None-Space Original, Source, Roun d Jo Hsieh
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目錄 Contents
序文 Forewords
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一顆潛藏於藍色深海的明珠 A Shiny Pearl Hidden in the Depths of the Deep Blue Sea 林清汶 Vincent Lin
創作脈絡 The Thread of Creation
原、源、圓 －「非空間」的藍色美學 Original, Source, Round - The Blue Aesthetics of "None-Space"
作品圖錄 Artworks
藝術家簡歷 Biography
圖版索引 Index
008 010 013 096 102
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序 文
一顆潛藏於藍色深海的明 珠 林清汶
采泥藝術總經理
我認識 Jo 很久了，我常說我們有著跨世紀的緣分。回顧90年代的當下，
一個來自臺灣的單身女子，
隻身遠赴英倫奮鬥，用一枝畫筆克服鄉愁，克服拮据的經濟生活，無視種族 不公。一個孤高輕
視，隱忍所有的委屈與
的身影，大多數的時間就是拿著畫筆，還有一根煙，不停的畫，把還沒說的或是
沒機會說出的話，全部畫在畫布裡，多半的時間總是在沈默中度過，時間一過就是二十多年。
二十年多來，
前後完成了皇家藝術學院的碩士學位、費爾茅斯藝術學院的藝術哲學博士學位，更
因為精湛的創作能力與才華，獲得英國王室策封為「Royal College of Art LADY」的殊榮。此時的 受到國際畫廊的青
，紛紛登門拜訪，尋求與
合作的機會。然而，
卻因為對於藝術理念的堅持、
個人作品的重視，以及個人創作自主權的捍衛，始終無法找到合適的畫廊合作 我，一方面憂慮 錢而創作的，
個人的經濟問題，一方面打從心裡佩服
也
伴。那時身為好友的
對於作品以及創作理念的執著。
是不為
很像一匹馳騁於原野的駿馬，一心尋求志同道合的伯樂。或許曲高和寡，孤峰頂上，
總是孤獨陪伴的多。然而如果放棄個人理念，就等於失去了創作的價值，於是 頓，在藝術創作道路上毅然孤行，繼續潛藏於自己的知識之海。
無畏經濟條件的困
博覽群書，儼然是一位精神貴族，
再將精通的東西哲學思想轉化成創作的能量與靈感，發展多元的創作主題與風格。儘管生活條件的嚴 苛，
卻從不被利益沖昏了頭，儘管
情感豐沛，卻也有理性且敏銳的思維，身為一位藝術家，
道真正需要捍衛的價值是自己的創作，而且
對我而言，Jo的作品是很令人著迷的。
不妥協，二十年來如一日。
知
是Jo的藝術家性格。
的藍色粉末系列，在一片純藍的世界裡，有著大海深邃般的
神秘，也有如天空廣闊的無盡無盡，在一種高貴的視覺質感中，直抵個人內心，企及精神的平衡與寧
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靜。
的太極系列則在油彩的運筆經營中，表現動感中的平衡勢態，既是盡情揮灑，也是均衡對稱。
的鉛筆畫則在寥寥幾筆中畫出一種簡約的美學，有時令人莞爾一笑，有時有著細嚼的品味。我有時 候就會坐在Jo的作品前面，一坐就是一個片晌，沒有說太多話，就是靜靜的看。Jo的作品本身就有太多 話可說，無以名狀的，看久了，心中就有一種莫名的感動，深入我心。Jo 的作品一向不討好市場， 走
自己的調，若是覓得頻率相近的有緣人，一見成知音，時間再久也經得起考驗。其實，
發想、技法、構圖早已不在話下，在
個話說創意突破但風格卻趨於雷同的藝術時代，Jo 的創作語彙
已自成一格。然而，在作品獨特性的背後，還有一股誠懇率真的心意觸動人心。如果知道 品，是
的創作
徒手將粉末一層層的抹上畫布，不假他人之手，不
另外一件藍色作品，只差沒中藍色的毒。當觀者走入
的粉末作
工減料，作品完成了，整隻手儼然成為
的湛藍世界，
的「非空間」裡，就會體會到
一種純然的真實，就像徜徉於曠野般的自在與無拘，呼吸到自由的味道，令人心嚮往之，無法忘懷， 就是Jo的作品風格。
時光荏苒，一過就是二十年，Jo 如同一顆潛藏於藍色深海的明珠，不斷的吸取養分，在時間與環境的 淬鍊之下，日漸成熟，即將散發屬於
的光
。
次在采泥的藝術殿堂中，我很高興也很榮幸和大家
一起欣賞Jo的藍色風華，我也樂見其成。回顧過往，一位傑出藝術家的辛苦養成，如同電影倒帶重現 我眼前，我見證一顆明珠如何從潛藏醞釀到閃耀發光的過程。做為一個藝術經理人，做為一個藝術愛 好者，做為一位Jo的多年好友與粉絲，我竭誠邀請大家一起進入Jo的藍色「非空間」世界，體驗淬鍊過 後的純粹，在藍色的輕盈、自由中尋求心靈暢快的美好，真正體驗人生的自在與美妙。
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Forewords
A Shiny Pearl Hidden in the Depths of the Deep Blue Sea Vincent Lin General Manager, Chini Gallery
I ’ve known Jo for a long time, and often joke that we were fated to meet. I think back to the 90s when she was a single Taiwanese girl, struggling alone in faraway London, England. She used her paintbrush to overcome her homesickness as she struggled against straitened economic circumstances and racial discrimination, silently enduring all grievances and unjustness cast her way. She cut a slight, proud figure in her aloofness, seen most often with either paintbrush or cigarette in her hand. She was constantly painting, pouring all the words she hadn’t yet said or the words she didn’t have the opportunity to say into her canvases, passing the better half of her time mired in silence; twenty years have gone by since then. Within these two decades, she both started and finished her Master’s degree at the Royal College of Art, and went on to achieve her PhD from Falmouth School of Art. Owing to her exquisite creative talent, she was then made an Honorary Fellow of the Royal College of Art. It was around this time that she began to attract the attention of international galleries, who one after another called on her, seeking opportunities to collaborate. However, due to her firm commitment to her personal artistic principles, the value she placed on her own works and also her desire to safeguard her creative autonomy and integrity, she was never able to find a suitable gallery to work alongside. As her good friend, I was at once worried about her personal financial problems, but also admired her utter devotion to her work and creative principles from the bottom of my heart. She does not create for the sake of earning money: she is a free spirit, and seeks only the appreciation of like-minded souls. Perhaps it is simply that difficult songs find few singers. Those who stand on the pinnacles are always accompanied first by their loneliness. However, if you let go of your personal principles, then the true value of art is lost. Jo never feared economic troubles or that the artistic road she travelled was a lonely one, but, instead, continued, ever subsumed in the sea of her own knowledge. She read extensively and attained a kind of spiritual nobility, and then transformed the philosophical concepts she studied so assiduously into creative energy and inspiration. From this she developed her many creative themes and styles. No matter how harsh her living conditions were, her head was never muddled by lures of profit - despite her own emotional nature, Jo is an acute, rational thinker. As an artist, she knew that the true value lay with her creative vision, and she has been uncompromising in defending its integrity for twenty years. This is Jo’s artistic character. In my opinion, Jo’s artworks have a captivating quality. The pure blue world of her Pigment series has the mystery
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of the seas, but also the limitless vastness of the skies. The grandeur of the pieces touches the soul of viewers, and represents a striving for spiritual balance and tranquillity. Her Tai Chi series, done in oil paints, are, conversely, an expression of the equilibrium that is to be found in dynamism, since unrestrained expression contains within it a balance and a symmetry. Her pencil drawings display a concise artistry expressed in just a few elegant lines: pieces which sometimes brings a smile to the face, or sometimes leaves one pondering their meaning. I sometimes sit before one of Jo’s pieces, and find that as I sit, quietly watching, time has flown by. Jo’s works themselves have so much to say that I cannot myself describe it. Yet, after viewing a while, I find myself strangely moved as though they have touched my very heart. Jo’s works have never been very commercial, she sings to her own tune. When she meets someone who marches to the same beat, they will become instant friends and the relationship will only grow deeper with time. In the age of modern art, which forever claims to be pushing the boundaries and yet the works produced seem ever more similar in style, Jo’s creative vocabulary is unique. However, behind the distinctiveness of her creations there lies a sincerity and candidness that is truly moving. To create her pigment works, Jo dusted each individual layer by hand onto the canvas, never daring to entrust the work to another and never stinting on the work. By the time the works were done, her hands themselves had been transformed into another blue artwork, so drowned were they in the blue poison. When viewers enter into the azure world of Jo’s None-Space, they will encounter pure, honest truth, as though they wander at their ease through a wilderness, breathing in the free air. They leave both unable and unwilling to forget: this is Jo’s artistic style. Time softly slips by, and in the blink of an eye, 20 years have slipped by. Jo, like a pearl hidden in the deeps of the deep blue sea, has been moulded by time and environment and grown mature and now her light is ready to shine. With this exhibition at the Chini Gallery, I am delighted and indeed honoured to be able to share Jo’s blue magnificence with the world; and very happy to have the chance to see her works myself. As I reflect on the past and the hard times that have forged such an outstanding artist, like a film rewinding before my eyes, I see the process by which a bright pearl hidden in the depths of the ocean grows and develops, until it now glows in the light. As an artistic director, as an art lover, as Jo’s friend and fan of long years, I wholeheartedly invite all to enter the blue world of Jo’s None-Space and to experience for themselves the purity she has created from hardship. In the beauty of blue and the carefree quest for spiritual solace it represents, we can truly experience the liberty and wonder of life.
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非空間
原，源，圓
影子
音樂
水
時間
點、線、面
視覺錯覺
Original, Source, Round
Shadow
Music
Water
Time
Points, Lines, Planes
Optical Illusions
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Physics
物理
None-Space
Psychology
心理
日記
易經
四季
詩
結
慾
狀態
空即是滿 滿即是空
Diary
Book of Changes
Four Seasons
Poetry
Ties
Passion
Status
Nothingeness is Rich in its In Fullness is Found Nothing
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原 「原子論 (Atomism)」，西元前六世紀古希臘發展出的自然哲學思想，主張「原子」與「虛空」是世界 生成的要素。極小的、不可再細分的「原子」構成宇宙萬物，而「虛空」則是原子運動的場所和必要 條件。原子在虛空中急劇而零亂地運動，互相的
撞與結合，世界於是生成。
「粉末」，如原子般的微小顆粒，建構Jo Hsieh (謝貽娟)的「非空間（None-Space）」世界。
源 「非空間」是Jo Hsieh (謝貽娟)以擅長的藝術語言對人生提出哲學性的思考－生活世界不 世界，也存在於可視與無形的世間存在，端視我們如何超脫肉眼擬象的遮
外在於肉身
，開啟全新的感知系統與
思維頻率對應著嶄新的世界。 「藍色」的構成則是與內心深處的對話，向本源追溯到精神與靈魂，無關乎情感和動作的純精神境 界，情感的凝
，宛若海底的寧靜與安詳，超於物外，情感與意欲收歸至寧靜合雅的境界。
圓 「天圓地方」是「非空間」的視覺圖示，浩瀚無涯的空間和無窮盡的時間綿延，精鍊的抽象符號語 彙，收束人生的繁複龐雜於藍色單聲音頻，低谷細鳴的共振，撫平內在激盪的心波，是平心靜氣的抒 懷。 藝術，如果誠如德國哲學美學家叔本華(Arthur Schopenhauer, 1788 - 1860)所言，是一種暫時的逃脫，遠 離現實生活意志無所不在的欲求。那麼在「非空間」中，有
麼一個時刻，可以泅泳於粉末的藍色意
識之中，細品生命意義的深邃，然後我們會發現，原來生活所欲企及的精神圓滿，其實俯拾即是，就 在你我之間。
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Original, Source, Round The Blue Aesthetics of "None-Space"
Original Atomism is a natural philosophy with its origins in 6th century BC Ancient Greece. Advocates of this philosophy believed the earth is made up of two vital elements: the ‘atom’ and the ‘void’. The tiny, indivisible atoms make up everything in the universe, while the ‘void’ is the space in which atoms move, an essential condition. Atoms move rapidly and without any order within the void, colliding and combining, thus generating the earth. ‘Pigment’, a miniscule particle like the atom, makes up Jo Hsieh’s world of ‘None-space’.
Source ‘None-space’ is a philosophical idea that Jo Hsieh has presented to the world through the language of art in which she is proficient. The world of life exists not only in the corporeal realm of the body, but exists also in the visible and invisible world. It depends on how we transcend the obstruction that is our eyes’ perceptions, and open up a whole new system of perception and frequency of thought to deal with this new world. The composition ‘Blue’ is a dialog with the deepest parts of the mind, searching for the origins of the soul and the spirit. The pure spirit world, removed from feelings and action; a condensation of emotion, tranquil and peaceful as the ocean floor – it transcends the material, with emotions and desire returning to rest in serene harmony.
Round ‘The Sky Is Round And The Earth Is Square’ is a visual diagram of ‘None-space’; in the vast boundlessness of space and the endless continuity of time, with the refined vocabulary of abstract symbolism, the enormous complexity of life is brought together within the monotony of ‘blue’. Like a low resonant rumble, it is an expression of serenity, a calming of the rash urges of the heart. The German philosopher Arthur Schopenhauer (1788-1860) believed that art is a temporary escape from the omnipresence of desire. Such a moment is found in ‘None-space’: one can be in the blue consciousness of pigment, the profound meaning of life. We may then find that the consummate spiritual satisfaction that we sought in life is in fact everywhere, right here between you and I.
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作 品 Artworks
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【藍色】 — 「顏色」是空間的要素。 Blue - "Color" is the element of space.
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None-Space P16 Φ 18 cm, 2002 藍礦石粉末、木板 Pigments on board
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我個人對藍色有極深的偏愛，總覺得藍色會講話，好神秘，不可思議，透明 卻又很深遐......就像聽著Maria Callas (1923-1977)的聲音般被環抱著，很近卻 又遠遠地。
I personally have a profound attachment to the colour blue. I have always felt that blue is
a colour that can speak, that is mysterious, unfathomable, transparent yet deep... Like the
experience of listening to the voice of Maria Callas (1923-1977) it encompasses all, and is at once close and immeasurably distant.
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None-Space P23 Φ 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P43 46 x 60 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P41 31 x 40 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P32 20 x 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P12 38 x 58 cm, 1998 藍礦石粉末、紙 Pigments on paper
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None-Space P17
▲
None-Space P18 None-Space P19 13.5 x 84 cm x 3, 1990-2003 藍礦石粉末、木板 Pigments on board
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1997年時，一個人坐在開往西班
的火車上，望向窗外看到滿天的藍，清澈
的河水倒映著各種不同的藍，那樣的光、影、色，打從心底深處的激動，如 此的純粹…，自那時起，藍色就更深深的烙印在我心底最深的那一塊兒。 I remember in 1997, sitting alone on a train bound for Spain, looking out of the window on a perfect blue sky. The limpid waters of the river below reflected back a myriad of different
blues: light, shadow and color so utterly pure they stirred the very abysses of the soul. Starting from that moment, blue branded itself onto the deepest corners of my heart.
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None-Space P9 20 x 30 cm, 1998 藍礦石粉末、紙 Pigments on paper
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None-Space P11 38 x 58 cm, 1998 藍礦石粉末、紙 Pigments on paper
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None-Space P50 82 x 112 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P51 77 x 254 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P45 62 x 92 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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藍色可以如淺藍般的透明，也可以如湛藍般的深邃；可以隨著心情、意識的 不同而改變面貌，隨著環境的轉變而產生明暗的變化。 Blue can take on the transparency of the clearest, lightest blues, or the depth and darkness of the purest azure. In its purity, blue is able to change its appearance to suit the changes of mood and consciousness of the viewer; according to the variance of its surrounding environment it transforms itself in light and shade.
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None-Space P40 31 x 40 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P53 21 x 30 cm, 1999 藍礦石粉末、畫布 Pigments on canvas
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None-Space P33 20 x 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P49 20 x 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P39 30 x 30 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P25 20 x 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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藍色是沈靜的，不張狂的，一種理性的姿態，一種精神上的穩定，一種身心 靈上的平衡。 Furthermore, blue is calm and tranquil, it is never insolent nor arrogant. It is a rational state, expressing a kind of spiritual stability and a striving for balance between body and soul.
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None-Space P24 Φ 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P28 Φ 30 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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藍色，是一種哲學的顏色。 Blue is the colour of philosophy.
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None-Space P29 Φ 40 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P36 Φ 30 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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【非空間】 "None-Space" 我篤信有
麼一個空間的存在，「非空間」是存在於每一個人的心中。
I believe firmly in the existence of both ‘space’ and ‘None-Space’ which exists within the heart of each and every person.
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None-Space P03 Φ 120 cm, 2002 藍礦石粉末、畫布 Pigments on canvas
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對於「非空間」，可以從每一個地方去感覺它，身體、眼睛、手、心、整 個人。完整的人都和
個神祕的 "SPACE" 有著神祕的聯繫。
One can perceive ‘None-space’ with any part of the body: the eyes, hand, heart, or
even the body in its entirety. Any whole person has a mysterious relationship with the mysterious concept of ‘SPACE’.
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None-Space P27 20 x 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P34 20 x 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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走向「非空間」的旅程是無止境的，它，就在那裏，一直都在那裏，就像 海。一個感覺的海，你跳進去，與它合而為一，就像一滴水，滴進大海裡 與它合而為一，
並不意味著我或你，知道整個海洋。對了，一片雲在天
空裡，並不表示它知道整個天空。 The journey towards ‘None-space’ is an endless one; it is there, always just there, like the sea. An imagined sea – you jump into it and become one with it, like a drop of water being absorbed into the ocean. This doesn’t mean that you or I can know the whole ocean. Indeed, a cloud in the sky never says it knows the whole sky.
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None-Space P38 30 x 30 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P21 Φ 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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「非空間」是內心的、心靈的、精神的、充滿的、亦是空無的，是愉悅的、 是沒有造形的、沒有形體、是清澈的，像霧般強求不得的，是自然的，會 飛，是沒有時間的，是抽象的，是沒有定律的，更是沒有邊際的、無限的、 美的！ None-Space is interior, it is thought, it is consciousness, it is completeness and it is also
nothingness. It is intuitive, it is happiness, it has no shape, it has no body. It is limpid, and, like fog, it never makes demands. It is natural, it flies, it is timeless, it is abstract and has neither laws nor limits, it is infinite, and it is beauty!
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None-Space P35 Φ 30 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P37 30 x 30 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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「非空間」vs. 藍色礦石粉末 'None-Space' vs. blue pigment.
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None-Space P26 20 x 20 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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藍色礦石粉末，是那麼的原始、純粹，如此深邃卻又好像看透一切，呼應著 存在於心底深處的「非空間」。 The quality of blue pigment is both original and pure, and its colour is vivid and yet fully transparent.
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None-Space P42 45 x 51 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P07 30 x 30 cm,1999 藍礦石粉末、畫布 Pigments on canvas
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None-Space P52 20 x 20 cm, 1999 藍礦石粉末、畫布 Pigments on canvas
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「自我；無我」，對於許多人而言好像是永無休止解開的難題，事實上它 不是無法解決的問題，解釋「自我；無我」並不難，它是「非空間」裡的 精髓。 Ego: non-ego; self: selflessness; for many people, this is a problem that can never be
untangled. In truth, it is not irresolvable. Explaining ‘ego; non-ego’ is not hard. It is the essence of None-Space.
None-Space P46 120 x120 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P47 168 x 234 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P08 120 x 120 cm, 2000 藍礦石粉末、畫布 Pigments on canvas
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None-Space P05 91 x 91 cm, 2002 藍礦石粉末、畫布 Pigments on canvas
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假使我們有透視「無我」的能力，就能廣泛且透徹地曉知事物的真理，使我 們明白世界沒有不尋常的事物，無須執著或迷戀，也不會被任何事物所左 右。也只有當心靈不再執著於「自我」的觀念，甚至也不執著於任何的時 候，那才是最祥和、純淨。 If we had the ability to see through ‘non-ego’, we would be able to see the truth of all things with wide and penetrating insight. We would be able to comprehend the extraordinariness inherent in all things, free from attachment and infatuation, uncontrolled by anything. It
only needs that care is taken so that the soul does not reattach itself to the concept of ‘self’ or indeed to any other time or thing. This is the state of calm and of purity.
None-Space P01 120 x 120 cm, 2002 藍礦石粉末、畫布 Pigments on canvas
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None-Space P02 Φ 90.5 cm, 2002 藍礦石粉末、畫布 Pigments on canvas
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None-Space P04 91 × 91 cm, 2002 藍礦石粉末、畫布 Pigments on canvas
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None-Space P48 168 x 234 cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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心理學的觀點認為「潛意識的世界是自由、純真、原始，畢竟意識中的精神 狀況往往被抑制，只有潛意識的活動才是最能接近自我。」我只想順其自然 讓「非空間」裡的Jo Hsieh完全的發揮，不用擔心萬象會被破壞，因此它是透 明的、軟的、會反射！
‘The world of the subconscious is free, pure, primitive, but is suppressed by the conscious
mind. It is only subconscious activity that can approach ego (self ).’ As for how I can realise my own creative assignment, I can only let nature take its course. I must allow the None-
Space Jo Hsieh to fully express herself, without fear of the consequences, as None-Space is transparent, flexible and in its depths is reflected everything!
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None-Space P20 Φ 3.5 cm, 1999 藍礦石粉末、兵乓球 Pigments on table tennis
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純粹的、單純的！ It is pure, and simple!
Jo Hsieh
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2013.3, 藍 ∞ 2013.11, Art Taipei 096
2013.10, None-Space 097
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艺术家简历 Biography
謝貽娟 1967 年生於臺灣嘉義，1991年負
英國倫敦，陸續完成英國皇家藝術學院（Royal College of Art U.K）
碩士學位與費爾茅斯藝術學院（Falmouth college of Art）藝術哲學博士學位。因精湛的創作力，驚豔 英國皇室，被封為「Royal College of Art LADY」。其創作風格受「多重空間」理論及東西方哲學的影 響，發展出「非空間」（None-Space）的概念，進而成為一種超越具象的新型態創作。「非空間」的 觀念融合東方禪學、西方哲學，以及人類心理與心靈三個層面，由此架構出一個純粹而自由的精神世 界。
Jo Hsieh Born in Chiayi, Taiwan in 1967, she graduated from the Royal College of Art and Falmouth college of Art in the U.K. Her creative style has been influenced by the theory of “multiple space” and eastern philosophy, developing the concept of“None-Space”, which has come to be a kind of new creation which supersedes the concrete or impressionistic. The concept of“None-Space”fuses the three levels of Eastern Zen philosophy, Western philosophy, as well as human psychology and spirit, thereby constructing a pure and free spiritual world.
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學 歷 獲 獎
2002
英國費爾茅斯藝術學院藝術哲學博士
1998
英國皇家藝術學院碩士
1996
英國喬爾西藝術設計學院學士
2002
英國Art Review雜誌藝術獎首獎
1997
個 展
「國際學生版畫展」(推薦獎)
費爾茅斯，英國
「第19屆神奈川國際版畫獨立展」(入選)
神奈川，日本
1996
「第10屆首爾國際版畫雙年展」(優選)
漢城，韓國
1995
「第21屆國際版畫雙年展」(入選)
盧布亞爾納，斯洛維尼亞
1994
「41屆阿都吉(Adogi)袖珍版畫、國際版畫展」(入選)
西班牙
「國際學生版畫」(特優獎)
桑德蘭，英國
「台北藝術博覽會」
臺北，臺灣
「高雄藝術博覽會」
高雄，台灣
「台中藝術博覽會」
台中，台灣
「台南藝術博覽會」
台南，台灣
「藝術澳門博覽會」
澳門，中國
2013
2012 2003
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英國
None-Space 非空間，采泥藝術
臺北，臺灣
非空間101，台北101尊榮俱樂中心
臺北，臺灣
「藍 ∞」，采泥藝術
臺北，臺灣
「心靈空間」，采泥藝術
臺北，臺灣
None-Space，Michael Goedhuis當代畫廊
紐約，美國
2002
Blue Eyes，Michael Goedhuis當代畫廊
倫敦，英國
1999
Mindscapes In Blue，Plateaux畫廊
倫敦，英國
「臺北藝術博覽會」
臺北，臺灣
1998
Revealing the lmage，Wiseman 畫廊
牛津，英國
1997
Jigsaw時裝展
倫敦，英國
Time & Space，Stevens畫廊
倫敦，英國
聯 展
「英國國家大型版畫展」
倫敦，英國
1994
「喬爾西市政廳版畫展」
倫敦，英國
2012
「入厝」，采泥藝術
臺北，臺灣
2005
「倫敦夏日藝術博覽會」
倫敦，英國
2002
「倫敦藝術博覽會」
倫敦，英國
「紐約國際藝術+設計博覽會」
紐約，美國
「邁阿密藝術博覽會」
邁阿密，美國
「棕梠灘珠寶及古董展」
邁阿密，美國
「棕梠灘藝術博覽會」
邁阿密，美國
「紐約國際亞洲藝術博覽會」
紐約，美國
「The Grosvenor House藝術與古董博覽會」
倫敦，英國
「20世紀國際藝術博覽會」
紐約，美國
「買得起藝術博覽會」
倫敦，英國
「當代素描藝術展」，The Mall畫廊
倫敦，英國
「皇家藝術學院版畫、雕塑聯展」
倫敦，英國
2000
1999
1997
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Educational Backgrond
2002
PhD, Falmouth College of Art
U.K
1998
MA, Royal College of Art
U.K.
1996
BA, Chelsea College of Art and Design
U.K.
Prizes and Awards
2002
Art Review Arts Award (First Prize)
U.K.
1997
Student International Print Exhibition Competition (Highly Recommended)
Falmouth U.K.
The 19th Kanagawa International Print Exhibition
Kanagawa, Japan
1996
The 10th Seoul International Print Biennale (Competition Finalist)
Seoul, Korea
1995
The 21st International Biennale of Graphic Art
Ljubljana, Slovenia
1994
The 41st Adogi Mini Print International De Casadaqugs Printmaking Exhibition (Competition Finalist)
Spain
Open to Print Student Printmaking Competition
Solo Exhibition
2013
2012
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(Competition Finalist)
Sunderland, U.K.
Art Taipei
Taipei, Taiwan
Art Kaohsiung
Kaohsiung, Taiwan
Art Taichung
Taichung, Taiwan
Art Tainan
Tainan, Taiwan
Art Macao
Macao, China
None-Space, Chini Gallery
Taipei, Taiwan
None-Space101, Taipei101
Taipei, Taiwan
Beyond Blue, Chini Gallery
Taipei, Taiwan
Mind Space, Chini Gallery
Taipei, Taiwan
Group Exhibition
2003
None-Space, Michael Goedhuis Gallery
New York, U.S.A.
2002
Blue Eyes, Michael Goedhuis Gallery
London, U.K.
1999
Mindscapes In Blue, Plateaux Gallery
London, U.K.
Taipei Art Fair
Taipei, Taiwan
1998
Revealing the Image, Wiseman Gallery
Oxford, U.K.
1997
Jigsaw Clothing Company
London, U.K.
Time & Space, Stevens Gallery
London, U.K.
The Large Edition a Survey of British Printmaking
London, U.K.
1994
Printmaking Exhibition, Chelsea Town Hall
London, U.K.
2012
Moving In, Chini Gallery
Taipei, Taiwan
2005
Summer Art Fair
London, U.K.
2002
London Art Fair
London, U.K.
The International Art and Design Fair
New York, U.S.A.
Art Miami
Miami, U.S.A.
Palm Beach Jewellery & Antique Show
Miami, U.S.A.
Art Palm Beach
Miami, U.S.A.
The International Asian Art Fair
New York, U.S.A.
The Grosvenor House Art & Antique Fair
London, U.K.
International 20th Century Art Fair
New York, U.S.A.
2000
1999
Affordable Art FairLondon, U.K.
1997
Exhibition and Draw of Contemporary Art, The Mall Gallery
London, U.K.
Royal College of Art Printmaking and Sculpture
London, U.K
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图版索引 Index
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None-Space P16 Φ 18cm, 2002 藍礦石粉末、木板 Pigments on board
None-Space P23 Φ 20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P43 46x60cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P41 31x40cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P32 20x20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P12 38x58cm, 1998 藍礦石粉末、紙 Pigments on paper
None-Space P9 20x30cm, 1998 藍礦石粉末、紙 Pigments on paper
None-Space P11 38x58cm, 1998 藍礦石粉末、紙 Pigments on paper
None-Space P50 82x112cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P17 13.5x84cm, 1990-2003 藍礦石粉末、木板 Pigments on board
None-Space P18 13.5x84cm, 1990-2003 藍礦石粉末、木板 Pigments on board
None-Space P19 13.5x84cm, 1990-2003 藍礦石粉末、木板 Pigments on board
None-Space P51 77x254cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P45 62x92cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P40 31x40cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P53 21x30cm, 1999 藍礦石粉末、畫布 Pigments on canvas
None-Space P33 20x20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P49 20x20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P39 30x30cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P25 20x20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P24 Φ 20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P28 Φ 30cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P29 Φ 40cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P36 Φ 30cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P27 20x20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P34 20x20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P38 30x30cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P21 Φ 20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P35 Φ 30cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P37 30x30cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P22 Φ 20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P30 Φ 60cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P31 Φ 60cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P44 Φ 60cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P26 20x20cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P42 45x51cm, 2013 藍礦石粉末、畫布 Pigments on canvas
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None-Space P07 30x30cm,1999 藍礦石粉末、畫布 Pigments on canvas
None-Space P52 20x20cm, 1999 藍礦石粉末、畫布 Pigments on canvas
None-Space P46 120x120cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P47 168x234cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P08 120x120cm, 2000 藍礦石粉末、畫布 Pigments on canvas
None-Space P05 91x91cm, 2002 藍礦石粉末、畫布 Pigments on canvas
None-Space P01 120x120cm, 2002 藍礦石粉末、畫布 Pigments on canvas
None-Space P02 Φ 90.5cm, 2002 藍礦石粉末、畫布 Pigments on canvas
None-Space P04 91×91cm, 2002 藍礦石粉末、畫布 Pigments on canvas
None-Space P03 Φ 120cm 2002 藍礦石粉末、畫布 Pigments on canvas
None-Space P48 168x234cm, 2013 藍礦石粉末、畫布 Pigments on canvas
None-Space P20 Φ 3.5cm, 1999 藍礦石粉末、兵乓球 Pigments on table tennis
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非 空 間
原源圓
系列
原．源．圓／謝貽娟作.──初版.──臺北市：
None-Space
采泥藝術, 民102.11
Original, Source, Round
108 面 ; 25X25公分 ISBN 978-986-88499-4-5 (精裝) 1.西洋畫 2.抽象藝術 3.畫冊 947.5
102022820
藝術家
謝貽娟
Artist
Jo Hsieh
發行人
林清汶
Publisher
Vincent Lin
執行編輯
杜綺文 曾金鈴 何立心 黃筱茹
Executive Editor
Audrey Tu, Lillian Tseng, Lihsin Ho, Aura Huang
設計
Fritz Lee
Designer
Fritz Lee
色彩工程
王秀蘭 李致聞
Color Engineering Hsiulan Wang, Fritz Lee
藝術行銷
李朝馨 林家妤
Marketing
Sabrina Lee, Naomi Lin
翻譯
凱勁中英翻譯服務有限公司
Translator
Kevin’s Chinese-English Translation Service
發行
采泥藝術
Published by Chini Gallery
臺北市大直敬業一路128巷46-48號1樓
1F, No.46-48, Ln 128, Jingye 1st Rd., Zhongshan Dist.,
Tel: 886-2-7729-5823
Taipei City 10462, Taiwan
Fax: 886-2-8502-5715
Tel: 886-2-7729-5823
http://www.chinigallery.com
Fax: 886-2-8502-5715
https://www.facebook.com/chinigallery
http://www.chinigallery.com https://www.facebook.com/chinigallery
印刷
采泥藝術事業股份有限公司 新北市中和區建康路160號11樓
Printed at China Graphic Art Corporation
Tel:886-2-2221-9969
11F, No.160, Jiankang Rd., Chungho Dist, Taipei County
Fax:886-2-2226-4622
23585, Taiwan Tel: 886-2-2221-9969
出版日期
中華民國一零二年十一月 初版
國際標準書號
978-986-88499-4-5
定價
新台幣 800 元
版權所有 翻印必究
Fax: 886-2-2226-4622
Publishing Date : November 2013 First Print
ISBN
978-986-88499-4-5
Price
TWD 800
All rights reserved.
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