Boundary Maze
Solo Exhibition 2014
胡 朝 聰 Hu Chau-Tsung
一場置身邊緣的觀看探險 文／
張禮豪
藝評人
Bo und a ry M az e
那個時候，我們的世界還有許多未知的空白，而且每個空白都如此的誘人。 ─ 康拉德《黑暗之心》
An Adv entu re o f Se e i ng W h e n One S t an ds at t h e E d g e
在數位時代全面來臨以前的地圖製作，是由許多專 職描繪的人，盡可能地蒐集了到各地歷險、幸運歸 來的旅人口述的種種情報，在點著煤油燈的無數個 夜晚，把想像的世界樣貌投影在羊皮或者紙上，並 且彌足珍貴地只能提供王公貴族閱覽、使用。但可 以肯定的是，無論是根據哪一種描製方法，最終的 成果總是會出現失真變形之處。即使到了現在，由 人造衛星攝影照片、向量地圖，甚至 3D 立體鳥瞰等多種方式交疊而成的數位地圖，雖有即時查 詢之便，但不僅在某些涉及軍事機密或者特殊狀況的地點刻意隱而不顯，另一方面資料更新的 速度也由於整合上的諸多困難，讓號稱最全面的世界地圖始終無法完備，而這些闕漏的塊面也 會隨著時空更迭而有所增刪，儼然一個巨大的迷宮，不斷地移轉著最終的出口。
當然，或許很多人都會對於環境一直變化，而隨之感到納悶、困 惑，百思不得其解；又或者覺得無奈、遺憾，甚至帶著一絲絲世 事無常的惆悵。但對某些人而言，空間是人類心靈感 知的體現， 充滿了動能與創造性，同時也是抵抗與批判的最佳位置。前述看 似充滿諸多不確定性的情況，卻毫不妨礙像是哥倫布（Christopher Columbus，1451-1506）這樣心懷夢想的探險家，縱然明知海象險 惡，且盡頭處很可能就是當時水手們謠傳的無窮深淵……還是固 追尋幻境的旅程 2013 壓克力、畫布板 100.5×100.5cm×2（100 號）
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執地拿起完全沒有方向指引的地圖，展現朝向地球邊緣前進的大 無畏決心。
遷途 2014 壓克力、畫布板 80.3×160.2cm（64 號）
誠如美國文化評論家貝兒•胡克斯（bell hooks，她堅持自己的名字小寫）回憶起童年居住的社區， 在鐵道的分隔下，劃分出種族與社會階級截然不同的兩個世界，人們由於置身於邊緣空間而產 生了想像的力量。她說：「我們同時從外面向內看，以及從裡面朝外看。我們的注意力既擺在 邊緣，也放在核心。……這種觀看模式提醒我們整個宇宙的存在，一個由邊緣和核心組成的全 HU Ch au-Tsun g
體。這種全體的感受藉由我們日常生活的結構，烙印於我們的意識上，提供我們一種對抗性的 世界觀。」 1
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因此，此次胡朝聰所推出的「交界迷蹤」一展，或許即可視為其面臨所處時空不斷物換星移的 心緒反映。這裡不盡然存在著好壞對錯的主觀價值評斷，而是透過繪畫再造的空間，安靜講述 著自己置身於自然與人為的夾縫中所發生的種種生活點滴與個人體驗。例如《遷途》一作，胡 朝聰將在藍天上紛飛而去的一群過境侯鳥與即將延伸至海洋的道路二者連結在一起，並且對照 原本地貌，帶出了人工物件的逐步滲透是否可能打破自然規律的提問。《觀．望》一作透過不 同視角的聚合，讓具有指涉意義的標誌與線條、綠色圍籬以及分享 著相近淡藍色調的海洋與天空並陳於同一畫面當中，挑戰著觀看者 的習慣。而《追尋幻境的旅程》一件則藉由鳥瞰鏡頭，描繪出一個 四面都由海洋包圍的家屋，屋子前方的柏油路面卻極不尋常地畫上 了斑馬線，形成某種疏離的特殊情境。於是，我們可以看到同一地 景在不同時間或角度下的疊合壓縮，形塑出既熟悉又陌生的超現實 景觀；也可以看到在穿越了橫亙於眼前的大面積人造工程構件，像 是畫有斑馬線的柏油道路，或者不斷延伸的高架橋墩之後，陡然出現的綠地或海洋等等，非但 予人真假難辨的錯覺，更在在提示著邊緣交界處所蘊藏的無限想像可能。
觀．望 2013 壓克力、畫布板 97.5×194.5cm（95 號）
值得注意的是，在胡朝聰筆下所建構出來的這些空間當中，始終不曾見到人的身影，至此或可 更加明白，原來這些作品在本質上其實與我們所認知的地圖並無二異。在這一張張的地圖上， 我們得以與自己照會，思索未來可能的行進方向；也有機緣和他人相遇，交換彼此在城市中往 返來去的冒險故事，重新勾勒某一塊角落的面貌。一如小說家所描述的，正是存在著未知的空 白，才得以召喚人們內心永遠不會得到滿足的探險欲望；也正是在那已知與未知的交界，我們 才能夠鼓起勇氣邁開大步，一次又一次地朝向陌生之境前去，甘於迷途且樂此不疲。那麼，就 讓我們從現在開始出發吧。
1. 貝兒胡克斯，王志弘譯，＜選擇邊緣作為基進開放的空間＞，收入顧燕翎、鄭至慧主編，《女性主義經典》 （台北：女書，1999），360-361 頁
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An Adventure of Seeing When One Stands at the Edge Written by Chang
Li-Hao
Ar t Critic
Bo und a ry M az e
“At that time there were many blank spaces on the earth, and when I saw one that looked particularly inviting on a map (but they all look that) I would put my finger on it and say, 'When I grow up I will go there.'…” --Joseph Conrad, Heart of Darkness. Before the digital age, map was made by professional
An Adv entu re o f Se e i ng W h e n One S t an ds at t h e E d g e
cartographer, who tried every possible way to collect informations from travelers who had survived the adventurous journeys. In so many nights, they lit an oil lamp to project the world they imagined on parchment or paper. These maps were so precious that they were only offered to the royal family.
However, there is
one thing for sure. No matter how the cartography is created, the final result will not be exactly the same with the reality. The digital map nowadays which is created with the help of satellite imagery, vector map, or threedimensional birdview imagery offers us the convenience of easy access, but some spots will be left as blanks if they are related to military secrets or any other special conditions. Additionally, the limitation of data-updating makes it very difficult to integrate all the informations. It is why the so-called “map of the whole world” can never be completed. The missing parts either increase or decrease with the passing of time as if it were a giant maze which keeps switching the final exit. Indeed, many people might feel puzzled and confused about the continuously changing environment. Some might even feel helpless or regretful about it – a sense of melancholy about the ephemerality. However, for some people, space is the embodiment of human’s psychological perception. It is full of dynamics and creativity while it occupies the best defense position. The uncertainties mentioned above never stopped a great ambitious dreamer and adventurer like Christopher Columbus (1451-1506). He sailed to the unknown danger of the vast sea. According to the rumor among sailors, he might fall from the edge of the sea… In spite of the risk, he stubbornly took up a map without any direction, determinedly setting off to the edge of the world. As how bell hooks (it is her preferred capitalization), an American culture critic, memorizes the community where she has lived when she was a child. There was a railroad separating the two worlds of totally different ethnicities and social classes. As people stayed in a marginalized space, they were given the power of imagination. She says that “We looked from both the outside in and the inside out. We focused our attention on the center as well as the margin... This mode of seeing reminded us of the existence of a whole universe, a
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A Journey Through Fairyland 2013 Acr ylic on canvas panels 100.5×100.5cm×2
main body made up of both margin and center. Our survival depended on an ongoing public awareness of the separation between margin and center and an ongoing private acknowledgement that we were a necessary, vital part of that whole.” 1 Therefore, Hu Chau-Tsung’s recent solo exhibition Boundary Maze might be regarded as the reflection of his inner emotions about the ephemerality of the surroundings. It is not completely about right-or-wrong/good-ornarrating its life experiences and daily trivialities as it exists within the gap between nature and an artificial world. Take Migratory Passway for example, Hu connects the migratory birds flying high on the blue sky with the road which is about to extend to the sea. He further compares the image with the original landscape, nature. In Wait and See, the convergence of multiple perspectives allow signifiers – such as signs, lines, the
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bringing out a question that whether the gradual intrusion of artificial objects might break down the rules of
HU Ch au-Tsun g
bad. A subjective judgment does not exist here. Instead, it is a space reconstructed through paintings, quietly
green fence, the sky and the ocean which share the same light blue – to be juxtaposed in the same image, challenging the usual vision of viewers. In A Journey Through Fairyland, the birdview image captures a house surrounded on its four sides by ocean. However, what unusual is that the tarred road in front of the house is painted with a zebra crossing, creating a unique situation of alienation. Therefore, images of the same landscape in different times or angles are juxtaposed together, Migratory Passway 2014 Acr ylic on canvas panels 80.3×160.2cm
visualizing a surrealistic scene which is both familiar and yet strange. Meanwhile, the images such as the large-size artificial construction units lying in front of our eyes, the tarred road painted with a zebra crossing, the elevated bridge extended endlessly, or the grassland and the ocean which suddenly appear in the scene all provide an illusion that one can no longer separate it from the reality. It indeed reminds us of the infinite possibilities in a cross-border region. There is also something to be noted about the absence of humans in the spaces constructed by Hu Chau-Tsung. It makes us clearly understand that the essence of these artworks is not different from the maps we know. In these maps, we see ourselves and carefully think about the future path. Sometimes, destiny brings us to the others, allowing us a chance to exchange the adventurous stories from one city to another. It is how we picture a corner of this world. As described by the novelist, it is the “blank spaces on the earth” evoking the unfulfilled desire for adventure which is buried inside our hearts. It is also the border between the world we know and the world unknown that brings us courage to step forward to the unknown land. We are willing to get lost, and we find pleasure in all the troubles. So, let us set off.
Wait and See 2013 Acr ylic on canvas panels 97.5×194.5cm
1 bell hooks, trans. Wang Chih-hung, “Choosing the Margin as a Space of Radical Openness,” Feminism Classics, edited by Ku Yenlin and Cheng Chih-Hui (Taipei: Fembooks Publishing House, 1999), p. 360-361.
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從縫隙出發—談胡朝聰的交界衝擊 文／ 羅禾淋
獨立策展人、藝術家
Bo und a ry M az e
「居所」是人們生活的依歸，居所從內延伸到外所觸及的城市社群，即是人們以自身出發的「生
Starti ng fro m the Gap – T h e C r o s s - b o r d e r C o n fl i c t i n H u Ch au -Ts u n g’ s Wor k s
活圈」，不論是居所或是生活圈，都影響著個人的生命經驗與成長記憶，這種如 DNA 般的底 層記憶，呼應著 Gaston Bachelard（1884-1962）在其著作「空間詩學」中所提到的「家屋是我 們最初的宇宙，一個真實的宇宙，如果我們親密地看待自己的家屋，即使最破落簡陋的落腳處 也有美妙之處。」也因此從台北成長的胡朝聰，不斷的在醜陋的都市景觀中找尋家的美好與記 憶，並且隨著記憶中的時間感，刻畫出城市在都市化過程中的變異，試圖找尋這些變異中的「縫 隙」。
80 年後出生在台北的胡朝聰，正逢台北巨大變化的時期，如鐵路地下化、捷運工程、土地開發、 計畫區等等，這些都市蛻變的速度與節奏，迫使胡朝聰在高速節奏下的都市生活中，找尋殘存 的自然景觀，並且透過身體感受都市的中心與邊陲，敏銳觀察都市中的隙縫與隙縫之間的落差， 其落差形成一種文化與視覺符號的交界，而這交界的區分，即是胡朝聰繪畫中試圖和生命記憶 交疊的方式，也是此次個展「交界迷蹤」所呈現的命題。
「交界迷蹤」個展中，胡朝聰刻意用「迷蹤」一詞，敘述自身面 對變遷後家鄉的矛盾狀態，雖然還居住在台北，但已非記憶中的 家鄉台北，這種是似而非的錯亂現象，產生出如「鄉愁」的疑問， 也開始對家的認同產生無歸屬的逝去性，因此胡朝聰試圖用畫筆 紀錄此現象，如 2012 的作品《後來，才明白》與《更美好的未來》， 藉由開發區與鄉間明顯區隔的符號「柏油路」，表達都市化的進 後來，才明白 Understand Afterwards 2012 壓克力、畫布板 120.5×120.5cm（75S）
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展與速度，然而畫面中如迴圈般沒有盡頭的柏油道路，填滿畫面 卻沒有終點，如同自身的記憶尋求唯一的出口，但卻此迷蹤，也
點出都市化的荒謬現象與都市人的對抗，最後的出口則是找尋城 市中尚未變遷的縫隙。這縫隙連結著中心與邊陲，在兩者之間產 生出交界，而重疊的交界則是胡朝聰對於台北的定義，如 2013 作品《航，向未來》與《下天上地，游來游去》，在畫面中用超
悉日常，也畫出了記憶中台北與現實中台北的斷層，把漸變的異 樣重新詮釋。也因多次在擁擠與快速的都市夾縫戰鬥，交界的穿
開始有了交界錯亂下的方向性，並且從空間上的包覆反轉成藍天與地心的語彙，從看得到的交
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透性試圖從被動轉為主動，如 2014 的作品《航道》和《尋寶記》， 下天上地，游來游去 Upside Down 2013 壓克力、畫布板 80×130cm（52 號）
HU Ch au-Tsun g
現實的構圖，打破大眾對於空間的直覺，並且多次包覆認知的熟
界，轉變成看不到的交界，除交界在現象上的重疊外，胡朝聰在繪畫技法上，也用壓克力平塗 打磨的方式，堆疊出具層次感的顏色，在視覺上形成符號的交界，也畫出顏色的交界。
繪畫中的身體感，不斷的打磨與堆疊，是胡朝聰與城市之間的對話， 也是對於密度極高水泥森林有著如家的記憶，藉由如建築工法的繪 畫步驟，建出材質紋理的質地，這部份也如同運用身體紀錄文明的 變 遷 與 衝 突， 也 呼 應 後 現 代 哲 學 家 Maurice Merleau-Ponty（19081961）在其著作《可見與不可見 (Le visible et l'invisible)》中，所提 到的「肉體性的層次 (profondeur charnelle)」，胡朝聰用工法的概 念處理繪畫，而不是用狂野的潑灑與筆觸，也可看出其對水泥建築 與都市景像的依戀，也因其自身生命經驗的文本，讓冰冷的水泥產 生出溫度，並讓繪畫的身體與文本的空間結合。
航道 Channel 2014 壓克力、畫布板 141.5×141.5cm（100 號）
結合文明交界的記憶，與找尋鄉愁的身體，重新回到「交界迷蹤」的展覽概念上，在毫無方向 的重疊之中，如迷霧般層層封鎖，但又在封鎖中得到新的可能，就如同現在人面對資本巨獸與 邊陲消極，還是找到了某個縫隙，這個縫隙可能是小確幸，也可能是不顧一切的戰鬥，因此從 縫隙出發的胡朝聰，不走正規的道路與規則，以交界中的曖昧找尋兒時的記憶，並且正視家鄉 的逝去，使胡朝聰的繪畫有了再次的交疊，這個交疊讓其在繪畫的構圖與概念貫穿在一起，其 交疊中產生出的縫隙，這個縫隙如同胡朝聰對於生命的致敬，也是觀眾可以多次迴盪的詩學， 讓觀眾透過其繪畫，感受城市所呈現的鄉愁。
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Starting from the Gap – The Cross-border Conflict in Hu Chau-Tsung’s Works Written by Luo
He-Lin
Independent Curator, Ar tist
Bo und a ry M az e
“Residence” is the base of people’s life. Extending from it toward the whole city and the whole community is our “life circle.” Both the “residence” and the “life circle” influence our life experiences and memories. The DNA-like memory echoes what Gaston Bachelard (1884-1962) says in his The Poetic of Space that “the house/ home is the earliest world or initial space of the universe, a real universe. If we look at our own house/home intimately, the shabbiest place has its own beauty.” Likewise, the artist Hu Chau-Tsung who was born and
Starti ng fro m the Gap – T h e C r o s s - b o r d e r C o n fl i c t i n H u Ch au -Ts u n g’ s Wor k s
grew up in Taipei kept finding the beautiful memories of home in the ugly city landscape. The passing of time documented in his memories also help depict the transformation of the city throughout the urbanization process, in which Hu attempts to search for the “gap” in the variation. Born in Taipei in the 1980s, Hu Chau-Tsung experienced the rapid change of Taipei City such as the constructions of the underground railway , MRT, property development, district planning, and etc. Hu Chau-Tsung is thus forced to keep up with the pace of a rapidly changing city. Meanwhile, he searches for the natural scenes which still remain, physically experiencing the center and the margins of the city and clearly observing the gap between margins of the city. Such a gap creates a border in terms of culture or visual symbols. The clarification of the border is the way how Hu attempts to juxtapose his painting and his life memories, as his solo exhibition Boundary Maze presents. In the solo exhibition Boundary Maze, Hu Chau-Tsung intentionally uses the term “Maze” to describe the contradiction he feels about the change of his hometown. Although he still lives in Taipei, the Taipei now is different from the Taipei in his memory. The ambiguous confusion creates certain “nostalgia,” with which the artist laments a home which is no longer there. Therefore, Hu tries to visualize the experience in his paintings. The works Understand Afterwards and The Way to Better Future in 2012 adopt the image of tarred roads to separate the developed area and the countryside and to symbolize the rapid progress of urbanization. However, the endless circle-like tarred road fill up the paintings while there is no end of it, as if one’s own memory were searching for the only way out but eventually got lost. It indeed reveals the ridiculous urbanization and the resistance of urban people. The last exit is to search for the gaps of the city which have not changed yet. The gaps connect 更美好的未來 The Way to Better Future 2012 Acr ylic on canvas panels 81×81cm（33S）
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the center and the margin, creating the cross-border regions between the two. The border where the two worlds juxtapose together is how Hu Chau-Tsung defines Taipei City. In the works Departure and Upside Down in 2013, the artist
uses surrealistic composition to challenge the public’s intuition of space, repetitively wrapping up the daily life we are familiar with in our perception. He also visualizes a gap between the Taipei City in his memory and the Taipei City in reality, redefining the gradual variation.
In the
several combats at the gap of the crowded and rapid city the passive attitude. The works Channel and Treasure Hunting in 2014 reveal a sense of direction in the cross-border confusion. The space being wrapped up is transformed into the artistic vocabulary represented as the blue sky and the center of the earth. The visible border becomes invisible. In paint technique to pile up various layers of colors to visually create border of symbols as well as
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addition to the phenomenon of the cross-border juxtaposition, Hu Chau-Tsung also uses flat acrylic
HU Ch au-Tsun g
life, the penetration of the border turns aggressive from 航，向未來 Departure 2013 Acrylic on canvas panels 53×136cm（36 號）
borders of colors. The physicality in the painting is repetitively polished and piled up as if it were a conversation between Hu and the city. The cement forest everywhere is almost like a home to us in our memory. Therefore, the artist adopts a painting skill which is like architecture construction to create texture of the material as a response to the physicality which documents the transformation and conflict of civilization as “profondeur charnelle,” mentioned by the post-modern philosopher Maurice Merleau-Ponty (1908-1961) in his Le visible et l'invisible. The crafted skill in Hu’s painting, instead of the wild unrestrained splash and strokes, shows Hu’s affection to the cement buildings and the urban landscape. His own life experience also brings some warmth to the cold cement, combining the physicality of the painting and the space of the text.
尋寶記 Treasure Hunting 2013 Acr ylic on canvas panels 152.5×152.5cm（116 號）
Integrating the memory of the encounter with civilization and a body looking for its nostalgia, the artist reveals the artistic concept of the exhibition Boundary Maze. The juxtaposition without any direction is locked down layers by layers as if it were in the mist. However, in such a mist, one still finds a new possibility. Although people might feel negative when confronting the border and the capitalist monster, they can still find a gap – it can be some simple happiness or a combat at any cost. Therefore, the artist sets off from the gaps, refusing the normalized rules and roads to search for his childhood memory in the cross-border ambiguity. Meanwhile, Hu honestly deals with the gone hometown, creating another juxtaposition in his paintings and connecting the composition with the artistic concept. The gap resulted from the juxtaposition is Hu’s tribute to life. It also becomes the poetic echo, allowing viewers to experience the nostalgia in the city through his paintings.
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Bo und a ry M az e Artis t Statem en t
Boundary Maze 創作自述
文／
胡朝聰
我們會發現自己就像處在一些事情的盡頭， 而之後就有那極度關廣的海洋，有一種隔離的感覺； 那邊，我們是真的一絲不掛在自然。 — Seton Smith
臺北出生的我，一直未曾真正離開過這個城市生活，離開視線中滿是水泥的叢林，置身于郊區 爾或鄉野，感受著來自不同空間的自由氣息，已是生活中不可或缺的調劑，因此從小對自然環 境就有著嚮往以及屬於自己的想像。親近大自然，對我不是一句口號，是件從小實踐的事，在 隨著年紀及活動範圍增廣的同時，卻也整理出時常佇留的區域中，大多有著共通性──交界、 邊緣過渡，是種曖昧、模糊甚或無法捉摸，不論是時間或空間皆充滿著不定性。
面對原本的自然環境因文明滲透而產生變化，景色隨著人為的活動範圍延伸或權力、支配利用 等⋯⋯而產生地貌的轉變，感受著自然及人文的互相融合或侵略，空間上的複雜且重疊，外加 環境中充滿著變動性高的因素，產生了一種空間的滲透及矛盾感。道路——是關於上述的直接 顯現之一，其延伸可視為地景轉變的開端，當它劃過地表，帶來的不僅止於通行，更包含不同
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地景或地貌的切割、阻隔，拉開了和自然的距離，但有時卻讓我們得以使用較輕鬆的方式去接 近自然，如此的狀態在二者的交界區塊，更為顯著，其環境搖擺的狀態更加吸引著我前往，感
常背對著是人為所開發的道路，面對的卻是藏於自然中，可行走的“路線”，時常想著下一步
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受同一片土地不同時期的改變時，當下環境往往給予我不小的衝擊或矛盾，在上述區域中，時
HU Ch au-Tsun g
層面的效應，道路的開通讓後續發展得以延續，而無法跨越處，便建設橋樑連接彼端。建設對
即將踏入自然的領地，同為路徑，包圍在身旁將會是不同的事物。實際上，行走其中，道路的 末端有時卻阻隔著一層人造物（例如：消波塊、欄杆…等），或到達開闊的草原後，隨之而來 是龐大的人為建設，自然及文明在此不斷上演著重疊、覆蓋、消退及延伸，某些區域正進行開發， 不斷保留建設的痕跡，而另些卻因年久失修，荒煙漫草下卻展現自然的活力，當下的感受是複 雜且迷惘，對處在自然或文明的空間概念感到混淆，只了解身在一個二者共存的過渡區塊中。 在此狀態下，我以一種開放的態度去看待這一層關係，表現當下環境給予的感受，更深埋著我 對美好自然的嚮往以及想像
因應自身對其環境的感受，將空間解構及重組，使之摺疊，元素選擇上，挑選生活中共同經驗 重疊性較高的物件，並產生出不合乎視覺常理的空間屬性。這種場域目的在於使交界有著更大 的伸展，強化自然與文明的共存關係或衝突感。畫面中的道路，可視為作者本身部分的意志延 伸—尋求（通向）自然的美好，另一方面，利用覆蓋或解構人為建設，使部分文明力量褪去， 讓自然從中蔓延或保留原有的領地。畫面中的一切指向，由人工場景朝向自然或樂園的屬地， 透露出對大自然美好嚮往以及召喚，並重新慎思自然的存在以及對共存關係的探討 ── 一種地 景的再思考。
對自然有著熱愛及憧憬，卻將作品紮根在人與文明的厚度上，不煽動對立，以客觀口吻述說著 感受，畫面中一切界線與邊緣的呈現，也不再是單純的人類生存產物，它更塑造了我們對界線 外自然的奇想。或許，眼中的許多「自然」，充其量而言只能稱作為「郊區」，但卻蘊藏著許 多我對原初自然的想像，並承載著一絲對過往經驗的眷念。
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Bo und a ry M az e
Boundary Maze
Artis t Statem en t
Artist Statement
Written by Hu Chau-Tsung
We will find out that we are like at the end of something. Beyond the “something” is the vast sea. In such a separation, we are truly naked in Nature. — Seton Smith Born in Taipei, I have never lived elsewhere than a city of cement forest. Getting away from the city to the suburbs or the country fields to enjoy the air of freedom now has become a necessary relaxation for me. Therefore, I have always longed for Nature and created my own imagination about it since I was a child. Staying close to Nature is not a slogan for me, but a life practice which has been a part of life since my childhood. As I grew older, my territory became wider. I have realized that the places I frequently visit indeed share something in common – cross-border and transitional. The space-time is full of the ambiguous uncertainty that one cannot really identify.
The natural surroundings have experienced changes because of the gradual penetration of civilization, while the landscape has also transformed with the extension of humans’ territory and their dominance. The mutual combination or intrusion between Nature and civilization creates a juxtaposed complicacy of space. The highly varied environment makes the idea of space contradictory and permeating. Roads are the most apparent example. The extension of roads can be regarded as the beginning of landscape’s transformation. They cut through the land, bringing us transportation as well as various effects. Roads make the following development possible, extending the transformation to a farther place. As for the uncrossable places, people build bridges to connect both ends. Constructions in Nature divide and separate the landscape, creating a distance between Nature and us, while they also allow us an easier access to Nature.
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A dual
state like this is particularly emphasized in the cross-border region between two areas. The uncertainty and the instability of the environment attract me more. When I experience the changes in various stages, the
are the roads built by humans while in front of us are the “trails” hidden in Nature. I often expect that my next step will lead me to the territory of Nature. However, every time when I walk on it, there is either an artificial structure standing at the end of the road (such as bars, wave-dissipating concrete block, and etc.)
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separating me from Nature or a giant artificial structure on the vast grassland welcoming me. Nature and
HU Ch au-Tsun g
present situation at the moment often creates conflict or contradiction in my ind. In these areas, behind me
civilization are repetitively overlapped, intruded, or extended toward each other. Some areas are under construction while other areas are left with ruins, waiting for Nature to reoccupy. My heart at the moment is often filled with complicacy and confusion about the concept of space in Nature or in the civilization. I can only understand the transitional area where the two co-exist with each other. Therefore, I choose an openminded attitude toward the relationship to reveal the emotions evoked by the present surroundings. My longing for and my imagination of the beautiful Nature are also hidden within.
Through the deconstruction and the rearrangement of space, I fold the concept of space as a response to my own feeling about the environment. I select the objects which are relatively close to our daily experiences to create a concept of space which cannot be rationalized visually. Such spaces allow a stronger extension in the cross-border regions, highlighting the co-existence or the conflict between Nature and civilization. The roads in the images can be considered the extension of part of the artist’s will to search for (toward) the beautiful Nature. Meanwhile, the artificial constructions are deconstructed to disarm the power of civilization, allowing Nature to be reborn from it or preserving the remaining territory of Nature. The image clearly signifies a transition from the artificial scenes to the paradise of Nature, revealing the longing for Nature and the calling of it, through which we again explore the existence of Nature and carefully discuss the co-existence – a reexamination of landscape.
With the passion and love for Nature, I ground my artworks on humans and civilizations. I refuse to create conflict, but narrate my feeling in an objective tone. The borders and the margins in the images are not simply visualized as a concept created by humans, but the fantasy of the Nature beyond the border. Perhaps, the “Nature” in our minds is merely the suburbs instead of the real Nature, but it indeed symbolizes my imagination of the primitive Nature as well as some nostalgia for the past.
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A RT WORKS
尋寶記 Treasure Hunting 2014 Acrylic on canvas panels 152.5x152.5cm（116 號）
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遷途 Migratory Passway 2014 Acrylic on canvas panels 80.3x160.2cm（64 號）
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觀．望 Wait and See 2013 Acrylic on canvas panels 97.5x194.5cm（95 號）
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追尋幻境的旅程 A Journey Through Fairyland 2013 Acrylic on canvas panels 100.5x100.5cmx2（100 號）
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後來，才明白 Understand Afterwards 2012 Acrylic on canvas panels 120.5x120.5cm（73S）
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更美好的未來 The Way to Better Future 2012 Acrylic on canvas panels 81x81cm（33S）
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下天上地，游來游去 Upside Down 2013 Acrylic on canvas panels 80x130cm（52 號）
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航，向未來 Departure 2013 Acrylic on canvas panels 53x136cm（36 號）
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可觸及的願望 局部 Touchable Dream Part
航，向未來 局部 Departure Part
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從哪來，往哪去？ Where It Comes from and Where It Might Go 2013 Acrylic on canvas panels 44x111cm（24 號）
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想望 Unfulfilled Longing 2013 Acrylic on canvas panels 73x117.5cm（43 號）
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消逝、重生 Rebirth 2013 Acrylic on canvas panels 73x91.5cm（33 號）
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從現在開始出發 Starting from Now 2013 Acrylic on canvas panels 60.5x60.5cmx3（55 號）
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請放慢行駛 Slow Down the Speed 2012 Acrylic on canvas panels 60.5x60.5cm（18S）
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下一步，往無邊之境 Next Step to the Boundless Place 2012 Acrylic on canvas panels 45.8x45.8cm（10S）
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靜靜的，在這裡飛翔 Silent Flying Here 2012 Acrylic on canvas panels 45.8x45.8cm（10S）
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可觸及的願望 Touchable Dream 2014 Acrylic on canvas panels 80x160cmx3（192 號）
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可觸及的願望 局部 Touchable Dream Part
尋常的夜 Ordinary Night 2014 Acrylic on canvas panels 100.5x100.5cmx3（153 號）
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沈潛的最後樂園 Diving Paradise 2014 Acrylic on canvas panels 200.3x150.3cm（151 號）
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沈潛的最後樂園 局部 Diving Paradise Part
翱翔的可能途徑 Soar Pathway 2014 Acrylic on canvas panels 140x240cm（168 號）
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翱翔的可能途徑 局部 Soar Pathway Part
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駐望 Halt for Hope 2014 Acrylic on canvas panels 162.3x112.3cmx2（100Px2）
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彼端 Other Side 2014 Acrylic on canvas panels 130.5x240.3cm（157 號）
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最初的草原 Original Prairie 2013 Acrylic on canvas panels 91.5x73cm（33 號）
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最初的草原 局部 Original Prairie Part
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交錯下的未知凝視 Under the Gaze of Unknown 2013 Acrylic on canvas panels 120x120cm（72S）
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航道 Channel 2014 Acrylic on canvas panels 141.5x141.5cm（100 號）
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邊緣．輪廓—38 Edge．Contour-38 2011 Acrylic on canvas panels 73x73cm（27S）
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邊緣．輪廓—43 Edge．Contour-43 2012 Acrylic on canvas panels 53x53cm（14S）
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邊緣．輪廓—34 Edge．Contour-34 2011 Acrylic on canvas panels 73x91.5cm（33 號）
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邊緣．輪廓—35 Edge．Contour-35 2011 Acrylic on canvas panels 45.8x45.8cm（10S）
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邊緣．輪廓—25 Edge．Contour-25 2011 Acrylic on canvas panels 53x135.5cm（36 號）
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邊緣．輪廓—33 Edge．Contour-33 2011 Acrylic on canvas panels 44x121cm（27 號）
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左至右
邊緣．輪廓—21、22、23 Edge．Contour-21, 22, 23 2011 Acrylic on canvas panels 60.5x60.5cm（16 號）
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寧靜遙遠 3—即將有所不同 The Quiet Invisible Distance 3 - Will be Different 2011 Acrylic on canvas panels 73x135.5cm（49 號）
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寧靜遙遠 4—呼吸 The Quiet Invisible Distance 4 - Breathing 2011 Acrylic on canvas panels 73x135.5cm（49 號）
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寧靜遙遠 5—飄散的回憶，多美好 The Quiet Invisible Distance 5 Released into the Atmosphere with Sweet Memories 2012 Acrylic on canvas panels 44x111cm（24 號）
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寧靜遙遠 6—圍繞著，我們共有的秘密 The Quiet Invisible Distance 6 The Mutual Secrets are All around Us 2012 Acrylic on canvas panels 44x121cm（27 號）
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寧靜遙遠 1—晨昏 The Quiet Invisible Distance 1 - Twilight 2011 Acrylic on canvas panels 81x81cm（33S）
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寧靜遙遠 2—對話 The Quiet Invisible Distance 2 - Talks 2011 Acrylic on canvas panels 73x73cm（27S）
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胡朝聰 1981 年出生於台北
Bo und a ry M az e
學 歷
Cu rri cu l um V itae
2011
台北藝術大學美術學系碩士班創作組
2005
文化大學藝術研究所美術組碩士
2004
文化大學美術系
個 展 2014
「交界迷蹤」，尊彩藝術中心，台北
2011
「交界段落─微隱若現的平淡敘事」，雅逸藝術中心，台北
2008
「靜謐與空靈之間」，台北縣政府藝廊，台北 「流域邊界」，文化大學藝廊，台北
聯 展 2014
「台南藝術博覽會」，台南大億麗緻酒店，台南 「致親愛的你—少遊島繪社第 2 號創作聯展」，金車文藝中心，台北
2013
「YOGO」，台北藝術大學地下美術館，台北 「繁星閃閃」，尊彩藝術中心，台北 「裡面 ˙ 外面」元智大學藝術中心邀請展，元智大學藝術中心，桃園
2012
「Back Yar t 倉庫型藝術博覽會」，二十號倉庫，台中 「2012 ART TAIPEI 台北國際藝術博覽會」，世貿一館，台北 「2012 藝術家博覽會」，台中文化創意產業園區，台中 「2012 藝術家博覽會」，松山文創園區，台北 「飛行熱氣球」，尊彩藝術中心，台北 「YOUNG ART TAIPEI 2012 飯店博覽會」，台北喜來登大飯店，台北 「如果是小王子」，尊彩藝術中心，台北
2011
「還不是這麼熟」， 台北藝術大學，地下美術館，台北 「首都淘寶 × 藝遊華山聯展」，華山藝文特區，台北
2010
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「金車新生代藝術家創作聯展」，金車藝文中心員山館，台北
HU Ch au-Tsun g
獲 獎
2009
2008
「心象寫實」，青年六人油畫聯展，雅逸藝術中心，台北
台灣國展，佳作
「Taiwan International Illustration Art Festival」，華山藝文特區烏梅酒廠，台北
屏東美展－油畫纇，入選
「輪廓線─另一種遼闊」，金車藝文中心，台北
第二屆道正新人獎，入選 高雄市立美術館，高雄獎，入選
「金車新生代藝術家創作聯展」，金車藝文中心員山館，台北 2008
「漫」，二岸藝術家聯展，首都藝術中心，台北
2007
臺北市光華青年水彩寫生比賽大專社會，佳作
「漂流島嶼」，台北市立美術館，台北 「紗帽山畫會年度大展」，國父紀念館，台北
第十二屆大墩美展－油畫纇，入選 警察節美展，第三名
「心象寫實」，青年六人油畫聯展，雅逸藝術中心，台北
2007
第一屆金車青年藝術獎，佳作
2006
第十屆雙和美展－油畫�大專社會組雙和獎
「兩岸藝術交流展」，國父紀念館，台北
十一屆大墩美展－油畫�，第二名
「紗帽山畫會年度大展」，國父紀念館，台北
警察節美展－西畫�，第二名
「光影下的靜謐」，台北市社教館聯展，台北
帝寶美展－油畫�，第三名
2005
「紗帽山畫會年度大展」，國父紀念館，台北
國泰新世紀潛力畫展，優選
2004
「非典寫實徵候群—台灣當代寫實主義的不可定義性和多元風貌之初
2006
探」，太平洋文教基金會，台北 2003
「存在．意象」，華岡─三人聯展，華岡博物館，台北
2002
「存在．意象」，華岡─五人聯展，華岡博物館，台北
2001
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「華岡大美」，國父紀念館，台北
臺北市光華青年水彩寫生比賽大專社會，佳作 2005
國泰新世紀潛力畫展，優選 三十三屆青年水彩寫生比賽大專社會組，佳作
2003
臺北市光華青年水彩寫生比賽大專社會組，銅獅獎（第三名）
「�國大學院校美教」，美術系所觀摩展
六十六屆台陽美展－水彩�，入選
「吳大光師生聯展」，台北社教館，台北
二十七屆�國－油畫展，入選
「再現時代面貌」，仁愛醫院藝廊，台北 典 藏 2012
《更美好的未來》，國美館青年藝術家作品購藏計畫，入選
2006
第十屆雙和美展－油畫�大專社會組雙和獎，第一名，作品榮獲單位典藏
2003
臺北市光華青年水彩寫生比賽大專社會組，作品榮獲單位典藏
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HU Chao-Tsung 1981 born in Taipei, Taiwan
Bo undary Maz e
EDUCATION
C urriculum V itae
2011
MFA, Taipei National University of the Ar ts, Taipei, Taiwan
2005
MFA, Chinese Culture University, Taipei, Taiwan
2004
BFA, Chinese Culture University, Depar tment of Fine Ar ts, Taipei, Taiwan
SOLO EXHIBITIONS 2014
“Boundary Maze”, Liang Gallery, Taipei, Taiwan
2011
“Border Section: the Dom Plain Narrative”, Julia Gallery, Taipei, Taiwan
2008
“Between Silence and Aesthetic Purity”, Taipei County Hall Gallery, Taipei, Taiwan “Watershed Boundary”, Chinese Culture University Student Gallery, Taipei, Taiwan
GROUP EXHIBITION 2014
"Ar t Tainan 2014”, Tayih Landis Hotel, Tainan, Taiwan "To My Dearest-2nd King Car Young Artist Exhibition", King Car Education Foundation, Taipei
2013
“YOGO”, TNUA museum, Taipei “Beautiful Starry Night Sky”, Liang Gallery, Taipei, Taiwan “Inside.Outside”, Yuan Ze University Ar t Center, Taoyuan, Taiwan
2012
“Back Yar t”, Stock 20, Taichung, Taiwan “Ar t Taipei 2012”, World Trade Center, Taipei, Taiwan “Ar tist Fair”, Taichung Culture & Creative Industries Park, Taichung, Taiwan “Ar tist Fair”, Songshan Culture Park, Taipei, Taiwan “Exploring with a Bloom- Taiwan Contemporary Ar t Exhibition”, Liang Gallery, Taipei, Taiwan “Young Ar t Taipei”, Sheraton Hotel, Taipei, Taiwan “Le Petit Prince”, Liang Gallery, Taipei, Taiwan
2011
“Exhibition of 100 Grade New Master Students of Depar tment of Fine Ar ts”, Taipei National University of the Ar ts, Taipei “Treasure Hunting in the Capital × Aesthetic Wondering at Huashan”, Huashan 1914 Creative Park, Taipei, Taiwan
2010
“King Car Ar t Exhibition of New Generation”, King Car Cultural & Ar t Center Yuanshan Hall, Yilan, Taiwan
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“Realism of the Mind 2009- 6 Realism Painters of New Generation”, Julia
Honorable Mention, Taiwan National Oil Painting Competition
Gallery, Taipei, Taiwan
Selected Award in Oil Painting, Pintung County Ar t Exhibition
“Taiwan International Illustration Ar t Festival”, Huashan 1914 Creative Park
Selected Award, 2nd Daocheng Young Ar tist Exhibition
Eastern Third Hall, Taipei, Taiwan “Contour- Another Expanse”, King Car Culture & Ar t Center, Taipei, Taiwan
2008
Selected Award, Kaoshsiung Awards, Kaohsiung Museum of Fine Ar ts 2007
3rd Place in West Painting, The Ar t Exhibition of Police Day
Center Yuanshan Hall, Yilan, Taiwan
Honorable Mention in The Group of Universities, Colleges and Socialites,
“Artists across the Taiwan Strait Group Exhibition”, Capital Art Center, Taipei, Taiwan
The Watercolor Outdoor Sketching Competition of Taiwan Lions 2006
2nd Place in Oil Painting, 11th Ar t Exhibition of Taichung City
“Floating Formosa”, Taipei Fine Ar ts Museum, Taipei, Taiwan
2nd Place in West Painting, The Ar t Exhibition of Police Day
“Shamaoshan Ar t Group 2007 Group Exhibition”, Sun Yat-sen Memorial Hall,
3rd Place in Oil Painting, 11th Ar t Exhibition of Changhua County
Taipei, Taiwan
Merit Award, The New Century Painting Exhibition of Cathay Life Insurance
“Exchange of Ar tists across the Taiwan Strait”, Sun Yat-sen Memorial Hall,
Honorable Mention in The Group of Universities, Colleges and Socialites,
“Shamaoshan Ar t Group 2006 Group Exhibition”, Sun Yat-sen Memorial Hall,
The Watercolor Outdoor Sketching Competition of Taiwan Lions 2005
Taipei, Taiwan “Shamaoshan Ar t Group 2005 Group Exhibition”, Sun Yat-sen Memorial Hall,
Merit Award, The New Century Painting Exhibition of Cathay Life Insurance Honorable Mention in The Group of Universities, Colleges and Socialites,
“Stillness Under the lights”, Taipei Cultural Center, Taipei, Taiwan 2005
1st Place in Oil Painting, 10th Ar t Exhibition of Jhonghe City
Gallery, Taipei, Taiwan
Taipei, Taiwan 2006
Selected Award in Oil Painting, 12th Ar t Exhibition of Taichung City
“King Car Ar t Exhibition of New Generation”, King Car Cultural & Ar t
“Realism of the Mind 2008 - 6 Realism Painters of New Generation”, Julia
2007
Honorable Mention, 1st King Car Young Ar tist Exhibition
33th The Watercolor Outdoor Sketching Competition 2003
3 rd Place in The Group of Univer sities, Colleges and Socialites, The
Taipei, Taiwan
Watercolor Outdoor Sketching Competition of Taiwan Lions
2004
“Atypical Realistic Syndrome”, Pacific Cultural Foundation, Taipei, Taiwan
Selected Award in Watercolor, 66th Tai-Yang Ar t Exhibition
2003
“Expression.Spirit”, Hwa Kang Museum, Taipei, Taiwan
Selected Award in Oil Painting, 27th Taiwan National Painting Competition
2002
“Existence.Imagery”, Hwa Kang Museum, Taipei, Taiwan
2001
2 0 14
2009
2008
HU Ch au-Tsun g
AWARDS Memorial Hall, Taipei, Taiwan
“National Universities of Fine Ar ts Obser ve Exhibition”, Taichung City
PUBLIC COLLECTIONS
Seapor t Ar t Center, Taichung, Taiwan
2012
National Taiwan Museum of Fine Ar ts
“Wu Da-guang Joint Exhibition”, Taipei Cultural Center, Taipei, Taiwan
2006
The Literature and History Research Association of Jhinghe Area
“Reappear the Appearance of Time”, Jen-ai Hospital Ar t Galler y, Taipei,
2003
Taiwan Lions Foundation
Taiwan
93
Bo und a ry M az e
後來，才明白 Understand Afterwards
圖 錄 Catalog
2012 Acr ylic on canvas panels 120.5×120.5cm (73S)
Catal o g
p. 25
尋寶記 Treasure Hunting
更美好的未來 The Way to Better Future
2014
2012
Acr ylic on canvas panels
Acr ylic on canvas panels
152.5×152.5cm (116 號 )
81×81cm (33S)
p. 17
p. 27
遷途 Migrator y Passway 2014 Acr ylic on canvas panels 80.3×160.2cm (64 號 )
p. 18, 19
觀．望 Wait and See 2013
下天上地，游來游去 Upside Down 2013 Acr ylic on canvas panels 80×130cm (52 號 )
p. 28, 29
航，向未來 Depar ture 2013 Acr ylic on canvas panels
Acr ylic on canvas panels
53×136cm (36 號 )
97.5×194.5cm (95 號 )
p. 30, 31
p. 20, 21
追尋幻境的旅程 A Journey Through Fair yland
從哪來，往哪去？ Where It Comes from and Where It Might Go 2013
2013
44×111cm (24 號 )
100.5×100.5cm ×2 (100 號 )
p. 34, 35
p. 22, 23
92
Acr ylic on canvas panels
Acr ylic on canvas panels
靜靜的，在這裡飛翔 Silent Flying Here
2013
2012
Acr ylic on canvas panels
Acr ylic on canvas panels 45.8×45.8cm (10S)
p. 36, 37
p. 47
消逝、重生 Rebir th
尋常的夜 Ordinar y Night
2013
2014
Acr ylic on canvas panels
Acr ylic on canvas panels
73×91.5cm (33 號 )
100.5×100.5cm×3 (153 號 )
p. 39
p. 52, 53
從現在開始出發 Star ting from Now
可觸及的願望 Touchable Dream
2013
2014
Acr ylic on canvas panels
Acr ylic on canvas panels
60.5×60.5cm×3 (55 號 )
80×160cm×3 (192 號 )
p. 40, 41
p. 49
請放慢行駛 Slow Down the Speed
沈潛的最後樂園 Diving Paradise
2012
2014
Acr ylic on canvas panels
Acr ylic on canvas panels
60.5×60.5cm (18S)
200.3×150.3cm (151 號 )
p. 43
p. 55
下一步，往無邊之境 Next Step to the Boundless Place
翱翔的可能途徑 Soar Pathway
2012
2014
Acr ylic on canvas panels
Acr ylic on canvas panels
45.8×45.8cm (10S)
140×240cm (168 號 )
p. 45
p. 58, 59
2 0 14
73×117.5cm (43 號 )
HU Ch au-Tsun g
想望 Unfulfilled Longing
93
Bo und a ry M az e Catal o g
94
駐望 Halt for Hope
邊緣．輪廓—38 Edge．Contour - 38
2014
2011
Acr ylic on canvas panels
Acr ylic on canvas panels
162.3×112.3cm×2 (100P×2)
73×73cm (27S)
p. 62, 63
p. 74
彼端 Other Side
邊緣．輪廓—43 Edge．Contour - 43
2014
2012
Acr ylic on canvas panels
Acr ylic on canvas panels
130.5×240.3cm (157 號 )
53×53cm (14S)
p. 64, 65
p. 75
最初的草原 Original Prairie
邊緣．輪廓—34 Edge．Contour - 34
2013
2011
Acr ylic on canvas panels
Acr ylic on canvas panels
91.5×73cm (33 號 )
73×91.5cm (33 號 )
p. 67
p. 76
交錯下的未知凝視 Under the Gaze of Unknown
邊緣．輪廓—35 Edge．Contour - 35
2013
2011
Acr ylic on canvas panels
Acr ylic on canvas panels
120×120cm (72S)
45.8×45.8cm (10S)
p. 71
p. 77
航道 Channel
邊緣．輪廓—25 Edge．Contour - 25
2014
2011
Acr ylic on canvas panels
Acr ylic on canvas panels
141.5×141.5cm (100 號 )
53×135.5cm (36 號 )
p. 73
p. 78
寧靜遙遠 4—呼吸 The Quiet Invisible Distance 4 Breathing
2011 Acr ylic on canvas panels
2011
60.5×60.5cm ( 約 16 號 )
Acr ylic on canvas panels 73×135.5cm (49 號 )
p. 83 邊緣．輪廓—22 Edge．Contour - 22 2011
2 0 14
p. 80
HU Ch au-Tsun g
邊緣．輪廓—21 Edge．Contour - 21
寧靜遙遠 5—飄散的回憶，多美好 The Quiet Invisible Distance 5 R e l e as e d i n t o th e A t m o s ph e r e w it h Sweet Memories
Acr ylic on canvas panels 60.5×60.5cm ( 約 16 號 )
2012
p. 80
Acr ylic on canvas panels 44×111cm (24 號 )
p. 84 邊緣．輪廓—23 Edge．Contour - 23
寧靜遙遠 6—圍繞著，我們共有的秘密 The Quiet Invisible Distance 6 The Mutual Secrets are All around Us
2011 Acr ylic on canvas panels
2012
60.5×60.5cm ( 約 16 號 )
Acr ylic on canvas panels
p. 81
44×121cm (27 號 )
p. 85 邊緣．輪廓—33 Edge．Contour - 33
寧靜遙遠 1—晨昏 The Quiet Invisible Distance 1 - Twilight
2011
2011
Acr ylic on canvas panels
Acr ylic on canvas panels
44×121cm (27 號 )
81×81cm (33S)
p. 79
p. 86
寧靜遙遠 3—即將有所不同 The Quiet Invisible Distance 3 Will be Different
寧靜遙遠 2—對話 The Quiet Invisible Distance 2 - Talks 2011
2011
Acr ylic on canvas panels
Acr ylic on canvas panels
73×73cm (27S)
73×135.5cm (49 號 )
p. 87
p. 82
95
Boundary Maze
Solo Exhibition 2014
胡 朝 聰 Hu Chau-Tsung
發行人
L I A N G G A L L E RY
出版者
尊彩國際藝術有限公
策劃設計
尊彩藝術中心
印刷
日動藝術印
出版
2014年4
ISBN
978-986-90108-3-2
Executive Director
Yu Yen-Liang
Publisher
Liang Galler y Co., Ltd
Editor
Liang Galler y
Printing
Jih-Tung Ar t Pringting Co., Ltd.
Publishing Date
First Edition, April, 2014
ISBN
978-986-90108-3-2
T +886-2-2797-1100 F +886-2-2656-0033 lianggallery@gmail.com
有限公
初
台北市11492內 區 光路366號 No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm 一公 Closed on Monday