C B
SOLO EXHIBITION
C B
1982 Born in Taipei, Taiwan
Candy Bird 為 台 灣 著 名 街 道 藝 術 創 作 者 (street artist)，台灣各地由北至南都可看到他的作品隱身
Based in Taipei, Taiwan, Han Chun-Yueh is a street
都會街角、廢墟或私人空間，翻轉既有場景與人
expanding rapidly. "Candy Bird" is his artist name. He
文結合。Candy Bird 的藝術不僅在本土處處可見，
has tagged decrepit concrete facades in Beijing and
以台灣為出發，他的地圖正在擴張中，對生存的
Berlin, filled up the walls of boutique spaces in Taipei
社會採取主動的關懷。他曾在柏林、北京老朽牆
and Tokyo, and painted with children as an outreach
上留下當代印記，或是在東京的個性商店裡作畫，
to communities in Myanmar and Brazil.
ar tist whose international por tfolio has been
以及在巴西聖保羅的社區，或是緬甸的孤兒院， 和小朋友們一起完成塗鴉和壁畫。
Trained in conventional oil painting, Candy Bird now works with buckets and spray. His satirical characters
Candy Bird 擅長和空間中既有物件互動，斑駁的
- the large-skulled figures for which he is known -
磚牆、水塔、變電箱，都納入他創作的形式，透
at once make a mockery of the urban graveyards
過想像力讓作品與環境融合。為反映身旁上班族
in which we walk, and at the same time revitalize
親友的心境，Candy Bird 創造出他第一個角色人
them, bringing an aesthetic vibrancy which he has
物—繫著領帶的「番薯人」，而「工作之於人生」、
spread across the world. His works speak to every
「人生之於現實」成為他創作的主要脈絡。Candy
injustice in reality, the monopoly of mass media, and
Bird 所景仰的藝術家是已故的日本畫家石田徹也， 受到石田的啟蒙，Candy Bird 的作品顯露人類受
his comments on politics. Candy Bird's art reveals
制於體制的影子，而沒有太多表情的番薯人，與
bottom of the social hierarchy, including his care
不時出現的綿羊、動物等角色，讓這些批判多了
for minorities, either in the so-called uncivilized or
一點黑色幽默。除此之外，他的創作透露出對生
developing countries.
命消逝與承受苦難的哲思，描寫可彼此體會和自 身經歷的共同性，他的視覺符號取決自被大眾所 蔑視的珍貴價值觀，實踐了為藝術而藝術，也是 為社會而藝術的呈現。
his own philosophy of humanity for the public at the
01 BIOGRAPHY
CANDY BIRD
經歷
2009 台東鐵道藝術村，駐村藝術家，台東，台灣
個展
2016 「床邊故事」，尊彩藝術中心，台北，台灣 2014 「塗鴉 O!K 展」，1234 Space，深圳，中國 2012 「運動塗鴉，塗鴉運動」，學校咖啡館，台北，台灣
聯展
2016 「地方—朱銘美術館典藏特展」，朱銘美術館，新北市，台灣 2015 「大內藝術節：不眠的居所」，采泥藝術、菲力貝慕浦畫廊，台北，台灣 「當下當代—台灣藝術計畫」，天理藝文空間，紐約，美國 「幽默機制」，弔詭畫廊，高雄，台灣
2014 「POW!WOW! TAIWAN」，台北國際藝術村，台北，台灣 「蘋果核—當代藝術展」，尊彩藝術中心，台北，台灣
2013 「亞洲藝術雙年展」，國立台灣美術館，台中，台灣 「I Want More」，竹圍工作室，台北，台灣 2012 「彼岸島」，八樓當代藝術空間，台北，台灣 「Design Festa」，東京，日本 2010 「台灣當代藝術論壇雙年展」，台北當代藝術中心，台北，台灣
合作
2015 「電梯藝術計劃」，布魯克林 NARS 藝術基金會，紐約，美國 「樓梯藝術計劃」，PMQ 元創方，香港，中國 「Gwangju Live Painting」，Mite-Ugro Cultural Place，光州市，韓國 「S.S.22 夏日男 POPUP Shop」，GQ 雜誌，台北，台灣 「泰達藝術節」，天津泰達集團有限公司，天津，中國
2014 「上海簡單生活節」，中子文化，上海，中國 朱銘美術館壁畫，新北市，台灣 「捷運列車－行動美術館」，Left Brain 左腦創意行銷，台北，台灣 「睦祥育幼院新家彩繪」，Bright Side 台灣嚮光協會，桃園，台灣
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「GAP — Remix Project」，上海 EDGE 鋒潮網，亞洲區合作藝術家，上海，中國 「彩爆無聊」，CONVERSE 影像塗鴉創作，台灣 「OK 塗鴉 & 潮流展」嘻哈融合體，深圳，中國 2013 「PangeaSeed」台灣海洋保育壁畫活動，台北，台灣 大港開唱 DJ 舞台「塗鴉迷宮」紙箱塗鴉創作，高雄，台灣 2012 「城市游牧影展」，海報視覺繪製及現場紙箱塗鴉，台北，台灣 綠色和平組織「希望號」訪港活動合作藝術家，高雄，台灣
獲獎
2013 雲門舞集文教基金會－第九屆「流浪者計畫」獲獎至緬甸，台灣 首屆國家文化藝術基金會「海外藝遊專案」得獎至巴西，台灣 行程計畫：「彩色天堂－巴西塗鴉藝術之旅」，台灣
出版品
2012 Candy Bird，《等它乾：Wet Paint Drying》，台北：衛城出版社 Candy Bird 等，《社情漫畫：公民的肥皂箱》，台北：衛城出版社
03 BIOGRAPHY
CANDY BIRD
EXPERIENCE 2009 Artist in residence, Taitung Railway Art Village, Taitung, Taiwan
SOLO EXHIBITIONS 2016 2014 2012
"Bedtime Stories", Liang Gallery, Taipei, Taiwan "Graffiti O!K", 1234 Space, Shenzhen, China "Graffiti Move", Ecole CafĂŠ, Taipei, Taiwan
GROUP EXHIBITIONS 2016 2015
2014 2013 2012 2010
"A Place of One's Own", Juming Museum, New Taipei City, Taiwan "Taipei Art District Festival: Sleepless Dwelling", Chini Gallery, Gallery Bergamo, Taipei, Taiwan "The Moment", Tenri Cultural Institute, New York, NY, US "What We Talk about When We Talk about Humor", Crane Gallery, Kaohsiung, Taiwan "POW!WOW! TAIWAN" Taipei Artist Village, Taipei, Taiwan "Apple Core Contemporary Art Exhibition", Liang Gallery, Taipei, Taiwan "Asia Art Biennial", National Taiwan Museum of Fine Arts, Taichung, Taiwan "I Want More", Bamboo Curtain Studio, Taipei, Taiwan "The Other Shore of Island", Floor 8 Art Space, Taipei, Taiwan "Design Festa", Tokyo, Japan "Forum Biennial of Taiwanese Contemporary Art", Taipei Contemporary Art Center, Taipei, Taiwan
PROJECTS 2015
2014
Mural arts for "Elevator Art Project", NARS Art Foundation, New York, NY, US Mural arts for "Stairs Art Project", PMQ, Hong Kong, China "Gwangju Live Painting", Mite-Ugro Cultural Place, Gwangju, Korea "S.S.22 POPUP Shop", GQ Magazine, Taipei, Taiwan Mural arts for "Knock, Knock Art Festival", Tianjin, China Mural arts for "Simple Life Festival", Shanghai, China
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2013 2012
Mural arts at Juming Museum, New Taipei City, Taiwan Mural arts for "MRT Train—Motion Art Museum", Left Brain Project, Taipei, Taiwan Mural arts at Muhsiang Orphanage, Bright Side Projects, Taoyuan, Taiwan Tshirts design, GAP Remix Project, Shanghai, China "Color Clash", CONVERSE Digital Graffiti Project, Taiwan Mural arts for "OK Hip-Hop Festival", Shenzhen, China Mural arts for "PangeaSeed Sea Wall Murals For Oceans", Taipei, Taiwan Graffiti arts for "Mega Port Festival", Kaohsiung, Taiwan Graphics and graffiti arts for "Urban Nomad Film Fest", Taipei, Taiwan Artist for "The Esperanza" for Greenpeace, Kaohsiung, Taiwan
AWARDS AND FELLOWSHIP 2013
The Ninth Wanderer Program Award and Fellowship, Cloud Gate Dance Foundation, Taiwan Inaugural Project of Artistic Journey Award and Fellowship, National Culture and Arts Foundation, Taiwan Travel Plan: Color Paradise—Brazil Graffiti Art Tour, Taiwan
PUBLICATIONS 2012
"Wet Paint Drying" by Candy Bird. Taipei: ACRO-POLIS. "Citizens' Spokespersons" by Candy Bird, et al. Taipei: ACRO-POLIS.
05 BIOGRAPHY
CANDY BIRD
還在路上 文/
Candy Bird
有時朋友問我，為什麼每次你畫畫都會有新的「哏」，難道用不完嗎？倒是沒有認真想過這些，生活繼 續滾動，太陽依舊升起，就永遠會有感受，當有感受，就會花些時間轉換成主題，這大概就是「哏」吧。 塗鴉帶著我去了很多地方，認識、遇見了許多人，有些很怪胎有些很平凡，但在我眼裡他們都獨一無二， 應該不會有重複的生命吧，我猜的，他們建構出這個眼花撩亂的世界，這世界有時閃電頻傳，有時風和 日麗，我想只要人類還在地球，我還有呼吸的一天，就永遠會有「哏」。 至於我有沒有透過自己的藝術，為藝術世界帶來新的東西呢？老實說，我不清楚有沒有，我的一些藝術 觀念是街頭發生的事教導的，這些事有好有壞，但常常重複發生，所以比較想透過自己的藝術，替人類 宿命提出新型式的解答和出口，實際上如果把那些解答和出口化成文字應該會老掉牙，許多人不願意聽 就是了。 這本畫冊像是此次個展的紙上回顧，短短一個月展覽在生命中只算一絲絲的存在，它像塗鴉存在於街頭 上，十分短命以及輕如鴻毛地存在於角落，但有時我要描述的主題十分重要或重量十足，如果表現得恰 當，或許它會轉化成記憶，繼續留存在觀眾心裡的角落。 在回顧開始前，我必須把滿滿的感謝，獻給我最尊敬且教導我佛法的師父，寶吉祥佛法中心的仁欽多吉 仁波切。聽起來好像有些八股？不會的，因為依靠著佛法，我才得以毫不猶豫地挖掘、展現自己的天分， 找到凝視社會的角度，擁有如何面對創作的恰當心態。除此之外，我也要把滿滿的感謝送給街頭塗鴉、 街道藝術，它們在六年前的某個初春深夜選擇了我，帶著我走向不同領域創作者終會相遇的彼岸，說起 來有點抽象，因為還沒抵達，我還在路上，到時再跟你們說吧。
S
TEXT by
Candy Bird
Sometimes my friends ask me why every time when I paint there is a new "gen" (the extension of new artistic ideas)? Do I ever use them up? I have never really thought of that. Life keeps on rolling, sun still rises, there is always a feeling, when one feels, it might take some time to transform it into a theme, this is so-called "gen." Graffiti took me to many places, introduced me to various people, some of them are weird and some of them are very ordinary, but in my eyes all of them are unique. Life does not happen more than once, I guess, and these people are a huge part of this dazzling world. Some days are lightning days; some days are bright and sunny, but I think as long as there are human beings on Earth, as long as I can breath, there is always the "gen." Does my art bring something new into the art world? Honestly, I do not know. Sometimes I get inspired by the things happening on the streets, some of them are good ones, some of them are bad ones, but often occur repeatedly. This is why I want to propose a new solution and an exit for people's destiny through my art. In fact, if these solutions and exits were recorded in words, they might look old-fashioned. There are many people who are simply not interested in that. This catalogue is a review of this exhibition presented on a paper medium. One month long exhibition is only a trace of presence. It is just like street art, it does not last for long and is not noteworthy, but sometimes the topics I want to discuss are very important. If I do it in the right way, it might remain as a memory and continue to exist in the corner of the viewer's heart. Before the review starts, I would like to thank to my teacher Vajra Guru Rinchen Dorjee Rinpoche, the Abbot of the Glorious Jewel Buddhist Center of Tibetan Buddhism. Does it sound very stereotypical? It should not, because as to relying on Dharma, I did not hesitate to dig deeper, to show my own talent, I found an angle to look at the society, I retained the right attitude of how to face creation. Apart from this, I would also like to thank to graffiti and street art. Six years ago, on a night of early spring, they chose me and took me to many different places. Speaking in a more abstract manner, I have not arrived yet, I am still on the road, and once I arrive I will let you know.
07 STILL ON THE ROAD
STILL ON THE ROAD
尊彩藝術中心策展
Candy Bird 個展
《床邊故事》 描寫人類意識形態、價值觀牢籠的多元藝術創作，本次展覽秉承了藝術家一向的創作宗旨，對人類宿命、 被遺忘的歷史循環去加以詮釋。 藉由一位母親的故事為開端，透過壁畫、塗鴉，描寫關於意識形態的控制、被控制方的境遇、掙脫的過 程以及進入想像中的自由，為了維持想像的自由，再次塑造出別的意識形態等這些過程，揭露人的無限 循環的歷史宿命，以及想像中的出口。形式上，Candy Bird 利用紙箱牆、木板將展場分割為數個小展間， 每個房間代表一章節，全部串起來可為一故事。作者反視自己的過去，成長在與親友長輩價值觀格格不 入的環境裡，長大後台灣社會裡的諸多價值觀衝突，讓作者想起成長時的經歷；也因為長期生活在斷裂 的兩個平行社會，以及強烈的不歸屬感，促使反思人的意識形態、「異己」的定義和「價值觀」到底是 長得如何樣貌，以及這些和社會問題的關係，這是此展覽的主旨。 藉由這些回憶和隱喻當工具，Candy Bird 也描寫台灣的當代社會。社會抗爭在近兩年達到高峰，其中也 包含了社群媒體、電視媒體的推波助瀾，略顯動盪的台灣社會、緊張矛盾的兩岸關係、焦慮看不到未來 的年輕人，作者也企圖尋找這些問題的出口，從描寫價值觀的角度開始。展場末端，想像的出口延伸到 展場的逃生梯牆壁上，在那邊作者替故事畫上結尾，也呼應了實際的建築物的「逃生出口」。
BEDTIME STORIES This exhibition reveals the artist's purpose to depict mankind's ideology and values, and to explain human's fate as well as historical cycle of forgotten history through diverse artistic mediums. Candy Bird's exhibition starts with a story of a mother. Murals and graffiti portray ideological control, the circumstances under the dominating power, the process of breaking free, and the fight for the visionary freedom. In order to sustain this freedom, it is necessary to shape different ideologies and to expose the loop of historical fate. Candy Bird uses carton walls and wooden boards to divide the exhibition space into four smaller areas. In each of these spaces, a different paragraph of the story is revealed; when joined together they compose a complete story. The artist looks back at his own past. Being raised and surrounded by elder relatives whose traditional value system was incompatible with his and seeing many value conflicts in the Taiwanese society, has impelled the artist to think of his experiences while growing up. Living in a two parallel society and a strong sense of non-belonging urged him to rethink the ideology of the people, definition of an "alien," and what the "values" stand for. Besides these matters, the artist also thrust himself into the heart of social issues. These ideas are the gist of this exhibition. Candy Bird applies memories and metaphors to depict contemporary society of Taiwan. During the past two years, social protests have reached its peak, in which social and television media was highly involved. By talking about values, the artist aims to find solutions to problems that arise from slightly turbulent Taiwan's society, tense contradictions across the Taiwan Strait, and young people who are anxious about their future. At the very end of the exhibition space, the exit extends into the stairs area where the artist painted ending for his story.
09 CANDY BIRD'S SOLO EXHIBITION "BEDTIME STORIES"
Candy Bird's Solo exhibition
Candy Bird
用色彩 照亮理想
Mollie Flanagan 文 / NARS 基金會館長 NARS 基金會專案經理
當你徒經台灣、布魯克林、巴西、北京、緬甸、
Walk through the streets of Taiwan, Brooklyn, Brazil,
柏林等地的街道時，你可能會看到特別且滑稽的
Beijing, Myanmar, and Berlin, and you may encounter
閉眼角色；這就是街道藝術創作者 Candy Bird 的
the distinctively comical closed-eyed characters
壁畫。Candy Bird 在受過傳統油畫訓練後，在街頭
signifying the murals of the street artist Candy Bird.
藝術找到了一塊天地，並放下畫布、踏遍台灣，甚
After training in traditional oil painting, Candy Bird
至環遊世界，以分享他對這個社會和未來的夢想。
found his voice in street art and has gone beyond the canvas to travel throughout Taiwan and around the
Candy Bird，隨母姓韓，名君岳，生於台北，一
world to share his vision of society and the future.
個負有動盪不安歷史的城市；而他大部分的作品 也反映了這項認知。一如他怪誕的一面，他的塗
Candy Bird, née Han Chun-Yueh, was born in Taipei,
鴉名會取為 Candy Bird，是因他年輕時的小名，
a city with a rich history of unrest and much of his
是參考他喜愛的籃球員與採糖果的甜膩綜合而來 1
work reflects this knowledge. True to his whimsical
。可以明顯從 Candy Bird 描繪線條的方式和每一
side, his pseudonym, Candy Bird, is a combination
塊構圖的計劃中看出，他曾經過傳統繪畫技術的
of a childhood nickname, a reference to his favorite
教育洗禮。不僅是牆上一抹色彩，他的作品從紙
basketball player, and the sweetness of candy.1 Candy
上設計，到用噴槍和筆刷在牆上改變空間。
Bird's education in traditional painting techniques is evident in the gestural form of his lines and in
大規模壁畫展現了 Candy Bird 的特殊風格，和他
the planning that goes into each piece. Not simply
那知悉如何善加運用特定空間的天賦。似骷髏樣
a splash of color on the wall, his work grows out of
貌的黃色人物是他的商標，反映出現代台灣人生
a design on paper and transforms the wall spatially
活中的幽默與充滿希望，同時仍站穩他批判現實
through spray cans and brushes.
的角度。Candy Bird 的角色風格劃一、構圖簡單， 其普世性所呈現的既是藝術家本身，也同時是他
His large-scale murals showcase his distinctive
的觀賞者。他作品中種種不合理的觀點，如此地
style and instinctive understanding of how best to
情感豐沛卻又模稜兩可，讓觀賞者不禁停步，被
utilize his chosen space. His trademark skull-like
他所述說的故事深深吸引著。Candy Bird 過去曾
yellow figures reflect a humorous and hopeful idea
有許多作品，探討現代台灣的政治爭議和世代分
of contemporary Taiwanese life while remaining
TEXT by
Mollie Flanagan
Program Manager and Curator at NARS Foundation
歧。身為一個二次世界戰後且須面臨兩岸問題的
rooted in a stance of critical reality. Because of their
台灣第三代，Candy Bird 的成長背景使他大部分
uniform style and simplified structure, Candy Bird's
作品的對象總被不幸與需要政治救援的現實糾纏
characters are universal, reflecting both the artist
著；他的角色，便是象徵那些弱勢、受歧視、受
and his audience. The lyrical and borderline absurd
壓迫的代表。
aspects of his work allow the viewer to stop and become deeply entrenched in the stories that he tells.
街頭藝術，因其可見性，可謂是一種特別的街頭
Much of Candy Bird's past work has delved into the
抗爭形式。街頭藝術在台灣文化中日趨重要，且
political controversy of contemporary Taiwan and the
為了讓這塊寶島更豐富、美麗，在某些地區是合
divide between generations. Growing up as part of
法的 2。藝術變得更無所不在，且於觀賞者而言，
the third generation of post-World War II Taiwan and
壁畫的形式更引人入勝。街頭藝術往往較貼近日
its experience with China and the Chinese diaspora,
常生活的規模，或更大，使人更易於和作品互動：
much of Candy Bird's work is intertwined with the
如此，任何社會階層的人士都可以欣賞、觀讀，
reality of those who are less fortunate and in need of
並能邀請觀賞者更深入賞析。作品間蘊藏的各種
political support. His characters are representative of
微小細節，若觀賞者不吝層層探究，將能揭露更
those who are vulnerable, discriminated against, and
多的故事情節。
oppressed.
在公共場域工作亦提供了和特定空間接觸的機
Street art is a unique form of social protest because
會，包括建築元素、結構與技術性零件、建物或
it is visual. Street art has become an increasingly
領域的歷史。在室外工作也讓藝術家能和公眾互
impor tant par t of Taiwanese culture and has
動，尤其是和那些有壁畫的社區裡的住民。這樣
become legal in some areas in order to enrich and
的互動，使人得以更了解這些與藝術共居共處的
beautify the island.2 As a statement, art is both more
人們；藝術同時又代表著他們，從而建立起了一
accessible and more engaging to the viewer as a
道連結。Candy Bird 小說化的情境，對於那些弱
mural. Street art is often life-sized or larger, allowing
勢而言，是一個可以把握並珍惜的發聲管道。
for direct interaction with the work. It can be viewed and read by people of all social classes, and it invites
街頭藝術乃是具多重面向、且可利用為抗爭的形
the viewer in to read it more deeply. Multiple nuances
11 ILLUMINATING IDEALS THROUGH COLOR
ILLUMINATING IDEALS THROUGH COLOR
式；抑或如 Candy Bird 所為，以之做為對人性問
exist within the work, and as the viewer delves into
題的探索。身為一個佛教徒，他作品採用的是以
those layers, more of the story is revealed.
人為本的觀點，即如何為全人類讓世界變得更好。
Candy Bird 在很多作品中，使用象徵來傳達他對
Working in the public sphere also allows for
台灣未來的期望。他致力於找到那可以把分裂的
opportunities to interact with the specific space,
台灣，和整個世界連在一起的中間地帶。他對旅
including architectural elements, structural and
行的熱忱使他得以接觸更多群眾，並體驗更豐富
technological components, and the history of the
的世界。旅行亦使這位藝術家得以感知台灣以外
building or locale. Working outside also allows for
其他世界的問題，因此他的創作之路從此更為人
interaction with the public, especially those who live
性化。
in the neighborhoods where murals are present. These interactions lead to a greater understanding of
壁畫也包含了 Candy Bird 的個展，《床邊故事》，
the people living with the art and being represented
就如 Candy Bird 所有的作品一樣，利用原有的空
by it in addition to a connection to the people. Candy
間結構創作，在展場內就地搭建。《床邊故事》
Bird's fictionalized situations give a voice to those
是一個不用文字，而只用線條敘述的童話。這個
who are vulnerable in manner that they can grasp
有關一對母子的答辯對話故事，乃是台灣文化中
and appreciate.
兩個世代觀點顯著差異的投影。透過四個小展間， 藝術家向著自己理想中社會議題的解決方式，描
Street art is multifaceted and can be utilized as a
繪了現今台灣的狀態進程。亦由於 Candy Bird 一
form of protest or, as Candy Bird does, can be used
直都和自己的長輩親戚住在台北，生活在同一個
as the exploration of the problems of humanity. As
屋簷下，他對於世代差異的了解足夠透澈。
a Buddhist, his work takes a humanist perspective of how we can all make the world a better place
他的母親成長於國民黨威權與戒嚴時期的世代，
for humanity. Candy Bird's hope for the future of
當時前軍閥在政府幫助下從中國撤退來台後，使
Taiwan is symbolized in much of his work. He strives
得島上的外省移民和本省住民相處氣氛緊繃。而
to find the middle ground that will bring together
撕裂族群的二二八事件和一九五零年代的白色恐
the divergent sectors of Taiwan and the world as
怖，則真正導致了他母親這代心懷質疑、且懼怕
a whole. His passion for travel has allowed him to
外來移民的社會思維。此種現象亦可見於世界上
reach a larger audience, and has also allowed him to
的其他國家，尤以敘利亞難民危機的例子為顯
experience more of the world. By allowing the artist
著。
to experience the problems of the world outside of Taiwan, travel has expanded the humanistic approach
可是兒子並非如母親屬於戒嚴時期長大的世代，
of his work.
兒子且將外省移民理解為那畢竟是台灣文化正典 的一部分。政黨輪替與社會結構遷變造成台灣社
The murals included in Candy Bird's solo exhibition,
會的動盪，催生了新世代的起而抗爭，但面對民
Bedtime Stories , are created in-situ within the gallery,
心思變，政府給出的回應卻顯得冷淡，例如台北
utilizing the existing structure of the space in keeping
華光社區住民的抗議拆遷、王家的文林苑都更案
with all of Candy Bird's work. Bedtime Stories is a
事件。作為兒子的 Candy Bird，由不同的角度看
fairy tale told without words, through lines alone.
待這些議題，卻也導致他與母親的觀點間的衝突。
They form an eloquently tell story of a mother and son, a reflection of the two generational viewpoints
此外，媒體和科技也在抗爭中擔任了煽風點火和
prominent in Taiwanese culture. Through the four
13 panels, the artist illustrates the progression of the
從未耳聞的方式上網連結；而這樣的連結，如同
current state of Taiwan towards his ideal solution
一切事物，都是一體兩面的：是機會，也是麻煩。
for the issues of society. As the artist has lived in the
透過壁畫的展出，人和科技、媒體、社群媒體的
same home in Taipei with his elder relatives his whole
互動，和這些媒體對人際關係的影響，將更為突
life, his capacity for understanding this divide is great.
顯。Candy Bird 對這些人際關係的詮釋，與他對 「他人」的想法，和這個想法如何透過媒體散播，
The mother comes from a generation who grew up at
合而為一。角色、科技和建築互相融合，穿過迷
the height of the KMT and martial law, when former
宮的層層藩籬，循向解決問題的可能性。儘管這
military personnel from China moved to Taiwan with
些社會議題纏雜著台灣世代差異，他仍堅毅不懈
the assistance of the government, causing tensions
地奮鬥著。
to arise between immigrants from the mainland and Taiwanese natives. The split in the population,
不若他早期的作品，這並非一次公開抗爭，而是
the February 28 Incident, and the white terror of
出於天性自然的探索。透過手勢和形式，他可以
the 1950s all informed the ethos of the mother's
賦予故事輪廓，並讓觀賞者拼湊線索以得出結果。
generation, one of distrust and fear of the immigrants.
儘管這樣開放式的領域可能讓觀賞者感到困惑，也
This phenomenon is reflected in countries worldwide,
是希望他們能向自己內心探得更深以尋找答案。
especially in the instance of the Syrian migrant crisis.
雖然初次進到 Candy Bird 的迷宮會覺得簡單，然
The son's generation does not grow up under martial
在引人走向出口、尋找潛在結論時，其實是複雜
law the way that the mother's has and has always
且入微的。當沒有公定答案時，可以鼓勵觀賞者
known immigrants from the mainland to be the
去思考，透過展覽中年輕世代那種緊張的氛圍，
cultural norm. The shifting political parties and
喚起了哪些需要公共關注的議題。Candy Bird 透
structures within Taiwan have led to unrest and
過壁畫，試圖用他認為最好的方式來改變：為觀
protests among the new generation. This has been
賞者點出新想法，並鼓勵他們找到方式去探索、
antagonized by the government apathy towards
進而改變自己的心態。亦由於 Candy Bird 是個佛
their citizens in the case of the residents of Taipei's
教徒，他認為整個世界乃是一體，並非常關心這
Huangang Community and the treatment of the Wang
世界和居於其中的眾生。有他這樣的藝術家，把
family during the Wenlin Yuan urban renewal case.
人群差異和複雜的人際關係提出供人們思考；人
The son views the problems of Taiwan through a
性的思潮或許能找到由內改變的出路。
different lens, which will bring him into conflict with his mother's point of view. Additionally, the media and technology played a role in igniting and spreading the protests. The contemporary generation is able to connect in a way that was previously unheard of, and this connection, like most things, is two sided: it is both an opportunity and problematic. This interaction with technology, the media, social media and its effect on human relationships is evident throughout the exhibition murals. Candy Bird's interpretation
ILLUMINATING IDEALS THROUGH COLOR
推波助瀾的角色。現在的世代可以自行透過以往
of these relationships melds with his idea of the "other" and how that idea is disseminated through media. Characters meld with both technology and architecture to travel through a maze of barriers towards the possibility of resolution. He eloquently wrestles with these social issues along with the generational differences of Taiwan. Unlike his earlier work, it is not an overt protest but an exploration that is ideological in nature. Through gesture and form, he is able to give the outline of a story and leaves the viewer to put together the pieces and form a whole. This open-ended realm may leave the viewer puzzled, but hopefully it will allow them to look deeper into themselves for the answer. Though simple upon first encounter, Candy Bird's work is complex and nuanced as it leads the viewer towards the exit, the potential conclusion. While no overt answers are provided, the viewer is encouraged to consider the common concerns raised throughout the exhibition surrounding the anxiety of the younger generation. Through his murals, the artist attempts to change things the best way he knows how: by illuminating new ideas for the viewer and encouraging them to seek ways to explore and change their mindset for themselves. As a Buddhist, the artist is vastly concerned with the world as a whole and the people in it. With artists like Candy Bird to bring differences and complicated relationships to the forefront of our minds, the tide of humanity may find a way to shift from within.
15 Feb. 4, 2015 (http://quintmagazine.com/candy-bird/). 2. Quint Magazine, Feb. 4, 2015
ILLUMINATING IDEALS THROUGH COLOR
1. Ryan Bryle, "Conversation: Candy Bird," Quint Magazine,
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街頭作品
STREET ARTWORKS
台北華山園區，城市遊牧影展，2012
Huashan Creative Park, Urban Nomad Film Fest, 2012
53 台北華山車站，2015 Huashan station in Taipei, 2015
台北華山車站
2015 Huashan station in Taipei, 2015
新北市 小小書房
2013 A small studio in New Taipei City, 2013
中國深圳，O!K 塗鴉展，2015 Graffiti O!K, Shenzhen, China, 2015 台北捷運松山新店線，左腦創意行銷，2014
Taipei MRT Songshan-Xindian Line, Left Brain Project, 2014
台中，2014 Taichung, 2014
中國北京，西三環城中附近的育幼院，2014 An orphanage on Xisan Ring Road, Beijing, China, 2014
STREET ARTWORKS
巴西聖保羅，Ogangorra，2013 Ogangorra in São Paulo, Brazil, 2013
圖錄
CATALOG
55 CATALOG
床邊故事 Bedtime Stories
床邊故事 -2 Bedtime Stories 2
紙上作品 Work on paper ｜ 21×29.7cm ｜ 2016
P20
紙上作品 Work on paper ｜ 29.7x21cm ｜ 2016
P20
失敗者 -1 Loser 1
失敗者 -2 Loser 2
噴漆、水性漆、帆布 Spray paint, water-based paint on canvas ｜依場地而定 Dimensions variable ｜ 2016
P21
噴漆、水性漆、帆布 Spray paint, water-based paint on canvas ｜依場地而定 Dimensions variable ｜ 2016
P22
無題之六 Untitled 6
無題之七 Untitled 7
噴漆、水性漆、木板 Spray paint, water-based paint on wood ｜ 244×122.5cm ｜ 2016
P21
噴漆、水性漆、木板、畫布、鏡子 Spray paint, water-based paint on wood and canvas, mirror ｜ 244×100cm ｜ 2016
P24-27
扭曲 Distortion
無題之四 Untitled 4
古董木板 Antique wood ｜ 34×88cm ｜ 2015
噴漆、水性漆、木板 Spray paint, water-based paint on wood ｜ 90.8×121×0.5cm ｜ 2016
P28
P24-27
無題之四（訂製） Untitled 4
無題之二 Untitled 2
噴漆、水性漆、木板 Spray paint, water-based paint on wood ｜ 244×385cm ｜ 2016
噴漆、水性漆、帆布 Spray paint, water-based paint on canvas ｜ 85×124cm ｜ 2016
P29
P28
無題之三 Untitled 3
燈塔故事 Lighthouse Story
噴漆、水性漆、帆布 Spray paint, water-based paint on canvas ｜ 86.5×130cm ｜ 2016
黑板漆、粉筆、紙箱 Blackboard paint, chalk, cardboard box ｜依場地而定 Dimensions variable 紙箱 / 個 / Cardboard box 40×60×40cm ｜ 2016
P29
P30
無題之一 Untitled 1
無題之五 Untitled 5
噴漆、水性漆、帆布 Spray paint, water-based paint on canvas ｜ 101×85.5cm ｜ 2016
P30
噴漆、水性漆、桌椅布 Spray paint, water-based paint, table, chair ｜依場地而定 Dimensions variable 桌 / Table：76.5×60×37.5cm 椅 / Chair：71×40×37.5cm ｜ 2016
P31
讀書 Study 噴漆、水性漆、木板 Spray paint, water-based paint on wood ｜ 244×83.5cm ｜ 2016
忌惡如仇 -1 Abhoring Injustice 1 油漆、木板 Paint on wood ｜ 121×91×0.5cm ｜ 2016
57 P31
忌惡如仇 -2 Abhoring Injustice 2
CATALOG
P32-33
忌惡如仇 -5 Abhoring Injustice 5
噴漆、水性漆、帆布 Spray paint, water-based paint on canvas ｜ 129.5×97cm ｜ 2016
電視、噴漆、水性漆 Spray paint, water-based paint on television ｜ 181×179×48cm 139×65×48cm ｜ 2014
P35
P34
忌惡如仇 -3 Abhoring Injustice 3
忌惡如仇 -4 Abhoring Injustice 4
噴漆、水性漆、帆布 Spray paint, water-based paint on canvas ｜ 86.6×126.5cm ｜ 2016
鼓、油漆 Paint on drum ｜ 39×39×16cm ｜ 2016
P38
P39
失落了意想不到 Unexpected Loss
變形記 Metamorphosis
噴漆、水性漆、木板 Spray paint, water-based paint on wood ｜ 134×173.5×3cm ｜ 2016
噴漆、水性漆、木板、帆布 Spray paint, water-based paint on wood and canvas ｜依場地而定 Dimensions variable ｜ 2016
P37,45
皮箱 Leather Suitcase 油漆、二手皮箱 Paint on second-hand suitcase ｜ 55×64×17.5cm ｜ 2016
P42-45
P48-51
街頭探險家 Street Explorer
結局 Ending
噴漆、油漆、複合媒材、裝置 Spray paint, paint, mixed media, installation ｜ 250×415×275cm ( 全開 ) ／ 250×310×110cm ( 全關 ) ｜ 2016 合作藝術家 Co-artist：蕭有志 Yu Chih Hsiao
噴漆、水性漆、水泥牆 Spray paint, water-based paint on wall ｜依場地而定 Dimensions variable ｜ 2016
Wash-1
Wash-2
絹印版畫 Silk-screen on paper ｜ 70.2×70.2cm ｜ 2015
絹印版畫 Silk-screen on paper ｜ 70.2×70.2cm ｜ 2015
風景畫 -1 Landscape 1 紙上作品 Work on paper ｜ 29×21cm ｜ 2014
風景畫 -3 Landscape 3 紙上作品 Work on paper ｜ 29×21cm ｜ 2015
風景畫 -2 Landscape 2 紙上作品 Work on paper ｜ 29×21cm ｜ 2015
風景畫 -4 Landscape 4 紙上作品 Work on paper ｜ 19.3×26.6cm ｜ 2013
59 CATALOG
風景畫 -5 Landscape 5
風景畫 -6 Landscape 6
紙上作品 Work on paper ｜ 21.1×29.8cm ｜ 2014
紙上作品 Work on paper ｜ 19.2×26cm ｜ 2015
風景畫 -7 Landscape 7 紙上作品 Work on paper ｜ 20.9×15cm ｜ 2015
風景畫 -9 Landscape 9 紙上作品 Work on paper ｜ 21×15cm ｜ 2015
都市更新 Urban Renewal 紙上作品 Work on paper ｜ 29.7×21cm ｜ 2014
風景畫 -8 Landscape 8 紙上作品 Work on paper ｜ 21.2×15cm ｜ 2015
風景畫 -10 Landscape 10 紙上作品 Work on paper ｜ 13×19.3cm ｜ 2013
紐約風景畫 New York 紙上作品 Work on paper ｜ 21.2×29.8cm ｜ 2015
我的內心 Inner Me
無題 Untitled
紙上作品 Work on paper ｜ 21.2×29.2cm ｜ 2013
紙上作品 Work on paper ｜ 16×21.1cm ｜ 2016
風景速寫（台灣） Landscape Sketch (Taiwan)
風景速寫（北京） Landscape Sketch (Beijing)
紙上作品 Work on paper ｜ 14×21cm ｜ 2011
紙上作品 Work on paper ｜ 15×21cm ｜ 2014
風景速寫（京都） Landscape Sketch (Kyoto) 紙上作品 Work on paper ｜ 14×21cm ｜ 2014
61
CANDY BIRD Executive Director
Designer
余彥良 Yu Yen-Liang
劉銘維 Liu Ming-Wei
Director
Photographer
陳菁螢 Claudia Chen
劉光智、黃嘉達、舒哲俞 KC, JD, Joey Shu
Publisher
Printing
尊彩國際藝術有限公司 Liang Gallery Co., Ltd
2016 年 4 月初版
Editor
Director
策劃設計
印 刷
尊彩藝術中心 Liang Gallery
日動藝術印刷有限公司 Jih-Tung Art Printing Co., Lt
發行人
總經理
出版者
Co-artist
美術設計
攝影師
出 版
First Edition, April, 2016
Music
合作藝術家
音樂
蕭有志 Hsiao Yu-Chih
Uncle Damon
ISBN 978-986-92798-2-6