 1952

1983

畢業於法國國立高等設計學院，獲美術設計碩士學位

1983

Diplôme de Decorateur- Specialisation Arts-Plastiques Peinture, L'Ecole

1984

畢業於法國國立高等美術學院，獲造型美術碩士學位 1984

Diplôme Supérieure d'art Plastique, L'Ecole Nationale Supérieure des

Nationale Supérieure des Arts-Decoratifs de Paris, France

精選展歷 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Beaux-Arts de Paris, France

Selected Exhibitions

「生活帶來的種種愉快與不安之間」，光州市立美術館，光州，韓國「双視」，双方藝廊，台北，台灣 2015

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「無物之象」，小畫廊，高雄，台灣

Remarkable Cultivation Art Museum, Tainan

「2015 亞洲現代藝術展」，全羅北道立美術館，全羅北道，韓國

“Life in Between: Delight and Discomfort”, Gwangju Museum of Art,

「我倆之眼」，双方藝廊，台北，台灣

Gwangju

「意教的藝教—李仲生的創作及其教學」，中華文化總會，台北

“Double Vision”, Double Square Gallery, Taipei

2014

「視角—名家邀請展」，國立台灣師範大學，台北，台灣

2013

「感性．秩序」，耿畫廊，台北，台灣

“Asia Contemporary Art Exhibition 2015”, Jeonbuk Museum of Art, Jeonbuk

「形形色色」，國立台灣美術館，台中，台灣

“Our Eyes”, Double Square Gallery, Taipei

2015

“Li Chun Shan”, General Association of Chinese Culture, Taipei

「科藝復興—北藝大科技藝術回顧」，關渡美術館，台北，台灣「轉動藝台灣」，韓國首爾市立美術館，首爾，韓國 2012

2014

2013

“Sensibility and Order”, Tina Keng Gallery, Taipei “Colors/Forms”, National Taiwan Museum of Fine Arts, Taichung

韓國 2011

“Angle of View: Invitational Exhibition”, National Taiwan Normal University, Taipei

「並生為一」，大趨勢畫廊，台北，台灣「幻想空間的先行者—曲德義抽象繪畫展」，隱岩美術館，光州，

“Form without Objects”, Show Gallery, Kaohsiung

“Tech Art Renaissance - A Retrospective of Art and Technology at

「四方之外」，塔石藝文館，澳門，中國

TNUA”, Kuandu Museum of Fine Arts, Taipei “Rolling! Visual Art in Taiwan”, Seoul Museum of Art, Seoul 2012

“Integrate into One”, Main Trend Gallery, Taipei “A Pioneer of Illusory Space: Chu Teh-I’s Abstract Painting”, Eunam Museum of Art, Gwangju

2011

132

“Beyond Space”, Tap Seac Gallery, Macau

曲德義 CHU, Teh-I 形色與色 / 赭 C9406 Color Forms/Reddish Brown C9406 1994 壓克力、麻布 Acrylic on linen 130x146cm

133

曲德義 CHU, Teh-I 錯合 C0216 Misplace Union C0216 2002 壓克力、麻布 Acrylic on linen 114x146cm

134

135

賴純純

LAI, Jun T. (1953-) 1953

生於台灣台北

1953

Born in Taipei, Taiwan

1974

畢業於中國文化大學

1974

Graduated from Chinese Culture University

1978

畢業於日本多摩美術大學藝術學院，獲得碩士學位

1978

MFA, Tama Art University, Japan

1980-82 美國紐約普拉特學院版畫研究

1980-82 Printmaking Study, Pratt Institute, New York, U.S.A

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2015

「北美眾妙生鋒—東方思維之情愫展」，台北市立美術館 2015

“The Wondrous All: Leading Edge of Eastern Thought”,

2013

“Veins of Heart, 2013 Jun T. Lai solo Exhibition”, Taitung Art Museum, Taitung

台北，台灣 2013

Remarkable Cultivation Art Museum, Tainan

「心脈絡賴純純 2013 個展」，台東美術館，台東，台灣「台灣美術家刺客列傳四年級生」，國立台灣美術館，台中，台灣

Taipei Fine Arts Museum, Taipei

「台灣現當代女性藝術五部曲 1930-1983」，台北市立美術館，

“The Pioneers” of Taiwanese Artists, 1951-1960”, National Taiwan Museum of Fine Arts, Taichung

台北，台灣

“Women Adventurers: Five Eras of Taiwanese Art, 1930-1983”,

「重回新展望：北美館當代脈絡的開拓」，台北市立美術館，

Taipei Fine Arts Museum, Taipei

台北，台灣 2012

「空間成為事件遲遲未至的台灣 1980 年代現代性部署」

“Revisiting the New Horizons Exhibition: Origins of TFAM's Contemporary Context”, Taipei Fine Arts Museum, Taipei

高雄市立美術館，高雄，台灣「非形之形」，台北市立美術館，台北，台灣 2009

2012

「心．之間—存在與變化」個展，台北當代藝術館 MOCA

Taiwan”, Kaohsiung Museum of Fine Arts, Kaohsiung “Formless Form – Taiwanese Abstract Art”, Taipei Fine Arts Museum, Taipei

台北，台灣 2006

「巨視．微觀．多重鏡反—台灣當代藝術特展」，國立台灣美術館，台中，台灣

2009

“Heart In Between – Being and Transformation”, MOCA Taipei, Taipei

2006

“Macro Vision, Micro Analysis, Multiple Reﬂections - Contemporary Art in Taiwan Since 1987”, National Taiwan Museum of Fine Arts, Taichung

「經過」，名古屋藝術大學藝術與設計中心，名古屋，日本 2005

2004

“Pass”, Art & Design Center, Nagoya Art University, Nagoya

公共藝術「海洋大觀園」，香港機場快捷線抵達大廳青衣站香港，中國

“When Spaces Became Events...Dispositif of Modernity in the 1980s,

2005

“Ocean Garden”, Tsing Yi Station Hong Kong MTR Corporation Public

「海洋、島嶼—亞洲的潛力」，愛知縣立美術館，愛知縣，日本

Art, Hong Kong

「立異—九○年代台灣美術發展」，台北市立美術館，台北，台灣

“Asian Potential – Art Nursed by Sea and Islands”, Aichi Prefectural Museum of Art, Aichi

「開新—八○年代台灣美術發展」，台北市立美術館，台北，台灣 2004

“The Multiform Nineties – Taiwan’s Art Branches Out”, Taipei Fine Arts Museum, Taipei “The Transitional Eighties – Taiwan’s Art Breaks New Ground”, Taipei Fine Arts Museum, Taipei

136

賴純純 LAI, Jun T. 閃亮的愛 - 粉紅 Shiny Love-Pink 2016 複合媒材 Mixed media 240x360cm

137

張正仁

CHANG, Cheng-Jen (1953-) 138

1953

生於台北台灣

1953

Born in Taipei, Taiwan

1977

畢業於國立台灣師範學院美術系

1977

BFA, Department of Fine Arts, National Taiwan Normal University

1984

畢業於美國紐約市立大學，獲美術創作碩士

1984

MFA, City College of New York City University, USA

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2015

「凹凸有誌—印痕歲月」，築空間，台北，台灣

2013

「台灣 50 現代畫展」，築空間，台北，台灣

2015

“The Marks of Time”, Arki Galeria, Taipei

2012

「感性生產—當知識成為態度」，關渡美術館，台北，台灣

2013

“Taiwan 50 Golden Age”, Arki Galeria, Taipei

2011

「SKY 亞洲版 X 圖展」，關渡美術館，台北，台灣

2012

“Production of Senses: When Knowledge Becomes Attitude”,

2006

「漂流於形質之間」，國立台灣美術館，台中，台灣

2005

「平行—漂流」，大趨勢畫廊，台北，台灣

2011

“Asia Plate & Print Exhibition”, Kuandu Museum of Fine Arts, TNUA, Taipei

2001

「潛形者之塵世航行」，台北縣文化局，台北，台灣

2006

“Parallelism II”, National Taiwan Museum of Fine Arts, Taichung

1999

「穿越塵世」，臻品藝術中心，台中，台灣

2005

“Parallelism”, Main Trend Gallery, Taipei

1995

「形質對位」，新樂園藝術空間，台北，台灣

2001

“An Artist Exiled Himself Inside this World”, Cultural Affairs Bureau of

1993

「TAIPEI 都會色彩學」，臻品藝術中心，台北，台灣

1992

「城市進行式」，台灣泥雅畫廊，台北，台灣

1999

“Through This World, Through This Metropolis.(I)”, Galerie Pierre, Taichung

1991

「經驗—肢解」，二號公寓，台北，台灣

1995

“The Counterpoints of Form & Texture”, Shin Leh Yuan, Taipei

1993

“The Color Chart of Taipei”, Galerie Pierre, Taichung

1992

“Present Taipei Story”, Taiwania Gallery, Taipei

1991

“Experience· Disintegration”, Space II, Taipei

Remarkable Cultivation Art Museum, Tainan

Kuandu Museum of Fine Arts, Taipei

Taipei County, Taipei

張正仁 CHANG, Cheng-Jen 光明之路 Road to the Brightness 1999 壓克力、畫布 Acrylic on canvas 117.5x143cm

139

張正仁 CHANG, Cheng-Jen 美麗島 (1) Formosa ( 1)

1994 壓克力、畫布 Acrylic on canvas 130x162cm

140

141

陳聖頌

C. Shenson (1954-) 1954

生於台灣雲林

1954

Born in Yulin, Taiwan

1976

畢業於國立台灣師範大學美術系

1976

BFA, Department of Fine Arts, National Taiwan Normal University

1988

畢業於義大利國立羅馬藝術學院繪畫系，獲碩士學位

1988

MFA, Accademia di Belle Arti di Roma, Italy

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2013

「陳聖頌常設展」，白屋藝廊，高雄，台灣

2011

「中國桂林愚自樂園國際創作營，愚自樂園邀請＋李俊賢＋張新丕」

2013

“C. Shenson Solo Exhibition”, ByWood Gallery, Kaohsiung

2010

「南國的浪漫與豪情」陳聖頌 / 李俊賢雙個展，京城圓頂白屋藝廊，

2011

Guilin Yuzi Paradise Art Symposium (Invited by Yuzi Paradise, together

2010

“Romance and Sentiments of the South: Duo Exhibition of C. Shenson

Remarkable Cultivation Art Museum, Tainan

with Li Chun-Hsien and Chang Sin-Pi)

高雄，台灣 2009

「陳聖頌個展」，東門美術館，台南，台灣

2008

「過渡—渡過」，高苑藝文中心，高雄，台灣

2007

「域—域」，亞帝畫廊，台南，台灣

2009

“C. Shenson Solo Exhibition”, Dongmen Art Museum, Tainan

2005

「實境—化境」，新思惟人文空間，高雄，台灣

2008

“Transit-Transition”, KYUT Art Center, Kaohsiung

「談天說地」，高雄第一科技大學藝文展示廳，高雄，台灣

2007

“Realm”, Arty Art, Tainan, Taiwan

「創作論壇」，高雄市立美術館，高雄，台灣

2005

“Reality–Realm”, Sincewell Gallery, Kaohsiung

2003

and Li Chun-Hsien”, Arco Dome; ByWood Gallery, Kaohsiung

“Heaven and Earth”, National Kaohsiung First University of Science and

「天地之間」，高美館創作論壇，高雄，台灣 2002 1997

Technology Art Gallery, Kaohsiung

「原生岩生」，科元藝術中心，台中，台灣國立台灣美術館，台中，台灣

2003

“Art Symposium”, Kaohsiung Museum of Fine Arts, Kaohsiung “Between Heaven and Earth”, KMFA Art Symposium, Kaohsiung

142

2002

“Born from the Rock”, Ke-Yuan Gallery, Taichung

1997

National Taiwan Museum of Fine Arts, Taichung

陳聖頌 C. Shenson 冬韻之 1 Winter Charm 1 2015 油彩、畫布 Oil on canvas 180x140cm

143

陳聖頌 C. Shenson 冬韻之 2 Winter Charm 2 2015 油彩、畫布 Oil on canvas 180x140cm

144

145

李光裕

LEE, Kuang-Yu (1954-) 1954

生於台灣高雄

1954

Born in Kaohsiung, Taiwan

1975

畢業於國立台灣藝專雕塑科

1975

Graduated from Sculpture Department of National Academy of the

1982

畢業於西班牙聖費南度皇家藝術學院

1983

西班牙國立馬德里大學美術學院碩士

1982

Graduated from Real Academia de Bellas Artes de San Fernando, Spain

1983

M.F.A, Universidad Complutense de Madrid, Spain

Arts, Taiwan

精選展歷 Selected Exhibitions 2016

「一線天：李光裕個展」，耘非凡美術館，台南，台灣「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2015

2016

Remarkable Cultivation Art Museum, Tainan

「頃刻：台灣當代藝術展」，紐約，美國

”Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2015-14「多聲交響─ 1980 年代台灣雕塑探索」，朱銘美術館，台北，台灣 2014

「空山」李光裕新作個展，采泥藝術，台北，台灣

2013

「128 藝國瘋」，采泥藝術，台北，台灣

2012

Remarkable Cultivation Art Museum, Tainan 2015

“Open 18. International Exhibition of Sculptures and Installations”, Piazzale S. M. Elisabetta & Blue Moon Square & Hilton Molino Stucky

「氣韻─在動靜之間」，采泥藝術，台北，台灣

Hotel, Venice

「入厝」，采泥藝術，台北，台灣

”The Moment - The Taiwanese Art Project”, Tenri Cultural Institute, New York

「心靈空間」，采泥藝術，台北，台灣 2011

“Skein of Heaven - Solo Exhibition of LEE Kuang-Yu”,

「開放 18. 國際雕塑裝置展」，威尼斯，義大利

2015-14 “A Symphonic Concoction: Sculpting Art in Taiwan in the 1980s,” Juming Museum, Taipei

「空身幻影」李光裕雕塑回顧展，國立台灣美術館，台中，台灣「二葉松」李光裕雕塑個展，采泥藝術，台北，台灣

2014

“Mountain · Emptiness”, Chini Galley, Taipei

2009

「空身幻影」李光裕雕塑個展，關渡美術館，台北，台灣

2013

“128 Art Street”, Chini Gallery, Taipei

1999

「Volume & Form 」新加坡國際雕塑展，Andres Contemporary Art Pte Lte，新加坡

“Atmospheric - Between Stir and Still”, Chini Gallery, Taipei 2012

“Moving In”, Chini Gallery, Taipei “Mind Space”, Chini Gallery, Taipei

2011

“Life, Illusion of Bodies”, National Taiwan Museum of Fine Arts, Taichung “Red Pine”, Chini Gallery, Taipei

146

2009

“Life, Illusion of Bodies”, Kuandu Museum of Fine Arts, TNUA, Taipei

1999

“Volume & Form”, Andres Contemporary Art Pte Lte, Singapore

李光裕 LEE, Kuang-Yu 風影 Shadow in the Wind 2014 銅 Bronze 55x60xH100cm

147

李光裕 LEE, Kuang-Yu 荷意 Lotus 2014 銅 Bronze 73x31xH66.5cm

148

李光裕 LEE, Kuang-Yu 清供 Offering 2013 銅 Bronze 65x39xH156cm

149

胡坤榮

HU, Kun-Jung (1955-) 150

1955

生於台灣三重

1955

Born in Sanchong, Taiwan

1977

進入國立台灣藝專美術科

1977

Enters the Department of Arts, National Taiwan Academy of Arts

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2015

「不平衡的完美：胡坤榮個展」，台北市立美術館，台北，台灣 2015

“Perfection in Unbalance: Hu Kung Jung”, Taipei Fine Arts Museum,

Remarkable Cultivation Art Museum, Tainan, Taiwan

2008

大趨勢畫廊，台北，台灣

2006

大趨勢畫廊，台北，台灣

2003

大趨勢畫廊，台北，台灣

2008

Main Trend Gallery, Taipei, Taiwan

2000

飛元藝術中心，台北，台灣

2006

Main Trend Gallery, Taipei, Taiwan

1996

台北市立美術館，台北，台灣

2003

Main Trend Gallery, Taipei, Taiwan

1994

巴黎藝術村，法國

2000

Fairmate Art Gallery, Taipei, Taiwan

1993

伊通公園，台北，台灣

1996

Taipei Fine Arts Museum, Taipei, Taiwan

1987

春之藝廊，台北，台灣

1994

Paris International Art Village, Paris France

1984

龍門藝廊，台北，台灣

1993

IT Park, Taipei, Taiwan

1982

台北美國文化中心，台北，台灣

1987

Spring Gallery, Taipei, Taiwan

1984

Lung Men Art Gallery, Taipei, Taiwan

1982

Taipei American Culture Center, Taipei, Taiwan

Taipei, Taiwan

胡坤榮 HU, Kun-Jung 村婦 Village Woman

2009 壓克力、畫布 Acrylic on canvas 140x130cm

151

胡坤榮 HU, Kun-Jung 草原上的羊群 Sheep on the Meadow 2009 壓克力、畫布 Acrylic on canvas 140x130cm

152

153

徐永旭

HSU, Yunghsu (1955-) 1955

生於台灣高雄

1955

Born in Kaohsiung, Taiwan

2007

畢業於台南藝術大學應用藝術研究所，獲藝術碩士學位

2007

MFA, Candidate of Ceramic Art, Graduate Institute of Applied Arts, Tainan National University of the Arts, Taiwan

精選展歷 Seleceted Exhibitions 2016

「藝術登陸新加坡 2016」，濱海灣金沙會議展覽中心，新加坡「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2015

2016

「HELiOS 旭 HiOK ─徐永旭個展」，双方藝廊，台北，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「Art Taipei 2015 台北國際藝術博覽會」，台北，台灣 2015-14「傑出校友徐永旭作品展」，國立台南藝術大學，台南，台灣 2014

Remarkable Cultivation Art Museum, Tainan 2015

2013

「繹─ 2013 徐永旭個展」，國立中央大學藝文中心，桃園，台灣

2012

「周流．複歌─ 2012 徐永旭個展」，耿畫廊，台北，台灣

2015-14 “Outstanding Alumni Exhibition of Hsu Yunghsu”, Tainan National University of the Arts,Tainan 2014

2010-09「再．之間─徐永旭個展」，台北當代藝術館，台北，台灣 2009

2007

“Prototype – Solo Exhibition of Hsu Yunghsu”, Moon Gallery, Taipei “Enlightened Solo Exhibition of Hsu Yunghsu 1992-2014”, Cheng Shiu University Ofﬁce of Arts and Culture, Kaohsiung

「再．間之間─徐永旭個展」，泰郁美學堂，嘉義，台灣 2013

“Streaming – 2013 Solo Exhibition of Hsu Yunghsu”, National Central

台灣

2012

“Hsu Yunghsu Solo Exhibition – Becoming. Refrain”, Tina Keng Gallery, Taipei

「徐永旭個展」，沃比畫廊，加州州立大學長灘分校，加州，美國

2010-09 “Iteration – In between Hsu Yunghsu Solo Exhibition”, Museum of

「再─徐永旭雕塑個展」，月臨畫廊，台中，台灣 2008

“Helios HiOK– HSU YUNGHSU Solo Exhibition”, Double Square Gallery, Taipei “Art Taipei 2015”, Taipei, Taiwan

「元．行─徐永旭個展」，月臨畫廊，台中，台灣「突穿眾竅 · 徐永旭 1992-2014」，正修科技大學藝文中心，高雄

“Art Stage Singapore 2016”, Marina Bay Sands, Singapore

Univertsity Art Center, Taoyuan

「創作論壇：黏土劇場─徐永旭個展」，高雄市立美術館，高雄，

Contemporary Art Taipei, Taipei 2009

“Re-echo. Écart : Hsu Yunghsu Solo Exhibition”, Tai Yu Beaux Arts Salon, Chiayi “Repeat – HSU Yunghsu Solo Exhibition” Moon Gallery, Taipei

2008

“Hsu Yunghsu Solo Exhibition : Theater of Clay”, Kaohsiung Museum of

2007

“Hsu Yunghsu Solo Exhibition”, Werby Gallery, California State University

Fine Arts, Kaohsiung

Long Beach, Long Beach, California

154

徐永旭 HSU, Yunghsu 2016-11 2016 高溫陶 Stoneware 78x116xH190cm

155

薛保瑕

Ava, Pao-Shia HSUEH (1956-) 1956

生於台灣台中

1956 Born in Taichung, Taiwan

1995

畢業於紐約大學教育學院藝術系，獲藝術博士學位

1995 D.A. (Doctor of Arts), New York University, N.Y., USA

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「直接面對—薛保瑕個展」，國立台灣美術館，台中，台灣

Remarkable Cultivation Art Museum, Tainan, Taiwan

2015

「現象解讀─ 2015 薛保瑕抽象藝術展」，2015 台北國際藝術博覽會，

“In Front of You: Solo Exhibition of Ava Hsueh”, National Taiwan

2014

「經緯測量—2014 薛保瑕個展」，赤粒藝術，台北，台灣

Museum of Fine Arts, Taichung, Taiwan

赤粒藝術，台北，台灣 2015

“Deciphering Phenomenon—Abstract Art of Ava Hsueh”, Art Taipei,

2014

“A Transit Survey—Solo Exhibition of Ava Hsueh”, Red Gold Fine Art,

Red Gold Fine Art, Taipei, Taiwan

「心識地圖—1989-2014 薛保瑕抽象藝術展」，加力畫廊台南，台灣 2013

「境界．動能—2013 薛保瑕個展」，台東美術館，台東，台灣

Taipei, Taiwan

「非零點—2013 薛保瑕抽象藝術展」，耿畫廊，台北，台灣

“Mind Maps: 1989-2014 Abstract Art of Ava Hsueh”, InART Space, Tainan, Taiwan

「薛保瑕抽象藝術」，2013 藝術北京博覽會，赤粒藝術北京，中國 2012

2013

“Realm．Energy—2013 Solo Exhibition of Ava Hsueh”, Taitung Art

「動能現場—2012 薛保瑕抽象藝術展」，赤粒藝術，台北，台灣

Museum, Taitung, Taiwan

「流動現實—2011 薛保瑕抽象藝術展」，上海美術館，上海，中國

“Non-Zero Point: 2013 Abstract Art of Ava Hsueh”, Tina Keng Gallery, Taipei

2011

「流動現實—2011 薛保瑕抽象藝術展」，中國美術館，北京，中國

2010

「流動因子—2010 薛保瑕個展」，非畫廊，台北，台灣

“Abstract Art of Ava Hsueh”, Art Beijing, Beijing, China 2012

“Energetic Scene: 2012 Abstract Art of Ava Pao-shia Hsueh”, Red Gold Fine Art, Taipei, Taiwan “Flowing Reality: 2011 Abstract Art of Ava Hsueh”, Shanghai Art Museum, Shanghai, China

2011

“Flowing Reality: 2011 Abstract Art of Ava Hsueh”, National Art

2010

“Flowing Factor: Ava Pao-Shia Hsueh’s 2010 Solo Exhibition, Beyond

Museum of China, Beijing, China

Gallery, Taipei, Taiwan

156

薛保瑕 Ava, Pao-Shia HSUEH 層理 Stratification

2016 壓克力、畫布 Acrylic on canvas 180x300cm

157

徐畢華

Jessica Pi-Hua HSU (1957-) 1957

生於台灣雲林

1957

1979

畢業於國立政治大學教育學系

1979

Graduate from Department of Education, National Cheng-chi University

1987

美國加州柏克萊大學藝術研究所主修藝術史

1987

Graduate Study of History of Art, University of California, Berkley, U.S.A.

1989

美國波士頓美術館學院主修繪畫

1989

Museum School of Fine Arts in Boston, U.S.A.

精選展歷

Selected Exhibitions

2016

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

「無盡藏」個展，采泥藝術，台北，台灣

"Photosynthesis", GOELIA 225, Guangzhou "Endless Treasure", Chini Gallery, Taipei

「尋找桃花源」個展，黃氏畫廊，紐約，美國 2015

「Art Fair Cologne」, 科隆，德國 2013

"Art Fair Cologne", Cologne, Germany 2013

2013-11「Art Taipei 台北國際藝術博覽會」，首都藝術中心台北，台灣「浮市若夢—策展創作展」，月湖美術館，上海，中國「Design Forum 2009 設計論壇大展 Connecticut」，美國 ACAW「亞洲當代藝術家的秘密花園展」，紐約，美國「Art Expo Malaysia 2009 馬來西亞藝術博覽會」吉隆坡，馬來西亞

"Artcadia 101", Chini Gallery, Taipei "Carefree", Capital Art Center, Taipei

2013-11 "Art Taipei", Capital Art Center, Taipei 2010

"Guilin Yuzi Paradise Art Symposium Exhibit", Yue Hu Museum of Art, Shanghai "Resident Artist Yuzi Paradise", Guilin

受邀為駐村藝術家參與＜浮市若夢＞策展創作，桂林，中國 2009

"In Search of Arcadia", Hwang Gallery "Art Hamptons 2015", Bridgehampton, New York

「藝境 101」個展，采泥藝術，台北，台灣「逍遙」個展，首都藝術中心，台北，台灣

2010

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「光合作用」個展， GOELIA 225，廣州，中國

「Art Hamptons 2015」, Bridgehampton , 紐約 , 美國

158

Born in Yulin, Taiwan

2009

"Design Forum 2009", Connecticut "Asian Contemporary Artist Week 2009", New York "Art Expo Malaysia 2009", Kuala Lumpur

徐畢華 Jessica Pi-Hua HSU 迴映天心 Reflection

2016 複合媒材、畫布 Mixed media on canvas 107x196cm

159

徐畢華 Jessica Pi-Hua HSU 憑虛御風 Carefree Fly

2015 複合媒材、畫布 Mixed media on canvas 107x196cm

160

161

蔡志榮

Dino TSAI (1957-) 1957

生於台灣雲林

1957

Born in Yulin, Taiwan

精選展歷

Selected Exhibitions

2016

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

「Artmart International 國際藝術」，印度

"Simir International Art Festival", India

「第 30 屆 Asrop 國際藝術展覽」，Sandol Art Center 群山，南韓

"Artmart International", India 2015

"Sasaran International Art Festival", Malaysia

「莎莎然國際藝術節」，馬來西亞「第 28 屆亞洲國際美術展」，金門，台灣

2014

"Taipei Modern Art Exhibition", Shanghai

「台北現代畫展」，上海，中國「第十一屆全國百號油畫大展」，台中，台灣

"The 28th Asian International Art Exhibition", Kinmen "Shanghai-Taipei Contemporary Art Festival", Shanghai

「上海—台北當代藝術展」，上海，中國 2013

"The 30th Asrop International Art Exhibition", Sandol Art Center, Korea "Komite Yogyakarta International Art Festival", Yogyakarta, Indonesia

「日惹國際藝術節」，日惹，印尼 2014

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「西米爾國際藝術節」，印度

2013

"National Large-sized Oil Painting Exhibition", Taichung

「藝起．迭起」聯展，國父紀念館，台北，台灣

"Now, Again 2013 Contemporary Art", Dr. Sun Yat-sen Memorial Hall, Taipei

「馬來西亞亞洲美展」，越南藝術駐村，越南

"Asian Art in Malaysia", Vietnam Artist Village, Vietnam

「亞洲國際美術展覽會」，韓國首爾藝術中心、漢嘉阮美術館，韓國

"Asian International Art Exhibition", Hangaram Art Museum of Seoul Art Center, Korea

162

蔡志榮 Dino TSAI 符語編碼 Coding Symbels D:CLS3027-2 2011 複合媒材 Mixed media 166x238cm

163

蔡志榮 Dino TSAI 符語編碼 Coding Symbels D:CLS3027-1 2011 複合媒材 Mixed media 166x238cm

164

165

梁任宏

LIANG, Jen-Hung (1957-) 1957

生於台灣台南

1957

Born in Tainan, Taiwan

2002

畢業於台南藝術學院造型藝術研究所

2002

Graduated from the Graduate Institute of Plastic Arts, Tainan National College of the Arts

精選展歷 Selected Exhibitions 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣「被動式」，101 福爾摩沙藝術博覽會，台北，台灣

2015

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「時代的位移：高雄獎 20 年」，高雄市立美術館，高雄，台灣

Remarkable Cultivation Art Museum, Tainan

「台北國際藝術博覽會」，台北世界貿易中心，台北，台灣

“Waiting for Activation”, Formosa 101 Art Fair, Taipei

「氣流上的天使」，林邊光彩濕地，屏東，台灣

“Transition of Times: 20 Years of Kaohsiung Awards”, Kaohsiung Museum of Fine Arts, Kaohsiung

「太陽從西邊出來、交流態」，中山大學國研暨海五期工程公共藝術，

“Art Taipei 2016”, Taipei World Trade Center, Taipei

高雄，台灣「台南現象、五國演繹」，東門美術館，台南，台灣

2015

「洛杉磯對飛計畫 III〈搭空橋〉─ 台南藝術家聯展」，台南，台灣

“The Angel on Airﬂows”, Radiance (Guangtsai) Wetland, Pingtung “The Sun Rises from the West; The State of Exchange”, public art

「被動式」，加力畫廊 in ART & BB ART，台南，台灣

commissioned by National Sun Yat-sen University, Kaohsiung

2014

「自然能美學」，荷軒藝術空間，高雄，台灣

“Tainan Phenomenon: The Deduction of Five Nations”, Licence Art

2008

「太極風」，朱銘美術館，台北，台灣

Gallery, Tainan

2002

「流象」，新濱碼頭，高雄，台灣

“Round -trip Ticket Tainan-LA III: Aerobridge”, Tainan

2000

「 X-Y 的過程」，文賢油漆工程行，台南，台灣「 X-Y 的過程」，豆皮文藝咖啡館，高雄，台灣

“Waiting for Activation”, in ART & BB ART, Tainan 2014

“Sustainable Aesthetics”, Lotus Art Gallery, Kaohsiung

2008

“Taichi Wind”, Juming Museum, Taipei

2002

“Fluid Phenomenon”, Sin Pink Pier, Kaohsiung

2000

“X-Y Process”, Paint House Studio, Tainan “X-Y Process”, Dogpig Art Cafe, Kaohsiung

166

梁任宏 LIANG, Jen-Hung 反 ( ㄧㄥ ˋ) 派 1S1002 Reflection 1S1002 2016 不鏽鋼、銅 Stainless steel and bronze

120× 運動深 (Radius of movement)201xH210cm

167

梁任宏 LIANG, Jen-Hung 反 ( ㄧㄥ ˋ) 派 1005 Reflection 1005

2015 不鏽鋼 Stainless steel 120x 運動深 (Radius of movement)164xH130cm

168

169

劉永仁

LIU, Yung-Jen (1958-) 1958

生於台灣台東

1958

Born in Taitung,Taiwan.

1983

畢業於文化大學美術系

1983

Graduated the Fine Arts Department of Chinese Culture University

1995

畢業於義大利國立米蘭 Brera 藝術研究院，獲碩士學位

1995

Graduated Accademia di belle Arti di Brera di Milano, Italy

精選展歷

Selected Exhibitions

2016

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Gallery, Tainan, Taiwan

「自然與他然」，大象藝術空間館，台中，台灣

“LiúYung-Jen: Inﬁnite Crystallization”, Main Trend Gallery, Taipei

「抽象之弧 -- 劉永仁」個展，798 表畫廊，北京，中國「劉永仁個展 : Since 1991~Present」，大象藝術空間館

“Nature and Nurture”, Da Xiang Art Sapce, Taichung, Taiwan 2015

2014

「鬆勁之要→微觀思變與突圍」，夢 12 美學空間，台北，台灣

2013

「劉永仁：呼吸．取境」，夢 12 美學空間，台北，台灣

“Abstract Arc – LiúYung-Jen solo exhibition”, Pyo Gallery, Beijing, China 2014

2013

Galerie Pierre, Taichung Taiwan,

「呼吸深度之旅」，萬能科技大學創意藝術中心，桃園，台灣「呼吸深度之旅」，國立雲林科技大學藝術中心，雲林，台灣

“The Alchemy of Breathing”, Moon 12 Art, Taipei, Taiwan “A Moment of Eternity – the Possibility in Abstract Paintings”,

「呼吸滲透」，新竹教育大學藝術空間，新竹，台灣 2010

“Effortless Effort: Creative Practice and Breakthroughs”, Moon 12 Art, Taipei

「瞬間永恆—抽象繪畫的可能性」，臻品藝術中心，台中，台灣「返本歸真—台灣當代抽象繪畫展 II」，赤粒藝術，台北，台灣

“Abstract Arc – LiúYung-Jen solo exhibition”, Da Xiang Art Space, Taichung, Taiwan

台中，台灣

2011

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「劉永仁 : 无限的結晶」，大趨勢畫廊，台北，台灣

2011

“Breathing Osmosis”, National Hsinchu University of Education Art

「呼吸深度之旅」，國立虎尾科技大學藝術中心，雲林，台灣

Space, Hsinchu, Taiwan

「無遠符屆—書寫當代符號滲透力」，大象藝術空間館，台中，台灣

“'Return to the Essence' Survey of Contemporary Abstract Painting in Taiwan”, Red Gold Fine Art Gallery, Taipei

「呼吸形跡」，MOT/ARTS，台北，台灣 2010

“Between the Deep Breaths of an Artist ”, Creativity Art Center, Vanung University “ Between the Deep Breaths of an Artist ”, Art Center of National Yunlin University of Science and Technology “Between the Deep Breaths of an Artist ”, National Formosa University Art Center “Breathing Imprint”, MOT/ ARTS , Taipei “Signifying Inﬁnity –The Power of Contemporary Symbols”,Da Xiang Art Space , Taichung, Taiwan

170

劉永仁 LIU, Yung-Jen 呼吸取境之六 The Alchemy of Breathing VI

2013 油彩、蜂蠟、鉛、畫布 Oil, beeswax, and lead on canvas 130x194cm

171

劉永仁 LIU, Yung-Jen 呼吸過境之弧 The Curve of Passing Breath 2012 油彩、畫布 Oil on canvas 194x260cm

172

173

劉高興

LIU, Kao-Sing (1958-) 1958

生於台灣高雄

1958

Graduated from National Taiwan Academy of Arts

畢業於法國巴黎高等藝術學院

Graduated from École Supérieure Libre d’art de Paris

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”, Remarkable Cultivation Art Museum, Tainan

「山頭開花—劉高興創作展」，高雄國際機場中央藝廊，高雄，台灣 2013

「國計劃／高興個展」，台南歸仁文化中心，台南，台灣

2012

「台灣國際雙年展」，國立台灣美術館，台中，台灣

2013

2011

「高興個展」，高苑科大藝文中心，路竹，高雄

2012

“Taiwan Biennial”, National Taiwan Museum of Fine Arts, Taichung

2010

「飄移」個展，黎畫廊，台北，台灣

2011

Kao Yuan University Art Center, Kaohsiung

2008

「工作室個展」，上苑藝術館，北京，中國

2010

Solo Exhibition, Lee Gallery, Taipei

2008

Shang Yuan Modern Art Museum, Beijing

2005

National Cheng Kung University, Tainan

2004

Wistayia Tea House, Taipei

2003

National Cheng Kung University, Tainan

2005 2004 2003

174

Born in Kaohsiung, Taiwan

畢業於國立台灣藝專

成功大學藝術中心，台南，台灣「眾神品茗」，紫藤廬，台北，台灣成功大學中文系，台南，台灣

Art Gallery at Kaohsiung International Airport, Kaohsiung Guei-Ren Culture and Art Center, Tainan

劉高興 LIU, Kao-Sing 虎穴 Tiger's Den 2012 複合媒材 Mixed media 60x240cm

175

176

劉高興 LIU, Kao-Sing 龍脈 Dragon Vein 2012 複合媒材 Mixed media 60x240cm

177

蔡志賢

TSAI, Chih-Hsien (1958-) 1958

生於台灣嘉義

1958

Born in Chiayi, Taiwan

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「一個亞里斯多德」蔡志賢雕塑個展，黑白切，台中，台灣

Remarkable Cultivation Art Museum, Tainan

「暖 Warmth」蔡志賢雕塑展，陸府藝角台中國家歌劇院，台中

“One Aristotle”, Black & White Gallery, Taichung

「一個亞里斯多德」蔡志賢雕塑個展，黑白切，高雄，台灣

“Warmth”, Live Forever Art Corner @ National Taichung Theater, Taichung

2015

「模擬」蔡志賢雕塑個展，成大藝術中心，台南，台灣

2014

「想沉默時」蔡志賢鐵雕個展，Ｚ書房，台中，台灣

2015

“Imitation”, National Cheng Kung University Art Center, Tainan

「遺光」蔡志賢攝影個展，成功大學藝術中心，台南，台灣

2014

“In Silence”, Zspace, Taichung, Taiwan

2013

“Tsai Chih-hsien Photography Solo Exhibition”, 691. Sharing Community,

「這種」蔡志賢個展，102 ART 當代藝術空間，台南，台灣

Changhua, Taiwan

「秋詩翩翩」鐵 × 蔡志賢鐵雕作品展，691 點共享聚落，彰化

“Along”, 107 Gallery, Taichung

蔡志賢個展，貝瑪畫廊，台北，台灣 2011

“Oblivion”, National Cheng Kung University Art Center, Tainan

蔡志賢攝影個展，691 點共享聚落，彰化，台灣「獨獨」雕塑個展，107 畫廊，台中，台灣

2012

“One Aristotle”, Black & White Gallery, Kaohsiung

2012

“This Kind’ Tsai Chih-hsien Solo Exhibition”, 102 ART Contemporary Gallery, Tainan

「不可以可以」蔡志賢雕塑個展，苡樂畫廊，台中，台灣

“Poem in Fall – Iron×Tsai Chih-hsien”, 691. Sharing Community, Changhua “Tsai Chih-hsien Solo Exhibition”, Pemalamo Gallery, Taipei 2011

178

“Not Able – Tsai Chih-hsien Solo Exhibition”, Ile Gallery, Taichung

蔡志賢 TSAI, Chih-Hsien 其次 Second 2012 鐵 Iron 32×21xH142cm

179

蔡志賢 TSAI, Chih-Hsien 難道 Could it be... 2012 鐵 Iron 82x80xH150cm

180

181

劉國興

LIU, Kuo-Hsing (1960-) 1960

生於台灣新竹

1960

Born in Hsinchu, Taiwan

2012

MFA, National Taiwan Normal University

BFA, Chinese Culture University

畢業於文化大學美術系 2012

畢業於台灣師範大學美術系研究所

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「2016 好主意跨界藝術節」，松山文創區，台北，台灣

Remarkable Cultivation Art Museum, Tainan, Taiwan

「2016 臺灣國際蘭展」，蘭花生物科技園區，台南，台灣

"2016 Good Idea Festival", Songshan Cultural and Creative Park,

「2016 蘭姿百態—臺灣彩繪藝術陶盤邀請展」，鶯歌陶瓷博物館，

Taipei, Taiwan "2016 Taiwan International Orchid Show", Taiwan Orchid Plantation,

新北，台灣 2015

「劉國興現代水墨展」，淡水滿足藝術中心，新北，台灣

Tainan, Taiwan

2012

「尋找當代新樂園—劉國興現代水墨與科技對話」，台灣師範大學

"The Panorama of Grace Art of Orchid, New Taipei City Yingge Ceramics Museum, New Taipei City, Taiwan

德群藝廊，台北，台灣 2009

「墨 • 彩 • 飛 • 揚─劉國興現代水墨山水對話」個展，

2004

「畫境 • 心境 • 情境─ 2004」現代水墨個展，壢新藝術生活館，

2003

「畫境 • 心境 • 情境─ 2003」現代水墨個展，國父紀念館逸仙

2015

"Liu Kuo-Hsing Modern Ink Painting Exhibition", Christy Art Gallery,

2012

"The Search for a Modern Utopia: Liu Kuo-Hsing’s Dialogue Between

New Taipei City, Taiwan

淡水滿足藝術中心，新北，台灣

Contemporary Ink and Technology", Teh-Chun Art Gallery of National

桃園，台灣藝廊，台北，台灣（獲台灣財團法人國家文化藝術基金會創作計

Taiwan Normal University, Taipei, Taiwan 2009

"Flying Ink Color—Liu Kuo-Hsing's Dialogue with Modern Ink

2004

"Painting, Mind and Emotion—Liu Kuo-hsing 2004 Modern Ink Painting

2003

"Painting, Mind and Emotion—Liu Kuo-hsing 2003 Modern Ink Painting

Landscape", Christy Art Gallery, New Taipei City, Taiwan

畫補助作品發表）「畫境 • 心境 • 情境─ 2003」現代水墨個展，智邦藝術基金會

Exhibition", Landseed Hospital, Taoyuan, Taiwan

藝術迴廊，新竹，台灣「畫境 • 心境 • 情境─ 2003」現代水墨個展，青島市文化博覽

Exhibition", Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan (supported by

中心美術館，山東，中國 2001

「畫境 • 心境 • 情境─ 2001」現代水墨首次個展，台中文化局

the National Culture and Arts Foundation) "Painting, Mind and Emotion—Liu Kuo-hsing 2003 Modern Ink Painting

大墩藝廊，台中，台灣（獲台灣財團法人國家文化藝術基金會贊助）

Exhibition", Accton Gallery , Hsinchu, Taiwan "Painting, Mind and Emotion—Liu Kuo-hsing 2003 Modern Ink Painting Exhibition", Qingdao International Expo Center, Shandong, China 2001

"Painting, Mind and Emotion—Liu Kuo-hsing 2001 Modern Ink Painting Solo Exhibition", Taichung City Dadun Cultural Center, Taichung, Taiwan (supported by the National Culture and Arts Foundation)

182

劉國興 LIU, Kuo-Hsing 石像紀系列 - 02 Stone Statue Series - 02 2013 水墨、綜合媒材 Ink and mixed media 150x150cm

183

劉國興 LIU, Kuo-Hsing 光潮系列 No.5 -No.8 Light Wave Series No.5 - No.8 1996-2000 水墨設色、紙本 Color and ink on paper 210x45cm (x4)

184

185

顏頂生

YEN, Ding-Sheng (1960-) 1960

生於台灣台南

1960

Born in Tainan, Taiwan

1983

畢業於國立台灣藝專

1983

Graduated from National Taiwan Academy of Arts

2004

畢業於國立台南藝術學院造形藝術研究所

2004

Graduate from Graduate Institute of Plastic Arts, Tainan National University of The Arts

精選展歷 Selected Exhibitions 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣「仮境—顏頂生個展」，非畫廊，台北，台灣

2014

2016

Remarkable Cultivation Art Museum, Tainan, Taiwan

「回眸 • 凝視—當代藝術靈性向度之恢復」，

“Autumn Colors on the Que and Hua Mountains series” , Beyond Gallery, Taipei

泰郁美學 • 堂，嘉義，台灣 2012

「鵲．華．秋．色—顏頂生個展」，非畫廊，台北，台灣

2014

“The Secret of the Golden Flowers”, Tai Yu Beaux Arts Salon, Chiayi

「看 • 山水 • 看」，泰郁美學 • 堂，嘉義，台灣

2012

“Autumn Colors on the Que and Hua Mountains series”,

2011

“From The Very Beginning”, Tai Yu Beaux Arts Salon , Chiayi

Beyond Gallery, Taipei

「後現代之後的新藝術精神」泰郁美學 • 堂、嘉義大學蘭潭校區，嘉義，台灣

186

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「黃金之花—顏頂生個展」，泰郁美學 • 堂，嘉義，台灣

2011

「從最初開始—顏頂生作品展」，泰郁美學 • 堂，嘉義，台灣

2010

“La Frontière”, Tai Yu Beaux Arts Salon, Chiayi

2010

「邊界—顏頂生個展」，泰郁美學 • 堂，嘉義，台灣

2004

“Gentle Breeze”, Tainan National University of The Arts, Tainan

2004

「清風徐來—顏頂生個展」，台南藝術學院，台南，台灣

1997

“Yen Ding-Sheng Solo Exhibition”, Eslite Gallery, Taipei

1997

「顏頂生個展」，誠品畫廊，台北，台灣

1994 “Ten Methods of Reading Taiwan Arts”(III) , Fei Yuan Art Center, Taipei

1994

「閱讀台灣美術的十種方法」之三，飛元藝術中心，台北，台灣

1993 “Yen Ding-Sheng Solo Exhibition”, Eslite Gallery, Taipei

1993

「顏頂生個展」，誠品畫廊，台北，台灣

1991

「顏頂生個展」，誠品畫廊，台北，台灣

“Yen Ding-Sheng & KAO”Dual Solo Exhibition, Eslite Gallery, Taipei

顏頂生 YEN, Ding-Sheng 鵲華秋色 ( 二 ) Autumn Colors on the Que and Hua Mountains No.02 2010 壓克力、畫布 Acrylic on canvas 122.5x162.5cm

187

顏頂生 YEN, Ding-Sheng 鵲華秋色 ( 八 ) Autumn Colors on the Que and Hua Mountains No.08 2012 複合媒材、畫布 Mixed media on canvas 112x162cm

188

189

郭博州

KUO, Bor-Jou (1960-) 1960

生於台南西港

1960

Born in Tainan County, Taiwan

1982

畢業於師範大學美術系

1982

Graduated from Department of Fine Arts, National Taiwan Normal

1991

畢業於紐約市立大學，獲藝術碩士學位 1991

MFA, City University of New York, U.S.A.

University, Taipei

精選展歷 Selected Exhibitions 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2014

「Printed in Taiwan」聯展，三河市立文化中心，多倫多，加拿大

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「墨浪」個展，中天美術館，布里斯本，澳洲

2015

"Thought Before Painting", Howard Salon, Taipei

「海峽兩岸書畫藝術交流展」聯展，魯台會展中心，山東，中國

2014

“Printed in Taiwan”, Toronto, Canada

「Made in Taiwan」聯展，澳洲國立大學美術館，澳洲

2013

Remarkable Cultivation Art Museum, Tainan

「台灣書畫名家交流展」聯展，江西省美術館，中國

“Made in Taiwan”, Museum of The Australian National University, Australia

「Art Festival Workshop in Thailand」聯展，

“Ink Waves”, Chung Tian Art Museum, Brisbane

Rajamangala 大學美術館，泰國

190

"Cross-Strait Ink Painting Group Exhibition", Shandong-Taiwan

「墨浪」個展，福華沙龍，台灣

Convention and Exhibition Center, Shandong

「Color Portray in Taiwan」聯展，德國陶瓷博物館，德國

"Taiwan Ink Painting Group Exhibition", Jiangxi Provincial Museum, China

2011

「知黑守白」個展，郭木生文教基金會，台灣

2010

「郭博州 50 作品展—大處落墨」個展，國父紀念館，台北，台灣

2008

「沉醉東風」個展，福華沙龍，台灣

2013

“Art Festival Workshop in Thailand”,Rajamangala University, Thailand

2011

Kuo Mu Sheng Foundation

2010

National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan

2008

Howard Salon, Taipei, Taiwan

“Ink Waves”, Howard Salon, Taipei

郭博州 KUO, Bor-Jou 充盈形上空間 Plentiful Metaphysical Space 1990 複合媒材 Mixed media 162x130cm

191

郭博州 KUO, Bor-Jou 真放精微 Delicate Truthfulness 2015

複合媒材 Mixed media 90x180cm

192

193

楊智富

C.D.YANG (1960-) 1960

生於台東

1960

Born in Taitung

1985

畢業於中國文化大學美術系西畫組

1985

BFA (Western Painting), Chinese Cultural University

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2014

「鬆勁之要→微觀思辨與突圍」，夢 12 美學空間，台北，台灣

2012

「2012 上海國際雙年展」特別企畫展「中山公園計畫」上海，中國

"The World as One", Tainan Culture Center, Tainan 2014

"Effortless Effort → Creative Practice and Breakthroughs", Moon 12 Art, Taipei

2012

"Zhongshan Park Project: Related Exhibition of 9th Shanghai Biennale", Shanghai, China

「藝術家園計畫：這群人—海岸線藝術網絡成立首展」

"Home: These People-The First Exhibition of Coastline Art Network",

淡水文化園區，台灣 2010

Tamsui Cultural Park, Taiwan

「幸福基因—2010 澳底大地藝術節」，貢寮，台灣「語言的辯證與想像—楊智富校園行腳」，國立清華大學藝術中心，

2010

Journey", National Tsing Hua University Art Center, Hsinchu

「關於庭園計畫—楊智富個展」，印象當代館，台北，台灣「十牛圖特展」，法鼓山世界佛教教育園區，台北，台灣

2008

「抽象與材質的對話」，印象當代館，台北，台灣

2007

「印象當代開幕展」，印象當代館，台北，台灣

1993

「關於廁所磁磚—楊智富首次個展」，臻品藝術中心，台中，台灣

"Happiness Gene-2010 Audi Land Art Festival", Gongliao, Taiwan "Dialectics and Imagination of Language-C. D. Yang's Campus

新竹，台灣 2009

"Contemporary Taiwan: An Exhibition of Abstract Art Classics", Remarkable Cultivation Art Museum, Tainan

「世界一家」，台南文化中心，台南，台灣

2009

"Garden Project-C. D. Yang Solo Exhibition", InSian Gallery, Taipei "The Painting of Ten Oxen", Dharma Drum Mountain World Center for Buddhist Education, Taipei

2008

"Dialogue Between Abstract and Material", InSian Gallery, Taipei

2007

"Opening Exhibition of InSian Gallery", InSian Gallery, Taipei

1993

"About Bathroom Tiles-C. D. Yang Solo Exhibition", Galerie Pierre, Taichung

194

楊智富 C.D.YANG 底層與完成 (24) Bottom Layer and the Finished (24) 2010 油彩、畫布 Oil on canvas 200x80cm

195

196

楊智富 C.D.YANG 2010 粉塵 2010 Dust

2010 油彩、畫布 Oil in canvas 130x259cm

197

張清淵

CHANG, Ching-Yuan (1960-) 1960

生於台灣

1960

Born in Taiwan

1991

畢業於美國工藝家學校羅徹斯特學院，獲藝術創作碩士學位

1991

MFA, School of the American Craftsman, Rochester Institute of Technology

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan,

2014

「國際當代陶藝雙年展」，中國美術學院美術館，浙江，中國

“International Contemporary Ceramic Biennial”, CAA Art Museum, Zhejiang

2009

「策量 · 探底」台灣當代土象展，新北市立鶯歌陶瓷博物館，新北

2014

“International Contemporary Ceramic Biennial”, CAA Art Museum, Zhejiang

「宏圭 Diversiﬁed Measurements」台韓當代陶藝展，台灣台北

2009

“Surveying and Testing the Foundations: Contemporary Ceramic Sculpture in Taiwan”, Yingge Ceramics Museum, New Taipei City

富貴陶園，新北，台灣 2005

「大崎六六─台灣陶藝新銳展」， NCECA Juried show, Eubie

2002

「第四章：台灣現代陶藝」，巴爾地摩陶瓷藝術中心，馬里蘭州，

2000

「文化接觸」中美陶藝交流展暨工作營，名展藝術中心，高雄，台灣

1993

「Uncharted Territory ─新域」台灣現代陶藝展

1992

「Merging Cultural Diversities」國際陶瓷展暨陶瓷工作營，逸清

“Diversiﬁed Measurements: Taiwan and Korea Contemporary Ceramic

Blake Cultural Center ，巴爾地摩市，美國美國

Art Exhibition”, Fuguei Art & Culture, New Taipei City 2005

“NCECA Juried show”, Eubie Blake Cultural Center, Baltimore

2002

“Chapter 4: Taiwanese Modern Ceramic Art”, Baltimore Clayworks,

2000

“Cultural Contact: Workshop of Taiwan-US Ceramic Art Exchange

1993

“Uncharted Territory: Contemporary Taiwanese Ceramics Exhibition”,

1992

“Merging Cultural Diversities”, Yi-Ching Gallery, Taipei

Baltimore

Exhibition”, Celebrated Art Gallery, Kaohsiung

美國大西洋岸巡迴展

Touring exhibition on the east coast of the United States

藝術中心，台北，台灣

198

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「國際當代陶藝雙年展」，中國美術學院美術館，浙江，中國

張清淵 CHANG, Ching-Yuan 莫名石 2016-2 The Unknown Rock 2016-2 2016 高溫陶 Stoneware 160x55xH80cm

199

張清淵 CHANG, Ching-Yuan 錯置的母體 - 夏威夷系列 04 Misplaced Matrix-Hawaii Series 04 2010 高溫陶 Stoneware 28x44xH21cm

200

201

謝鴻均

Juin SHIEH (1961-) 1961

生於台灣苗栗

1961

Born in Miaoli, Taiwan

1984

畢業於國立台灣師範大學美術學系西畫組

1984

BFA, National Taiwan Normal University

1989

畢業於美國紐約普拉特藝術學院，獲藝術創作碩士學位

1989

MFA, Pratt Institute, New York, USA

1995

畢業於美國紐約大學教育學院藝術所，獲創作博士學位

1995

Doctor of Arts, New York University, New York, USA

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2015

「來龍去脈」，安卓藝術，台北，台灣

2014

「添—徐洵蔚 + 薛保瑕＋洪少瑛＋謝鴻均，從紐約到台北」，

"The Road Not Taken Part I", Mind Set Art Center, Taipei 2015

"The Context of My Humble Life in Paintings and Drawings",

2014

"From New York to Taipei", Red Gold Art Center, Taipei

Mind Set Art Center, Taipei

赤粒藝術，台北，台灣「身體與敘事者」，Silverlens Gallery，馬尼拉，菲律賓

"Contemporary Taiwan: An Exhibition of Abstract Art Classics", Remarkable Cultivation Art Museum, Tainan

「林中路當代藝術展上篇」，安卓藝術，台北，台灣

"Body and Narrator", Silverlens Gallery, Manila,

「台灣美術家『刺客列傳』五年級生」，國立台灣美術館，

Republic of the Philippines

台中，台灣「女人家—以亞洲女性藝術之名」，高雄市立美術館，高雄，台灣

"The Pioneers of Taiwanese Artists 1961-1970", National Taiwan Museum

2012

「一二 • 二一」，安卓藝術，台北，台灣

of Fine Arts, Taichung

2011

「喧囂敘譜」，布查當代藝術空間，台北，台灣

"Woman-Home: In the Name of Asian Female Artists", Kaohsiung

2010

「囿」，李澤藩美術館，新竹，台灣

Museum of Fine Arts, Kaohsiung

「囿：謝鴻均繪畫展」，夏可喜當代藝術沙龍，台北，台灣

2012

"From Single to Dual, From Dual to Single", Mind Set Art Center, Taipei

2009

「混混瀝瀝」，布查當代藝術空間，台北，台灣

2011

"Rhythm of Noise", Buchart International Art Center, Taipei

2006

「原好—混混乃陰性空間，瀝瀝如母性系譜」，伊通公園，

2010

"Immanence", Lee Tze-Fan Memorial Art Gallery, Hsinchu

2005

「陰性空間」，國立交通大學藝文中心，新竹，台灣

2009

"Pattering in Chaos", Buchart International Contemporary Art Center,

2006

"Yuan-Hao: From Chora to Female Genealogy", IT Park, Taipei

2005

"Chora", Arts Center of NCTU, Hsinchu

"Immanence-Juin Shieh's Painting", Sakshi Gallery Salon, Taipei

台北，台灣

Taipei

202

謝鴻均 Juin SHIEH 枝骨之引證 Citation of the Bone and the Branch 2016 油彩、畫布 Oil on canvas 162x130cm

203

林鴻文

LIN, Hong-Wen (1961-) 1961

生於台灣台南

1961 Born in Tainan, Taiwan

1982

畢業於國立台灣藝專美術科

1982 Graduated from National Taiwan Academy of Arts

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

「沉默風景 • 藝術視界的人文觀想」，高雄市立美術館

"Ex-situ Morphology 2016 Lin Hong Wen Solo Exhibition", Main Trend Gallery, Taipei

高雄，台灣

"Reading Landscape: Stories from Artists", Kaohsiung Museum of Fine

「一座島嶼的可能性—2016 台灣美術雙年展」，台灣國立美術館，

Arts, Kaohsiung

台中，台灣 2015

「卡薩布蘭加雙年展」，卡薩布蘭加，摩洛哥

"The Possibility of an Island: 2016 Taiwan Biennial", National Taiwan

「23 Faces Traveling Minds IV 聯展」，雅加達，印尼

Museum of Fine Arts, Taichung "Casablanca Biennial", Casablanca, Morocco

「擬視 • 八一視覺藝術展」，高雄市立美術館，高雄，台灣「2015 林鴻文個展」，土屋現代畫廊，大阪，日本 2014

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「易地飛形—林鴻文個展」，大趨勢畫廊，台北，台灣

2015

"23 Faces Traveling Minds IV", Jakarta, Indonesia

「釜山藝術博覽會」，釜山，韓國

"Gaze Visual Art Exhibition for the August 1st Gas Explosion Incident",

「易地飛形—2014 林鴻文作品邀請展」

Kaohsiung Museum of Fine Arts, Kaohsiung

高雄師範大學 116 藝術中心，高雄，台灣

"Lin Hong-wen 2015 Solo Exhibition", Tsuchiya Contemporary Art

「4Traveling Minds 四人展」，Galerie VERGE，東京，日本

Gallery, Osaka "Art Busan", Busan, Korea

「台灣美術家『刺客列傳』五年級生」，國立台灣美術館，台中，台灣

2014

"Ex-situ Morphology 2014 Lin Hong Wen Solo Exhibition", 116 Art Center

2013

「聲稀之於 2013 林鴻文作品展」，非畫廊，台北，台灣

of National Kaohsiung Normal University, Kaohsiung

2012

「非形之形—台灣當代抽象」，台北市立美術館，台灣；

"4 Traveling Minds", Galerie VERGE, Tokyo, Japan "The Pioneers of Taiwanese Artists 1961-1970", National Taiwan Museum

廣東美術館，中國

of Fine Arts, Taichung 2013

"Rareﬁed Noises—Lin Hong-Wen 2013 Solo Exhibition", Beyond Gallery, Taipei

2012

"Formless Form - Taiwanese Abstract Art", Taipei Fine Arts Museum, Taiwan; Guangdong Museum of Art, China

204

林鴻文 LIN, Hong-Wen 在那一天裡 During That Day

2015 水性顏料、壓克力、粉彩 Color, acrylic and pastel 170x250cm

205

林鴻文 LIN, Hong-Wen 懷思者 Thinker 2015 焊鐵 Iron 269x22xH11cm

206

207

陶文岳

TAO, Wen-Yueh (1961-) 1961

生於台灣基隆

1961

Born in Keelung, Taiwan

1987

畢業於國立藝專美術科西畫組

1987

Graduated from National Taiwan Academy of Arts

1994

畢業於法國巴黎國立高等裝飾藝術學院 (ENSAD) 空間藝術系繪畫

1994

Graduated from Department of Spatial Design, ENSAD (LÉcole nationale supérieure des arts décoratifs), Paris, France

組，獲碩士學位精選展歷

Selected Exhibitions

2016

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

「台灣當代藝術展」，法國泰勒基金會，巴黎，法國

“Inﬁnitesimal Inﬁnity”, Red Gold Fine Art, Taipei “Exhibition of Contemporary Art from Taiwan”, Fondation Taylor, Paris

「記憶．哲思」個展，國父紀念館德明藝廊，台北，台灣「中國當代文化邀請展」，聖彼得堡國立大學美術館，俄羅斯

2014

2015

「記憶．抽象．容顏」個展，藝術未來 / 中山首屆國際青年藝術博

Memorial Hall, Taipei

University, Russia

「靈光．視域」個展，赤粒藝術，台北，台灣「非形之形─台灣抽象藝術」，廣東美術館，廣東，中國

2014

“Memory．Abstraction．Countenance, Art's New World-2014/ (Zohong

2013

“Inspiration．Visual Field”, Red Gold Fine Art, Taipei

Shan) 1th International Shapers Fine Art Expo”, Guangdong

「奇彩映像─台灣油畫家三人展」，798「悅．美術館」，北京 2012 2011 1997 1994

第 27 屆亞洲國際美展，曼谷拉加達曼仁當代藝術中心，泰國

“Recollection Introspection”, De-ming Gallery”, National Dr. Sun Yatsen

“Contemporary Chinese Culture Exhibition”, Saint-Petersburg State

覽會，廣東，中國 2013

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「維視．無垠」個展，赤粒藝術，台北，台灣

“Formless Form: Taiwanese Abstract Art”, Guangdong Museum of Art,

「存在思維創作展」，台北新藝術博覽會，台北，台灣 31 藝術空間個展，意西雷牧里諾市，法國

Guangdong “Impressions Marvel: Taiwanese trio exhibition of oil paintings”, Enjoy

「時間的散步」個展，台北市立美術館，台北，台灣

Museum of Art, Beijing 798 Art Zone, Beijing 2012

“27th Asian International Art Exhibition”, Rajchadamnern

2011

“Existential Thinking”, Art Revolution Taipei, Taipei

1997

“Espace Icare, Issy-Les Moulineaux”, France

1994

“The Marching of Time”, Taipei Fine Arts Museum, Taipei

Contemporary Art Center, Bangkok, Thailand

208

陶文岳 TAO, Wen-Yueh 曙光 Dawn

2007 複合媒材、畫布 Mixed media on canvas 195x130cm

209

210

陶文岳 TAO, Wen-Yueh 意象的哲思 Philosophical Thinking on Imagery 2012 油畫、畫布 Oil on canvas 130x325cm

211

董心如

TUNG, Hsin-Ru (1964-) 1964

生於台灣台北

1964

Born in Taipei, Taiwan

1988

畢業於國立台北藝術大學美術系水墨組

1988

BFA, Taipei National University of the Arts, Taipei, Taiwan

1994

畢業於美國紐約普萊特藝術學院美術系，獲藝術碩士學位

1993

MFA, Pratt Institute, Brooklyn, New York, USA

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「線索—台灣當代抽象藝術展」，雙方藝廊，台北，台灣

Remarkable Cultivation Art Museum, Tainan

2015

「異境：跨越世代與地域的藝術對話」，大象藝術空間，台中，台灣

“Lineage – Taiwan Contemporary Abstract Art Exhibition”, Double

2013

「熵—董心如個展」，非常廟藝文空間，台北，台灣

2012

「非形之形—台灣抽象藝術」，台北市立美術館，台北，台灣

2011

「縫隙中的幽微—董心如個展」，就在藝術空間，台北，台灣

2010

Square Gallery, Taipei 2015

“Yi Jing The Dialogue b/w Different Generation & Regions”, Da Xiang

「異象—典藏抽象繪畫展」，國立台灣美術館，台中，台灣

2013

“Entropy: Tung Hsin Ru Solo Exhibition”, VT Art Salon, Taipei

2009

「雙凝—台灣女性藝術的鏡觀視角」，國立台灣美術館，台中，台灣

2012

“Formless Form: Taiwanese Abstract Art”, Taipei Fine Arts Museum, Taipei

2008

「觀微—董心如個展」，非常廟藝文空間，台北，台灣

2011

“The Glimmer from The Chink: Tung Hsin Ru Solo Exhibition”, Project

2004

「台灣當代繪畫的迴旋曲式」，國立台灣美術館，台灣； 2010

“Beyond Vision-Highlights of Abstract paintings”, National Taiwan

2009

“Duel Regard - The Views from Taiwanese Women’s Arts”, National

2008

“Observe Microcosm: Tung Hsin Ru 2008 Solo Exhibition”, VT Art Salon, Taipei

2004

"Scylla and Charybdis in Love: The Challenges Facing Contemporary

光州美術館，韓國 1999

「形域—董心如個展」，太平洋文化基金會藝術中心，台北，台灣

1998

「境痕—董心如個展」，台北縣文化局，台北，台灣

1995

「台灣當代藝術專題展」，高雄市立美術館，高雄，台灣

Art Space, Taichung

Fulﬁll Art Space, Taipei

Museum of Fine Arts, Taichung

Taiwan Museum of Fine Arts, Taichung

Taiwanese Artists", National Taiwan Museum of Fine Arts, Taichung; Gwangju Art Museum, Korea 1999

"Realm of Form" , Paciﬁc Cultural Foundation Art Center, Taipei

1998

"Traces of Realm" , Taipei County Cultural Center, Taipei

1995

"Selection of Contemporary Art from Taiwan", Kaohsiung Museum of Fine Arts, Kauhsiung

212

董心如 TUNG, Hsin-Ru 熵 2013 -1 Entropy 2013 -1 2013 油彩、畫布 Oil on canvas 175x192cm

213

董心如 TUNG, Hsin-Ru 鬱域 2010 - 2 Realm 2010 - 2 2010

複合媒材、畫布 Mixed media on paper 135x148cm

214

215

宋璽德

SUNG, Hsi-Te (1964-) 1964

生於台灣基隆

1964

Born in Keelung

1999

畢業於日本國立東京藝術大學美術研究科，獲博士學位

1999

PhD. The Graduate School of Fine Arts from Tokyo University of the Arts, Japan

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2015

「鋼鐵風景」宋璽德個展，大象藝術中心，台中，台灣

2014

「物質與非物質」宋璽德個展，親家建設，台中，台灣

2015

“Steel Landscape”, Da Xiang Art Space, Taichung

「東和鋼鐵第二屆國際藝術家駐場創作展」，東和鋼鐵苗栗廠，

2014

“Material and Non - Material-Sung Hsi-Te Solo Exhibition”, Chingjia

Remarkable Cultivation Art Museum, Tainan

Construction, Taichung

苗栗，台灣 2013

“The 2nd Annual Tung Ho Steel International Artists in Residence

「光的饗宴」宋璽德機動藝術個展，東方藝術中心，高雄，台灣

Program”, Tung Ho Steel Miaoli Works, Miaoli

「FORMOSA 雕塑雙年展—我們的前面是什麼？」，駁二藝術特區，高雄，台灣

2013

“The Feast of Light: Sung Hsite Kinetic Art Exhibition”, Tungfang Art

2011

「宋璽德機動藝術個展」，正修科技大學，高雄，台灣

Center, Kaohsiung

2010

「光．動」宋璽德機動藝術個展，國立台灣藝術大學，台北，台灣

“FORMOSA Sculpture Biennial 2013-What’s ahead?”, The Pier-2 Art

2008

「海．光．雨─一個老港都的故事」，基隆市文化中心，基隆

2006

「宋璽德機動藝術個展」，靜宜大學藝術中心，台中，台灣

2011

“Sung Hsite Kinetic Art Exhibition”, Cheng Shiu University, Kaohsiung

「兩種時間的動」宋璽德個展，朱銘美術館，台北，台灣

2010

“Light and Propulsion: Sung Hsite Kinetic Art Exhibition”, National

2008

“Sea, Shine, Rain-The Story of an Old Party City”, Keelung Culture

2006

“Two Kinds of Time to Move”, Juming Museum, Taipei

2000

Center, Kaohsiung

Taiwan University of Arts, Taipei

「兩種類的時間—宋璽德造型展」，松下電工藝廊，日本

Center, Keelung

“Song Hsite Kinetic Art Exhibition”, Providence University Art Center, Taichung 2000

“Two Types of Time-the Exhibition of Shape by Song Hsite", Matsushita Electric Works Gallery, Japan

216

宋璽德 SUNG, Hsi-Te 小島系列 - 犬齒 Small Island Series-Canine Tooth 2015 鋼、不鏽鋼 Iron and stainless steel 42x21xH22cm

217

宋璽德 SUNG, Hsi-Te 山水痕 - 5 Trace of Landscape -5

2016 鋼、不鏽鋼 Iron and stainless steel 70x30xH37cm

218

219

黃致陽

HUANG, Zhi-Yang (1965-) 1965

生於台灣台北

1965

Born in Taipei, Taiwan BFA, Chinese Cultural University

畢業於中國文化大學精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

2013

「重回新望展：北美館當代脈絡的開拓」，台北市立美術館，台北

2012

「城市之光：中國上海靜安國際雕塑展」，靜安雕塑公園，上海

2013

“Revisiting New Horizons Exhibition: Origins of TFAM's Contemporary

2011

「未來通行證：從亞洲到全球—第五十四屆威尼斯雙年展平行展」 2012

“Pride of City - Jing'an International Sculpture Project Biennial”, Jing'an

2011

“54th Venice Biennale, Future Pass - From Asia to the World”, Abbaziadi

（巡迴展），威尼斯

Remarkable Cultivation Art Museum, Tainan

Context”, Taipei Fine Art Museum, Taipei

「Anne Valerie Hash 與黃致陽跨界合作」，巴黎時裝周，巴黎 2010

「世界的藝術．世博軸雕塑長廊國際雕塑展：交叉小徑的城市」，

Sculpture Park, Shanghai

San Gregorio and Palazzo, Venice

上海世博會，上海，中國

“Anne Valerie Hash Autumn Winter”, Paris

「異象：典藏抽象繪畫展」，國立台灣美術館，台中，台灣 2008

「第二屆上海當代藝術館文獻展：夢蝶」，上海當代藝術館，上海

2010

Museum of Fine Arts, Taichung

台北，台灣「黃致陽：Zoon + 靈獸」，漢雅軒，香港，中國

“Art For The World, The Expo”, Shanghai World Expo, Shanghai “Beyond Vision: Highlights of Abstract Paintings”, National Taiwan

「形．意．質．韻─東亞當代水墨創作邀請展」，台北市立美術館， 2008

“Zoon – Dreamscape”, Hanart TZ Gallery, Hong Kong

「座千峰：黃致陽藝術展」，時代廣場，香港，中國

“Possessing Numerous Peaks”, Times Square, Hong Kong

2007

「Zoon ─北京生物」，藝門畫廊，北京，中國

“Envisage II - Butterﬂy Dream”, Museum of Contemporary Art,

2006

「都會風景」，台北當代美術館，台北，中國

Shanghai “Form, Idea, Essence and Rhythm: Contemporary East Asian Ink Painting”, Taipei Fine Arts Museum, Taipei 2007

“Zoon: Beijing Bio, Pékin Fine Arts Gallery”, Beijing

2006

“A Glimpse of Contemporary Art in Taiwan”, Museum of Contemporary Art, Taipei

220

黃致陽 HUANG, Zhi-Yang 千靈顯 ( 隱 ) _ 山靈 I Three Marks_ Mountain Spirit I 2003 彩墨、紙本 Color and ink on paper 225x125cm

221

黃致陽 HUANG, Zhi-Yang 密視 No. 0821 Zoon-Dreamscape No.0821 2008 複合媒材 Mixed media 200x140cm

222

223

張富峻

CHANG, Fu-Chun (1965-) 1965

生於台灣花蓮

1965

Born in Hualien, Taiwan

1989

畢業於東海大學美術系

1989

BFA, Tunghai University

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「張富峻飄颻．2016 繪畫個展」，科元藝術中心，台中，台灣

Remarkable Cultivation Art Museum, Tainan

2015

「水光一色張富峻．薛赫赫詩畫展」暨現場詩樂吟誦演出，

"Flowing Flow: Chang Fu-chun Solo Exhibition", Ke-Yuan Gallery, Taichung

2014

「雲水波瀾—2014 張富峻繪畫個展」，非畫廊，台北，台灣

弘光科技大學藝術中心「靈與自然的延續—張富峻董明晉雙個展」，新思惟人文空間，

2015

"Rippling Light: Chang Fu-chun & Hsueh He-he Exhibition (with poetry

2014

"Cloud and Water Waves—2014 Chang Fu-chun Solo Exhibition",

recital and music performance), Hungkuang University Art Center, Taichung

Beyond Gallery, Taipei

高雄，台灣「水光一色張富峻 2014 個展」，THE 201 ART 順天建築．文化．

"Continuation of Spirit and Nature: Chang Fu-chun & Tung Ming-chin Art Exhibition", Sincewell Gallery, Kaohsiung

藝術中心，台中 2012

"Rippling Light: 2014 Chang Fu-chun Solo Exhibition", The 201 Art, Taichung

「風與水張富峻繪畫展」，苗栗縣政府國際文化觀光局，苗栗「棲山水—張富峻水墨的行動臥遊」，順天建築．文化．藝術中心，

2012

2011

"Inhabiting the Landscape: Chang Fu-chun's Ink Art Action", The 201

「璦璦靈光—王公澤張富峻雙個展」，芙藝文空間，苗栗，台灣

Art, Taichung

「山神的眼淚—向電影《賽德克．巴萊》致敬張富峻繪畫展」，三才藝術中心，台中

"Wind & Water: Chang Fu-chun Solo Exhibition", Culture and Tourist Bureau, Miaoli County

台中，台灣

2011

"The Ambiguous Light: Wang Gong-jer & Chang Fu-chun Duo

2010

「布局十年—張富峻現代水墨個展」，靜宜大學藝術中心，台中

Exhibition", Fu's Artspace, Miaoli

2009

「山靈．動—張富峻個展」，非畫廊，台北，台灣

"Tears of Mountain Gods—Tribute Art Exhibition to 'Seediq Bale' by Chang Fu-chun", 3 Talents Art Gallery, Taichung 2010

"A Decade of Dedication—Modern Ink Painting by Chang Fu-chun",

2009

"Movement of the Mountain Spirit—Chang Fu-chun Solo Exhibitoin",

The Art Center of Providence University, Taichung

Beyond Gallery, Taipei

224

張富峻 CHANG, Fu-Chun 雪山清象 2012 - 雨 The Clear Scenery of Snow Mountain 2012 - Rain 2012 水墨、宣紙 Ink on Xuan paper 180x360cm (x4)

225

226

張富峻 CHANG, Fu-Chun 雪山清象 2012 - 夏蟬 The Clear Scenery of Snow Mountain 2012 - Summer Cicada 2012 水墨、宣紙 Ink on Xuan paper 180x360cm (x4)

227

謝貽娟

Jo HSIEH (1967-) 1967

生於台灣嘉義

1967

Born in Chiayi, Taiwan

1996

畢業於英國喬爾西藝術設計學院

1996

BFA, Chelsea College of Art and Design, U.K.

1998

畢業於英國皇家藝術學院，獲碩士學位

1998

MFA, Royal College of Art, U.K.

2002

畢業於英國費爾茅斯藝術學院，獲藝術哲學博士學位

2002

PhD, Falmouth College of Art, U.K

精選展歷

Selected Exhibitions

2016

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

2015

“None-Space: The Journey to the Beginning-The Solo Exhibition of Jo

2014

“None-Space”, Chini Gallery, Taipei

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2015

「復歸源始」，采泥藝術，台北，台灣

2014

「非空間」，采泥藝術，台北，台灣

2013

「藍 ∞」，采泥藝術，台北，台灣

2012

「心靈空間」，采泥藝術，台北，台灣

Remarkable Cultivation Art Museum, Tainan

Hsieh”, Chini Gallery, Taipei

2003

None-Space，Michael Goedhuis 當代畫廊，紐約，美國

2013

“Beyond Blue”, Chini Gallery, Taipei

2002

Blue Eyes，Michael Goedhuis 當代畫廊，倫敦，英國

2012

“Mind Space”, Chini Gallery, Taipei

1999

Mindscapes In Blue，Plateaux 畫廊，倫敦，英國

2003

“None-Space”, Michael Goedhuis Gallery, New York

1998

Revealing the lmage，Wiseman 畫廊，牛津，英國

2002

“Blue Eyes”, Michael Goedhuis Gallery, London

1997

Jigsaw 時裝展，倫敦，英國

1999

“Mindscapes In Blue, Plateaux Gallery, London

「英國國家大型版畫展」，倫敦，英國

1998

“Revealing the Image”, Wiseman Gallery, Oxford

「喬爾西市政廳版畫展」，倫敦，英國

1997

Jigsaw Clothing Company, London

Time & Space，Stevens 畫廊，倫敦，英國 1994

Taipei Art Fair, Taipei, Taiwan

Time & Space, Stevens Gallery, London The Large Edition a Survey of British Printmaking, London 1994

228

“Printmaking Exhibition”, Chelsea Town Hall, London

謝貽娟 Jo HSIEH None-Space S176

2013 複合媒材、畫布 Mixed media on paper 219x109cm

229

230

謝貽娟 Jo HSIEH None-Space P48

2013 礦石粉末、壓克力樹脂、畫布 Pigments and resin on canvas 234x168cm

231

廖迎晰

LIAO, Ying-Hsi (1968-) 1968

生於台灣台中

1968

Born in Taichung, Taiwan MFA (Western Painting), Graduate Institute of Fine Arts, Tunghai University

畢業於東海大學美術研究所西畫組精選展歷

Selected Exhibitions

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

2015

“Rocking Horse”, Hsinchu Hotel Royal, Hsinchu, Taiwan

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣個展「你和我」，台中中友百貨，台中，台灣

2014

Remarkable Cultivation Art Museum, Tainan, Taiwan

個展「騎遇記」，新竹老爺酒店，新竹，台灣個展「生命的源起」，日月千禧酒店，台中，台灣

“You and I”, Chung-yo Department Store, Taichung, Taiwan

個展「圓融」，台北新藝術博覽會，台北，台灣

“The Origin of Life”, Millennium Hotel Taichung, Taichung, Taiwan “Well-rounded Harmony”, Art Revolution Taipei, Taipei, Taiwan

「希望」，亞洲雕塑展高雄駁二特區，高雄，台灣「依偎」，台北新藝術博覽會個展，台北，台灣

2014

2013 2012

「台中 A7958 幻山水雕塑」，A-7958 藝廊，台中，台灣台北國際藝術博覽會，台北，台灣「人之初系列 II」廖迎晰雕塑創作展，國父紀念館，台北，台灣「人之初系列 I」廖迎晰雕塑創作展，寬隆建設，竹北，台灣

“Hope”, Asian Sculpture Exhibition, The Pier II, Kaohsiung, Taiwan “Mutual Dependence”, Art Revolution Taipei, Taipei, Taiwan

「圓滿」，中友百貨個展，台中，台灣

“Perfection”, Chung-yo Department Store, Taichung, Taiwan 2013

“Illusion: Landscape”, A-7958 Gallery, Taichung, Taiwan

2012

“Art Taipei 2012”, Taipei, Taiwan “The Origin of Man II”, Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan “The Origin of Man I”, Kind Long Construction, Chupei, Taiwan

232

廖迎晰 LIAO, Ying-Hsi 米寶向前衝 Marching Forward, Rice Baby 2016 不鏽鋼、烤漆 Stainless steel and paint 88x108xH104cm

233

耿晧剛

KENG, Hao-Kang (1969–) 1969

生於台灣台北

1969

Born in Taipei,Taiwan

1993

畢業於東海大學美術學系

1993

Tunghai University, Dep. Fine Arts, Taichung, Taiwan

2002

畢業於義大利國立米蘭 Brera 藝術學院，獲碩士學位

2002

Accademia di Belle Arti di Brera, Milan, Italy

精選展歷

Selected Solo Exhibitions

2016

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art

「三月．小甜心—耿晧剛個展」，恆畫廊，台北，台灣

“Geometric Composition 1998-2015”, Main Trend Gallery, Taipei

Museum, Tainan

“Pinup March”, Galleria H., Taipei, Taiwan

「清晨．奧爾維耶托—耿晧剛個展」，小畫廊，高雄，台灣「遠在咫尺」，臻品藝術中心，台中，台灣

2015

“Orvieto Morning”, Show Gallery, Kaohsiung

2013

「差異之間耿晧剛個展」，新苑藝術，台北，台灣

2013

「布里歐日常」，彌留實驗藝廊，台中，台灣

2013

“The Difference Between”, Galerie Grand Siècle, Taipei

2012

「未來．進行式耿晧剛個展」，貝瑪畫廊，台北，台灣

2012

“Future-Progress KENG HAO KANG”, Pema Lamo Gallery, Taipei

2011

「耿晧剛近作與繪畫展」，新苑藝術，台北，台灣

2011

“KENG HAO KANG - Recent Work and Painting”, Galerie Grand Siècle, Taipei

“So Far So Close” , Galerie Pierre, Taichung

“Double Impact - Recent Works ”, Galerie Grand Siècle, Banqiao Dist.,

「雙重衝擊」，新苑藝術，新北，台灣

234

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「長乘以寬耿晧剛作品展 1998-2015」，大趨勢畫廊，台北，台灣

2010

「Why so Serious? 2010」，雲林科技大學藝文中心，雲林，台灣

2009

「Why so Serious?」，中國科技大學藝文中心，台北，台灣

2010

“Why so Serious? 2010 ”, Yutech Art Center , Yunlin

1999

「一幅畫」，代比流士藏書畫廊，米蘭，義大利

2009

“Why so Serious? ”, CUTE Art Center , Taipei

1998

「納歐詩」，布雷拉第四教室，米蘭，義大利

1999

“Un Dipinto” Derbylius Libreria Gallery, Milan

1998

“NAOS”, n.4 Aula of Brera, Milan

New Taipei City

耿晧剛 KENG, Hao-Kang 喃喃 1 Muttered 1

2013 - 2014 壓克力、複合媒材、畫布 Acrylic and mixed media on canvas 110x110cm

235

耿晧剛 KENG, Hao-Kang 喃喃 2 Muttered 2 2013 - 2014 壓克力、複合媒材、畫布 90x140cm

236

Acrylic and mixed media on canvas

237

生於台灣台中

1969

Born in Taichung, Taiwan

1991

就讀美國羅德島設計學院義大利羅馬分校

1991

European Honors Program, Rhode Island School of Design, Rome, Italy

1992

畢業於美國羅德島設計學院，獲藝術學士

1992

BFA, Rhode Island School of Design, Providence, Rhode Island

1993

畢業於美國羅德島設計學院，獲建築學士

1993

BFA, Rhode Island School of Design, Providence, Rhode Island

1995

畢業於美國私立賓州大學，獲藝術碩士

1995

MFA, University of Pennsylvania, Philadelphia, Pennsylvania

精選展歷

Selected Exhibitions

2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2016

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

2014

「理性的直覺」，臻品藝術中心，台中，台灣

2013

「光的節奏」，日升月鴻畫廊，台北，台灣

2014

"Rational Intuition", Galerie Pierre, Taichung

2011

「生命中最美好的那一刻」，臻品藝術中心，台中，台灣

2013

"Rhythm of Light", Ever Harvest Gallery, Taipei

2009

「Jason Chi 」，Art Object 畫廊，聖荷西，美國

2011

"A Perfect Moment in Time", Galerie Pierre, Taichung

2008

「旅人」，臻品藝術中心，台中，台灣

2009

"Jason Chi", Art Object Gallery, San Jose, California

2005

「95014」，臻品藝術中心，台中，台灣

2008

"Traveler", Galerie Pierre, Taichung

2004

「Jason Chi」， Lenore Gray 畫廊，羅德島，美國

2005

"95014", Galerie Pierre, Taichung

2003

「Paintings」，伊通公園，台北，台灣

2004

"Jason Chi", Lenore Gray Gallery, Providence, Rhode Island

2000

「兩個夏天的記憶」，誠品畫廊，台北，台灣

2003

"Paintings", IT Park Gallery, Taipei

「Jason Chi」，Lenore Gray 畫廊，羅德島，美國

2000

"Memories of Two Summers", Eslite Gallery, Taipei

1998

"Memory of a Winter", Eslite Gallery, Taipei

1998

238

紀嘉華

Jason CHI (1969-) 1969

Remarkable Cultivation Art Museum, Tainan

"Jason Chi", Lenore Gray Gallery, Providence, Rhode Island

「一個冬天的記憶」，誠品畫廊，台北，台灣

紀嘉華 Jason CHI 每天為你寫一首詩 Writing a Poem for You Each Day 2015 壓克力、複合媒材、畫布 190.5x170cm

Acrylic and mixed media on canvas

239

吳孟璋

WU, Meng-Chang (1971-) 1971

生於台灣高雄

1971

Born in Kaohsiung, Taiwan

2003

畢業於國立台灣藝術學院造型藝術研究所

2003

MFA, Graduate Institute of Plastic Arts, Tainan National College of the Arts

精選展歷

Selected Exhibitions

2016

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

「石之道」，赤粒藝術，台北，台灣

“Dim light”, Cornerstone Art Gallery, Taichung

「磊─當代石藝創作新貌展」，台灣手工藝研究所，南投，台灣

“Stone Road in Taipei”, Red Gold Fine Art, Taipei

「台南現象五國演繹」，東門美術館，台南，台灣

“New Aspect in Contemporary Stone Sculpture”, National Taiwan Craft Research and Development Institute, Nantou

「雙關語」，臻品藝術中心，台中，台灣 2014

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

「樸石藏玉，曖曖含光」，樸石藝術，台中，台灣

「東方自然與西方風景」，藝術 8，新竹，台灣

2015

“Tainan Phenomenon, The Deduction of Five Nations”, Licence Art

「東海作為形容詞」，東海大學，台中，台灣

Gallery, Tainan, Taiwan

2013

「生活─劇場」─雕塑中的環境 · 環境中的雕塑，順天建築 · 文化

“A PUN”, Galerie Pierre, Taichung

2012

「高雄、美術」合體不設限，高雄市立文化中心，高雄，台灣

Tunghai University Art Gallery, Taichung

2011

「2011 材質物語─土」，朱銘美術館，台北，台灣

“The Scene of Nature : East and West”, Art 8, Hsinchu

2003

「生之象」吳孟璋個展，國立台南藝術學院視覺中心，台南，台灣

2013

“Life - Material Field”, The 201 Art, Taichung

2002

「誰─離體」吳孟璋創作個展，原型藝術空間，台南，台灣

2012

“Kaohsiung Contemporary Sculpture Exhibition 2012”, Bureau of

2011

“2011 Material Language – Soil”, Juming Museum, Taipei

2003

“Image of Life”, Tainan National College of the Arts, Tainan

2002

“Who – Out of The Body”, Prototype Art Space, Tainan

· 藝術中心，台中，台灣

2014

“Tung-Hai As An Adjective”, Tung-Hai Fine Arts 30th Anniversary,

Cultural Affairs, Kaohsiung City Government, Kaohsiung

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吳孟璋 WU, Meng-Chang 處 Place 2016 觀音石 Guanyin stone 91x82xH76cm

241

吳孟璋 WU, Meng-Chang 磐 Boulder 2015 大理石 Marble 43x38xH39cm

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243

姜憲明

JIANG, Shen-Min (1972-) 1972

生於台灣桃園

1972

Born in Taoyuan, Taiwan

2001

畢業於國立台南藝術大學造形藝術研究所，獲藝術創作碩士學位

2001

Graduated from the Graduate Institute of Plastic Arts, Tainan National College of the Arts

精選展歷與得獎 Selected Exhibitions and Awards 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣「剛柔並容」清華大學藝術中心個展，清華大學藝術中心，新竹，

2015 2014 2013

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”, Remarkable Cultivation Art Museum, Tainan

台北榮民總醫院門診大樓新建工程公共藝術設置第一名

“Firmness and Flexibility”, National Ching Hua University Arts Center, Hsinchu

陸軍航空特指揮部 601 旅公共藝術設置第一名

2015

First Place. Public art commission for the new hospital building of Taipei

2014

First Place. Public art commission for ROC Army Aviation and Special

2013

“Formless Form ─ Taiwanese Abstract Art”, Guangdong Museum of

Veterans General Hospital.

「非形之形─台灣抽象藝術展」，廣東美術館，廣東，中國陸軍第六軍團北五堵營區新建工程公共藝術設置第一名

2012

2016

台灣

Forces Command Brigade 601

「非形之形─台灣抽象藝術展」，台北市立美術館，台北，台灣

2010

國立聯合大學八甲校區理工學院公共藝術設置第一名

2008

國防大學公共藝術設置第七點設置第一名

Art, Guangdong

2007

行政院衛生署桃園醫院門診中心公共藝術設置第一名

First Place, Public art commission for the North Wudu Camp of the 6th

2003

Field Army

「崢嶸、滴水穿石」獲行政院原子能研究所公共藝術設置第一名 2012

“Formless Form ─ Taiwanese Abstract Art”, Taipei Fine Arts Museum, Taipei

2010

First Place. Public art commission for the College of Engineering and

2008

First Place. Public art commission for the 7th point in National Defense

2007

First Place. Public art commission for the hospital building of Taoyuan

2003

First Place. Public art commission for the hospital building of Taoyuan

Science, National United University

University

General Hospital, Ministry of Health and Welfare

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姜憲明 JIANG, Shen-Min 內在世界 Inner World 2015 不鏽鋼 Stainless steel 158x33xH22cm

245

姜憲明 JIANG, Shen-Min 光立方 Light Cube 2015 不鏽鋼 Stainless steel 40x39xH68cm

246

247

陳麗杏

CHEN, Li-Hsing (1972-) 1972

生於台灣高雄

1972

Born in Kaohsiung, Taiwan Graduated from the Graduate Institute of Plastic Arts, Tainan National

畢業於國立台南藝術大學造形藝術研究所，獲藝術創作碩士

College of the Arts

精選展歷與得獎 Selected Exhibitions and Awards 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣「剛柔並容」清華大學藝術中心個展，清華大學藝術中心，新竹

2015

2016

“Contemporary Taiwan: An Exhibition of Abstract Art Classics”,

台北榮民總醫院門診大樓新建工程公共藝術設置第一名

Remarkable Cultivation Art Museum, Tainan

國道高速公路局中壢服務區公共藝術設置第一名

“Firmness and Flexibility”, National Ching Hua University Arts Center, Hsinchu

2014

陸軍航空特指揮部 601 旅公共藝術設置第一名

2013

陸軍第六軍團北五堵營區新建工程公共藝術設置第一名

Veterans General Hospital.

2012

三軍總醫院及國防醫學院新建工程公共藝術設置第一名

First Place. Public art commission for Chungli Service Center, Taiwan

2011

花蓮國際石雕藝術季國際石雕邀請展，花蓮縣文化局，花蓮，台灣

2010

國立聯合大學八甲校區理工學院公共藝術設置第一名

2009

桃源美展雕塑類邀請作家，桃園縣立文化中心，桃園，台灣

2008

國防大學公共藝術設置第五設置點第一名設置權

2007

行政院衛生署桃園醫院公共藝術設置第一名

2015

First Place. Public art commission for the new hospital building of Taipei

Area National Freeway Bureau, MOTC R.O.C. 2014

First Place. Public art commission for ROC Army Aviation and Special

2013

First Place, Public art commission for the North Wudu Camp of the 6th

2012

First Place. Public art commission for Tri-Service General Hospital and

2011

Hualien International Stone Sculpture Festival: Invitational Exhibition,

2010

First Place. Public art commission for the College of Engineering and

2009

Invited Sculptor for Taoyuan Fine Arts Exhibition, Taoyuan County

2008

First Place. Public art commission for the 5th point in National Defense

2007

First Place. Public art commission for the hospital building of Taoyuan

Forces Command Brigade 601

Field Army

National Defense Medical Center

Hualien County Cultural Affairs Bureau, Hualien

Science, National United University

Cultural Center, Taoyuan, Taiwan

University

General Hospital, Ministry of Health and Welfare

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陳麗杏 CHEN, Li-Hsing 888888 2015 不鏽鋼 Stainless steel 42x136xH42cm

249

陳麗杏 CHEN, Li-Hsing 家的旋律 Rhythm of Home 2016 大理石 Marble 68x40xH39cm

250

251

曾凱智

Cliff TSENG (1974-) 1974

生於台灣嘉義

1974

Born in Chiayi, Taiwan

2003

畢業於國立台灣藝術大學美術系

2003

BFA, Fine Art Department Graduated, National Taiwan University of Arts

精選展歷

Selected Exhibitions

2016

2015

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

Remarkable Cultivation Art Museum, Tainan

「ART IN MIND 藝術展」， The Brick Lane Gallery ，倫敦，英國

“Happy Season” Group Exhibition, Galerie Berlin Baku, Berlin

「台灣當代一年展」，花博爭豔館，台北，台灣

“ART IN MIND” Group Exhibition, The Brick Lane Gallery, London

「生命太初 II—曾凱智創作展」，國立中正紀念堂志清廳台北，台灣

2014

“1st Taiwan Annual at Taipei-expo park”, Taipei 2015

“Life beginning - Tseng Kai-Chih Painting Exhibition”, National Chiang

2014

"Life•In Between- Tseng Kai-Chih Painting and Stamp Design

Kai-shek Memorial Hall, Taipei

「中法建交五十週年藝術酒標創作展」，法國；成都，中國「永遠の朋友展」，仙台多媒體藝術中心，日本；國立中正紀念堂，

Exhibition”, Postal Museum, Taipei

台北，台灣

“Forever smiling - China and France established diplomatic relations

「第十三屆台灣藝術家博覽會」，新光三越信義新天地展演中心，

50 anniversary artistic wine labels Art Exhibition”, France/Chengdu

台北，台灣

2009 2008 2007

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

「Happy Season—藝術特展」，Galerie Berlin Baku，柏林，德國

「馬年繪畫作品聯展」，廣州花園酒店，廣州，廣東

“Friends forever Exhibition”, Sendai Mediatheque, Japan; National

「生命之間—曾凱智繪畫創作暨郵票設計展」，郵政博物館，台北

Chiang Kai-shek Memorial Hall, Taipei

「In Between 2002-2009 曾凱智創作展」，信義公民會館，台北

Artist Fair, Shin Kong Mitukoshi Xinyi New Life Square, Taipei

英國 Saatchi Gallery 線上作品展「窗外—非洲樂園，2007 曾凱智創作首展」，太平洋文化基金會，台北，台灣

“New Painting Exhibition ”, The Garden Hotel, Guangzhou, China 2009

“In Between 2002-2009”, Xinyi Citizen Meeting House Art Center, Taipei

2008

“New Painting Exhibition”, Saatchi Gallery, UK

2007

“Outside of the Window - African Paradise”, Paciﬁc Cultural Foundation Art Center, Taipei

252

曾凱智 Cliff TSENG 生命太初 No.24 Origin of Life No. 24

2014 壓克力、炭精筆、紙板 Acrylic and conte crayon on canvas 107x80cm (x3)

253

曾凱智 Cliff TSENG 生命太初 No.49 Origin of Life No. 49

2016 壓克力、炭精筆、紙板 Acrylic and conte crayon on canvas 200x200cm

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255

吳東龍

WU, Tung-Lung (1976-) 1976

生於台灣台北

1976

Born in Taipei, Taiwan

2004

畢業於國立台南藝術學院造形藝術研究所，獲碩士學位

2004

MFA, Tainan National University of Arts, Tainan, Taiwan

精選展歷

Selected Exhibitions

2017

"Art Stage Singapore - Wu Tung-Lung Solo Exhibition", Marina Bay Sands

2016

"Contemporary Taiwan: An Exhibition of Abstract Art Classics",

2015

"Idealized Fiction - Wu Tung-Lung Solo Exhibition", Double Square

「Art Stage Singapore - 吳東龍個展」，濱海灣金沙會議中心，

Expo and Convention Center Singapore

新加坡 2016

「當代台灣抽象藝術經典展」，耘非凡美術館，台南，台灣

2015

「理想的虛構」，双方藝廊，台北，台灣

2014

「七張床」，就在藝術空間，台北，台灣

2013

「達夫鎮」，伊通公園，台北，台灣

2011

「灰色宇宙」，MOT/ARTS，台北，台灣

2014

"The Seven Beds", Project Fulﬁll Art Space, Taipei, Taiwan

「屈尺」，就在藝術空間，台北，台灣

2013

"Dufftown", IT PARK, Taipei, Taiwan

「記憶逐漸成為一種收藏」，非常廟藝文空間，台北，台灣

2011

"Gray Universe, MOT/ARTS, Taipei, Taiwan

2008

"Wu Tung-Lung's Solo Exhibition", VT Artsalon, Taipei, Taiwan

2007

"Wu Tung-Lung's Solo Exhibition", TAIYU Beaux Arts Salon, Chia-Yi, Taiwan

2005

"Clarity", Aki Gallery, Taipei, Taiwan

2004

"Image•Boundary•Conscious", Prototype Art, Tainan, Taiwan

2003

"Reveal Shimmer", Licence Art Gallery, Tainan, Taiwan

2008

Remarkable Cultivation Art Museum, Tainan, Taiwan

Gallery, Taipei, Taiwan

「卸 - 妝」，西帖國際藝術村，巴黎，法國 2007

「吳東龍個展」，泰郁美學堂，嘉義，台灣

"Quchi", Project Fulﬁll Art Space, Taipei, Taiwan

"Dé-maquillage", Cité Internationale des Arts, Paris, France

「夏日午後的片段」，伊通公園，台北，台灣

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2005

「Clarity」，也趣藝廊，台北，台灣

2004

「圖像．邊界．意識」，原型藝術，台南，台灣

2003

「微光溢出」，東門美術館，台南，台灣

"Fragments of a Midsummer's Afternoon", IT PARK, Taipei, Taiwan

吳東龍 WU, Tung-Lung 彩色線條 - 26 Color Line - 26 2015 油彩、畫布 Oil on canvas 120x245cm

257

關於耘非凡美術館

在城市與藝術相遇

闊通透的場域也能自成一格，此外，還設置了一間吸菸室，透顯藝術需要用心去看…，「耘非凡美術館」位於「耘非凡」大樓一

著貼心和多元性的空間。

樓店面，臨台南市衛生局，居台南市中心主要的幹道、40M 綠蔭大道林森路，是台南市居民日常生活所必經。在熙來攘往的熱

美術館大面的落地窗可看望社區景致，綠樹濃蔭、潺潺流水，偶爾

鬧地段，找到城市心靈的歸屬，豐富生活的靈感泉源。

耳邊響起啁啾鳥鳴，在觀看藝術中也能領略自然的生命力，並為當下所欣賞的作品憑添上美好意境，於此停駐多時更能放鬆心緒。

建築四面臨路，基地有謙讓的退縮和開闊的棟距，護城河環繞和綠蔭蔽天，進入社區即刻感受到一股沉靜的氛圍，忘卻戶外的繁華紛擾，在綠意與寧謐中，靜心觀看與欣賞藝術作品。

深入住宅領地的藝術載體「耘非凡美術館」基地位踞舊農業改良場原址，保留日治時期之市定古蹟，如此豐富之文化背景與地理條件，美術館的角色成為古今映照裡最美的連結，並也牽引出人與環境的新關係，如今在這裡為藝術留下了足跡。

住宅大樓的「耘非凡」覆以大片的綠地和生態水域環繞，配合人車動線分離，巧妙地隔離出私密與開放的居住環境，適度與古蹟、週遭環境對話，「耘非凡美術館」成為生活的一部份，也滲入了一絲歷史紋理的脈絡。

內外融為一境的展場領域擁有 400 坪、兩個樓層的「耘非凡美術館」，沒有空調設備，在此浸潤於自然風裡欣賞展品，一樓與二樓開闊的展場，運用虛牆分隔出幾個展區，使其相互穿梭、串聯，賦予空間一種流動性，舉辦聯展或多場個展都不顯衝突、不具違和感。

二樓咖啡區提供休憩的桌椅，也規劃了書櫃，讓這裡多了一份悠

258

閒和書香氣息。也可在二樓咖啡區舉辦專題講座與座談會，其開

About Remarkable Cultivation Art Gallery

Meet Arts in a City.

historic site and surrounding environment. In other words, “Remarkable Cultivation Art Gallery” has not only become a part of people’s life, but also

Arts need to be seen by our heart. Right on the opposite of Department

shown its abundant historical background.

of Health of Tainan City Government stands “Remarkable Cultivation Art Gallery”. This Art Gallery, which is on the ground floor of “Remarkable

An Exhibition Venue in and out.

Cultivation”, is situated on the 40m green boulevard, Linsen Road. Often visited by local residents, this artery of Tainan City is not only where we ﬁnd

The four-hundred-ping and two-floor “Remarkable Cultivation Art Gallery”

the spirit of this City, but also a source where we ﬁnd inspirations that enrich

does not have air conditioner as it was designed to let visitors to relish

our life.

artworks in the great nature. The extensive exhibition venue on the ﬁrst and second floors are divided into several exhibition areas with virtual walls,

With four sides surrounded by roads, the base has not only kept an

enabling them to be freely connected. Such design has created a ﬂowing

appropriate distance from surrounding areas, but also adopted a moat-

space and prevented conﬂicts and uncomfortable feeling when holding a

and greenery-surrounded design with well-organized space in between its

joint exhibition or a number of individual exhibitions.

building. This has created a calm atmosphere that enables people to forget the bustling world outside and relish artworks in a wonderful garden view

The cafeteria on the second ﬂoor is equipped with tables, chairs and book

with a peaceful mind.

shelves, creating a leisure atmosphere for relaxing and reading. Besides, It is possible to hold lecture and seminar in the cafeteria as this open and

An Art Carrier that Goes Deep into a Residence.

extensive venue also shows its uniqueness. This area is also designed with a smoking room, showing the attentiveness and diversity of this space.

Originally known as the old Agricultural Research and Extension Station, the

The art gallery’s large and extensive french windows have provided a green

base of “Remarkable Cultivation Art Gallery” has preserved the municipal

view of the base. With flowing water and bird sings in the background,

historic site built during the Japanese domination period. With such

visitors can not only feel the vitality of nature, but also relax their mind and

abundant cultural background and geographical conditions, the art gallery

experience the wonderfulness of artistic conception delivered from the

not only shows a beautiful connection of the past and present, but also

artworks.

builds a new relationship between people and environment. That is, to leave their footprints for arts.

The residential building “Remarkable Cultivation” is covered with extensive greenery and surrounded by ecological water ponds. Together with a design that separates pedestrians and vehicles, it has divided the base into private and open residential environment, ingeniously showing its connection with

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國家圖書館出版品預行編 (CIP) 資料當代臺灣抽象經典展 / 蕭瓊瑞總編輯 . -- 初版 . -新北市 : 采泥國際文化 , 2017.03 246 面 ; 26x25 公分 ISBN 978-986-88449-9-5( 精裝 ) 1. 抽象藝術 2. 畫冊 949.6

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