4
序 文
余彥良
成為一個地方：烏托邦的追尋與歸屬 文
蔡家榛
14
成為一個地方 文
6
胡朝聰
作 品
19
簡 歷
89
圖 錄
101
Pref ace by
YU
Y
en-L Beco iang min g In Se a arch Place to of a by Uto Be: pia W here One TSA B I Jia Beco -Zh elongs min en gaP by lace to B e
Artw orks Biog r
aphy
HU
Cha u-Ts ung
5
10
16
Cata log 19 89 101
尊 彩 藝 術 中 心
董 事 長
文｜余彥良
有時候習慣和自然界的事物相望，天空、雲朵或是植物，看似溫柔卻有 著無比的韌性，尤其是經常在我環境四周的那一片綠，它彷彿是我生命 中流動的故人，總是敘說著美麗動人的故事，帶著深情與我相遇。
胡朝聰藉由植物來探討自然與人為的相互關係，他總希望打開窗外就有 了解你的知己，你看著他，他望著你，那份慰藉的情懷，在現今都市叢 林裡，是多麼奢求，多麼值得我們反觀深思的一項課題。因為我們總會 創造自身習慣的一方，將喜愛的植物帶入，冷眼靜觀，強迫生長，和灌 溉我們自己一樣，是制式的、是人為的，更是機械的。當大環境遭人為 破壞，自然生態的衰竭，或許這位自然界的知己，將快速消失在你我的 眼裡，只剩下我們眼前若有似無的小小生命，就像我們同樣的被生活忙 碌壓得苟延殘喘一般，相互對照都是自我侷限，自我窄化罷了。
人可以成為知己，物又何獨不然？走出戶外，若能採菊東籬下，悠然見 南山，這樣的真趣，心裡都是歡喜。善待我們四周的環境，留下更多的 綠，是何其幸運的一件事，也才能面對知己而無愧於心。窗外就是藍天， 而窗外更有著守候我們的珍貴知己。
6
BY
President of Liang Gallery
YU YEN-LIANG
I have a habit of gazing at things in nature. The sky, clouds, and plants all might seem gentle, yet they all feature an immense sense of tenacity. In particular, the greenery that frequently surrounds me is like an old friend who consistently narrates a beautiful and moving story with deep emotions. Hu Chau-Tsung utilizes plants to explore the mutual relationship between nature and people. He believes that exploring the world outside your home can help you learn more about yourself. A feeling of comfort is evoked between this mutual gaze. Particularly in the urban jungle of today, this topic is extremely extravagant and worthy of our attention. Because we always develop habits, the introduction of preferred types of plants and a cold and quiet gaze forces growth, as if we are irrigating ourselves. This is standardized, artificial, and mechanical. When the environment is damaged by humankind, and the natural ecosystem collapses, perhaps our wonderful friends from nature will quickly disappear before our eyes, leaving behind only small, barely recognizable forms of life. This is as if we are lingering on with our last breaths, constrained by the pressures of life, while the mutual contrasts are those of selflimitation and a narrowing of our visions. People can become good friends with each other, so why can’t things? Walking outside your door, you can pick chrysanthemum under the fence, or gaze leisurely at Nanshan. With this type of fun, your heart will be filled with joy. Treating the environment around us well and preserving more greenery is one of the most fortunate things. Only in this way, can we face our good friend without guilt. Outside the window, there is the blue sky, as well as our precious friend who waits for us.
7
獨 立 策 展 人
文｜蔡家榛
初見朝聰作品畫面，總有種似曾相識感，不論是展現無人空間被觀看的 角度、切割現實空間的理性線條與筆法、或是翻轉現存空間為超現實存 在的感性筆觸，都有著曾經見過的感覺。但隨著朝聰描述的生活故事， 進入到他描繪的空間裡，繪在平面畫布上的空間方才逐漸立體起來，成 為一方有故事的所在之地，這猶如電影《全面啟動
Interception》中的
情節：男女主角試圖封存深刻記憶的相關處所，並不停地迴返意識深處 重新構築，使其成為一個可居的「地方」。因此，地方不單指物質性、 可見的場所，而是雜揉了記憶、想像以及認同的所在之處，這或許也是 朝聰 2017 年的個展以「成為一個地方」為名之意。 胡朝聰早期的作品，約莫 2011 年至 2012 年之間的系列，描繪了一幕幕 濱海公路的場景：極為常見、畫著黃
白線條的灰黑色瀝青柏油路面，
是佔了畫面大部分的主角，是路旁的護欄以及山景天色才令人恍然了解 這是領著人繞山前行，往海邊去的公路，朝聰說那是他年少最為執著輕 狂的一段時光，整整兩年不是泡在海裡衝浪，便是在海邊等待浪來。明 明目的地是海與浪，朝聰卻畫出一段又一段的公路畫面，繪下那些從西 部這岸到達東部海邊彼岸的途中。如果說到達烏托邦的彼岸是一條每個 人都試圖在前往的路途，那麼朝聰著眼的是抵達終點前的「過程」，這 一著眼點已自創作初始延伸到本次個展，慢慢鋪成創作概念裡的重要哩 路。「成為一個地方」固然是靠岸的終點，但成為地方的過程及方法， 才是朝聰本次創作最在意的事。
8
這次個展的作品不同於單幅畫面呈現的方式，改採兩幅作品相併為一組， 透過對照的方式開展對話及敘事的可能性。作品一左一右併聯，一幅是 剔除了複雜背景的室內中大型植栽作品，僅以單色作為襯背，細膩地展 現室內植栽的姿態：綠葉的各種深淺色調、葉片光澤與皺褶、不同植種 的生長形貌等，若僅單幅擺掛植栽作品，它顯現的不是如靜物畫般的裝 飾意義，而是人們在室內裝置風景畫的想望：裁切部分室外的自然景緻 挪移到室內，或是仿如開了個室外有景的窗框，試著透過風景框畫建立 起與自然的關聯，想像呼吸著自然的空氣。
但朝聰的創作意圖與思考絕對不僅止於此。作為相互參照的另一半作品， 畫面主角也是植物，不過是室外野生蔓爬的植物，背景也不再是純色， 而是有山、海之類的遠景及水泥、鐵皮等的近景；這部分畫作裡的構圖 考量乃選擇與室內植栽生長姿態相仿的樣態，例如爬藤、造型相近的人 工建築物體，或是該植栽生長的環境、地區。作品對照室內植栽圖，意 在對空間的改變提出疑問：人為的介入固然致使植種從室外被移入了室 內，改變了室內的風景；然而室外的風景也漸漸因人為因素而產生變化， 建築空間的擴增致使自然植種的面積褪減，甚者消逝；而自然景緻空間 的消褪似乎更使人想將綠植栽挪進室內空間，朝聰認為這樣的情況很是 弔詭：「空間在人為介入後被改變了，這樣的植物我們可能在原地已經 看不到了，但卻在家中植栽了一樣狀態的盆栽。」「我會認為人們不走 進綠鬱蔥蔥的自然環境浸潤，卻選擇將它取下擺放在自己的居住空間裡 自賞、遙想，這種狀態還真有點自欺欺人。」
9
，徐苔玲、王志弘譯，︽地方：記憶、想像與認同︾， Tim Cresswell ， 頁 21 。 2006
台北市，群學出版有限公司，
1.
所以，朝聰提出的「成為一個地方」，點出了多數人心之所嚮的成就， 然為了達成每個個體們想望的「地方」，卻是靠著犧牲其他物種的生存 居地換來的，這方法及過程顯得極為倒錯荒謬，朝聰這回個展以小植栽 反映了龐大的居處空間與地方問題。
為了更加凸顯安居造就的荒謬景緻，朝聰在這次個展不同以往地設計了 些許裝置：鐵窗及紅銅鑄造的植栽。談起鐵窗，在台灣生長的我們並不 陌生，那是為了安居而衍生的常民居家配備，然而錯落鑲嵌在住宅大樓 外牆的鐵窗裝置，看在外人眼裡卻顯得不可思議，到底是為了安居還是 反將居者囚鎖？鐵窗也因此數度成了外國藝術家創作的取材。朝聰在本 次個展中以壓克力材質表現鐵窗，光源以古典的斜射光打在鐵窗裝置上， 鐵窗內放置著紅銅材質的仿真植栽， 強光照射下壓克力的輪廓會難以被 看見，但透過影子可以清楚知道植栽被囚鎖在鐵窗裡，「看不見卻依然 存在」的鐵窗表現是朝聰的企圖， 而植栽的材質也是有意的設定，透過 金屬材質喻指了不朽、永恆的性質，那麼這件裝置表達了「永恆的被看 不見但依然存在的枷鎖隔離住了」，再者，這裝置也加深了朝聰這次創 作對於空間與地方的思考層次。對比朝聰往昔的創作，這回個展的新作 對空間的思考與表達路徑，和先前非常不同，誠如朝聰在訪談時曾言：「往
10
，頁 2017 。 16
胡朝聰，創作論述︽交界下的地方歸屬︾，
台北市，國立臺北藝術大學，
2.
昔是著重在描繪空間的特性，但在越來越靠近自己向內探索後，表現的 形式及題材就開始出現了差異。」
「地方有著非常複雜繁瑣的系譜，更可從不同地理學上獲得種種回應，但 有個核心本質，就是位居地方（in place）。也就是將某一空間作為個人 主體經驗的場域、產生連結激盪出不同的心理狀態。」2
Immortal Posture (Detail) 紅銅、鐵、水泥、FRP Copper, iron, cement, FRP ｜ 60.5×24×23 cm ｜ 2017
11
BY
Independent curator
TSAI JIA-ZHEN
Hu Chau-Tsung’s artworks, at first glance, have always seemed familiar to me in some indescribable way. The déjà vu is evoked by the visual perspective with which the artist looks into a manless space, the rational lines and brushwork to section the actual space, or the sensitive strokes transforming the actual space into a surrealistic existence. However, as we follow his storytelling about everyday life to enter the painted space, the two-dimensional world on the canvas soon becomes a three-dimensional place with stories to be told. In the movie Interception, the leading characters try to seal up the places related to important memories and constantly return to the deeper consciousness to rebuild them, to make them a livable “place.” Likewise, a place is not merely a material and tangible place, but where memories, imaginations, and the sense of belonging merge together. It is perhaps why Hu’s solo exhibition in 2017 is titled as “Becoming a Place to Be.” Hu’s earlier works between 2011 and 2012 often feature the scenes of a coastal highway: the gray and black asphalt topping marked with yellow and white lines occupy the center, while it is the jersey barriers and the beautiful landscape making the highway identifiable as we drive around the mountains toward the coast. It was the most adventurous years in Hu’s life as if nothing could stop the young man. He spent the two whole years either surfing in the sea or staying on the shore, waiting for the waves to come. Although he aimed at the sea and the waves, it was the highway, the road from the West Coast to the East Coast, being the subject of his artworks. If it is true that everyone has a destination on the other shore, the Utopia, then Hu focuses more on the path than the destination itself. The point of departure in his artistic practice, as further explored in this solo exhibition, is thus slowly elaborated into the main concept. “Becoming a Place to Be” is indeed a destination where we attempt to arrive at, but the “Hows” are the artist’s real concern.
12
The exhibits in “Becoming a Place to Be” abandon his single-image practice but put them in pairs as diptychs, allowing the comparison to develop a dialogue or narrative. In the diptychs, one features the large houseplants in front of a single-color background, where all the unnecessary items are removed to accentuate the nuanced postures of the plants: the various shades and textures of the lustered green leaves and the different types of the plants. A single-image painting of plants is more than a decorative still life since it expresses the humans’ desire to include the landscape in the room. By moving a part of the outdoor scenery to the indoor, the artist seems to create a window connecting us with the landscape outside for a breath of nature. However, Hu’s artistic attempt and the ideas he wants to illustrate are more than this. The other image in these diptychs, as a comparison, features plants as well but they are wild plants growing everywhere outdoors. Meanwhile, the mountains and sea in the distance, as well as the cement and metal sheets in the foreground replace the singlecolor background. The artificial architectures and objects in the image in the light of composition is to imitate the forms of houseplants (climbing, growing, etc.) or to reflect the plants’ distribution and ecology. To compare it with the image of houseplants is to question how the space has been changed: the outdoor plants are forcefully moved indoors by humans to alter the indoor scenery, but the outdoor landscape is also altered by human activities as the land for buildings expands and the place for plants diminishes if not vanishes. The gradual disappearance of the natural landscape, ironically, creates a stronger eagerness for humans to move the plants indoors. “The space is altered by human presence, for that the plants can no longer be found in nature, where they used to be, but we decide to grow the same plants in our home,” says Hu, who finds the situation paradoxically strange, “I think we are deceiving ourselves that we refuse to walk into the immersive lush green nature but choose to take them away from their home and put them in ours for pleasure and reminiscence.”
13
1. Cresswell, Tim. (2004). Place: A Short Introduction. Malden, Tim Cresswell Pub, p. 10.
Therefore, Hu’s “Becoming a Place to Be” questions the achievements desired by all. In order to create the ideal place, we sacrifice the places where other species live. The means and processes cannot be more ridiculous. Hu thus uses bonsais in his solo exhibition to touch upon the major issues about living places and spaces.
1
To further emphasize the absurd scenes created for home security reasons, Hu designs several installations particularly for the exhibition: window grills and brass sculptures in the forms of plants. The former, almost a necessary home security measure in every household, is probably the most common image in Taiwan, although the iron bars fixed to the external walls of residential buildings here and there confuse people who are not familiar with the local culture, whether they are to protect or to prison those living inside. Many foreign artists have indeed turned their window-grill confusion or observation into artworks. In Hu’s exhibits, the acrylic-made window-grill installation is illuminated from an oblique angle to create a classical lighting effect, and inside the window grills are the artificial plants made of brass. The strong light obscures the outline of the acrylic, but the shadow clearly shows the plants prisoned by the iron bars. The way Hu visualizes the window grills is to demonstrate his belief that “there are many things in the world that are invisible but still exist,” while the plants made of metal are to symbolize eternality so the whole installation can be interpreted as “the existence of eternal but yet invisible bars.” Furthermore, the installation advances Hu’s artistic exploration of space and place to a deeper level. The new works for the exhibition are
14
2. Hu, Chau-Tsung (2017). The In-Between: Sense of Belonging as Experienced at Borders. Taipei: Taipei National University of the Arts, p. 16.
very different from the previous works in terms of the ideas of space and the means of expression, as how Hu mentions in an interview that “I used to emphasize the qualities of space in my previous practice, but when I dig into myself deeper and deeper, the expressions and subjects are no longer the same.” “‘Place’ has its own complicated genealogy, and we can find different responsive messages in geology, but its essence is being ‘in place’ – the space becoming a place for personal and subjective experiences in order to create connections and to stimulate the various psychological states of mind. ” 2
15
文｜胡朝聰
空間因而有別於地方，被視為缺乏意義的領域——是「生活事實」，跟時間一樣，構成人類生活的基本坐標。當人將意義投注於局部空間， 然後以某種方式（命名是一種方式）依附其上，空間就成了地方。1
何謂「地方」？相較於空間，地方是人將意義投注於空間中，以某種方式依附其上，如此空間就成為地方，人們對於其區域自然並非以一種觀看的角 度存在，而是行動介入、生活其中。置身其中也代表著在特定區域上一段時間的停留，這動作必然會使個人在環境上留下許多可見以及不可見的存在， 當中包含著屬於自身私密的過往、所有移動的殘存軌跡，更可做為一種觀看、認識和理解世界的方式。
在過往的創作中，發展出兩條脈絡——交界迷蹤、棲域接境系列，雖然形式上不同，但關注的主軸皆由個人生活經驗以及對空間的感知出發，藉著創 作過程梳理出個人主體及周遭環境的關係，呈現出當下的感官和心理狀態。因著重生活經驗（活動範圍和個人喜好），因此畫面元素選取以「交界中」 （城市－自然）的物件為優先。而細分其中，作品的內在精神可以分為兩部分：一則為自然的嚮往，是較為烏托邦式的幻想及想像，期待在空間矛盾的 推陳下，最終能尋得歸屬感的所在；一則是面對交界環境的變動所產生的不安，對方向感及前進方向的徘徊猶豫。在上述基礎的發展下持續探索，試 著融合外顯形式部分的同時，將核心概念聚焦在對棲居（或寄居）於一個交界環境下，歸屬感的追求。這份歸屬感也可以視為對一個空間的認同，換 句話說就是當下的環境是否得以成為個人的「地方」。
是什麼使它們成為地方，而不單單是房間、花園、城鎮、世界城市、新興國家和有居民的星球？有個答案是，它們都是人類創造的有意義 空間。它們都是人以某中方式依附其中的空間。這是最直接且常見的地方定義——有意義的區位（a meaningful location）。 2
拉回至本次個展——「成為一個地方」，地方對於我們固然重要，但我更關心的是「如何介入」空間的過程，是什麼狀態的改變產生出「地方」的存在。 作品有著廣義和狹義的部分，廣義的部分取自所處環境中從未停止探索的交界——「自然－城市」過渡區域，這是人們為了擁有更大的居住地，向城 市邊緣開發時所產生。其中暫時性置入的工程用元素使空間產生晃動感及改變後的不確定感，但也讓原本陌生的自然成為我們得以依存的地方。交界
16
1.
，徐苔玲、王志弘譯，︽地方：記憶、想像與認同︾， Tim Cresswell ， 頁 19 。 2006
。 14
台北市，群學出版有限公司，
同註 ， 1頁
2.
中事物的更迭影響著畫面表現，自然物或人造物有著不同狀態，崩解、 消逝或再覆蓋，時而清晰時而模糊，期望以繪畫傳達環境變遷下的真實。 狹義的部分，來自我本身的生命經驗以及生活實踐——因一些個人因素， 當時藉著植栽讓私領域和外部公領域中產生間隙及喘息的緩衝區，能讓 自己和空間更加緊密，產生更強的認同。至今，這個種植習慣仍然持續 進行中，在挑選適合的植栽置入空間後，這個區域也終將成為我的「專 屬地方」。而出現的單株植物創作，也是讓作品成為另一種盆栽的形式 存在，可以任意的放置於不同空間中，進而改變環境。
不論是室內植栽或交界地景，最重要的是包含著如何成為一個地方的關 鍵及核心行動——行為介入，進而改變所處當下。當我們以任何方式介 入一個空間，我們即和此產生連結，接著以各式的活動，讓不同大小的 區域成為我們的領域或「地方」。地景中人們對於土地樣貌的改變，以 及較小規模特定空間下的一切陳設擺列，其中充滿著不同尺度下人們對 理想中地方的再現，並藉著一內一外、廣義與狹義、大範圍與小區域的 互相參照，激盪出更多對於「地方」的想像。
17
BY
HU CHAU-TSUNG Space, then, has been seen in distinction to place as a realm without meaning – as a “fact of life” which, together with time, produces the basic coordinates for human life. When humans invest meaning in a portion of space and then become attached to it in some way (naming is one such way), it becomes a place. 1
What does a “place” mean? Compared with “space,” a place is a portion of space where humans invest meaning or get attached to in one way or another. It is how a space becomes a place. The natural surroundings are not for people in this area to observe from one perspective, but where they live inside and act upon. “Being within” means spending a period of time in a certain district, while the individual’s movements will definitely leave visible or invisible marks, including the past unknown to others and the traces of every movement, as a means to observe and to understand the world. The main themes I have been exploring throughout my practice are mostly shown in the series Boundary Maze and Surrounded by Boundaries. In spite of the differences regarding form, my artistic concern in both series is derived from my personal experiences and the perception of space. Artmaking allows me to identify and establish the relation between one’s subjectivity and the surroundings as a reflection on the immediate perceptual and psychological state of mind. Focusing on life experiences (territories and personal interests), the images feature the scenes and objects found on the borders (between a city and nature). Furthermore, the inner spirit of the artworks consists of two parts: one is the fantasized desire for a Utopian nature, with an expectation that the contradictory elements of space will motivate us to find a sense of belonging; and the other is the anxiety of not knowing which way to go when confronting the constantly changing surroundings in the borders. Based on these mentioned above, my artworks not only attempt to merge the forms of the appearance but also target at the sense of belonging experienced on the borders (no matter the stay is perpetual or momentary). Here, we can define the sense of belonging as one’s identification with a particular space. In other words, it decides where the present surroundings become someone’s “place.”
What makes them all places and not simply a room, a garden, a town, a world city, a new nation and an inhabited planet? One answer is that they are all spaces which people have made meaningful. They are all spaces people are attached to in one way or another. This is the most straightforward and common definition of place – a meaningful location. 2
Now, let us get back to this exhibition “Becoming a Place to Be.” Places are important for us indeed, but I am more curious about how one influences the space and in what way the situation changes to produce the existence of “places.” The artworks have both their general and specific significance. The former results from an endless exploration of the borders in our daily surroundings – the nature-versus-city transition appears when humans try to expand their living spaces and to push the borders of a city farther. The temporarily inserted constructional elements shatter the space and produce a sense of insecurity to deal with the changes, but it also transforms the unknown nature into a place we are attached to. The transition on the borders affects the visual expressions since the different qualities between the natural and the artificial bring us to experience the collapse, disappearance, and re18
2.
1.
Ibid., p. 7.
Cresswell, Tim. (2004). Place: A Short Introduction. Malden, MA : Blackwell Pub, p. 10.
covering, as the realities of the changing surroundings are truthfully represented on canvas with alternative clarity and obscurity. As for the specific, the significance of the artworks is based on my personal experiences and everyday practice – for some personal reasons, planting offers me a buffer between the external world and my private life. It allows me to take a breath from the noisy world outside and brings me closer to the space which I find a stronger identification with. Even now, my habit continues. After choosing the right plants for the space, the area soon becomes my “own place.” The single-plant artworks, meanwhile, are another kind of bonsai to be placed in different spaces according to your wishes to change the surroundings. No matter it is about houseplants or the landscape on the borders, the most crucial is how one’s active participation – the key action for a space to become a place – changes the immediate situation. When we, in whatever way, become a part of the space, we are connected to it. The following activities will more or less transform the areas into our territories, our “places.” How people transform the large-scale landscape or arrange the small-scale region (the limited space) reflects how people envision their ideal spaces of various scales or sizes. Meanwhile, the comparisons between the inner and the outer, the general and the specific, the overall landscape and the regional all together stimulate a greater possibility to imagine “place.”
19
AR
作
TW
OR
品
KS
Becoming a Place to Be 1
壓克力、畫布板 Acrylic on canvas panel ｜ 80.5×80.5 cm ×2 ｜ 2017
23
Becoming a Place to Be 2
壓克力、畫布板 Acrylic on canvas panel ｜ 120.3×120.3 cm ×2 ｜ 2017
25
Becoming a Place to Be 3
壓克力、畫布板 Acrylic on canvas panel ｜ 100.5×100.5 cm ×2 ｜ 2017
27
Process
壓克力、畫布板 Acrylic on canvas panel ｜ 89.9×146 cm ｜ 2017
29
A Place
壓克力、畫布板 Acrylic on canvas panel ｜ 130.6×162.3 cm ｜ 2017
31
Place Unit 1
壓克力、畫布板 Acrylic on canvas panel ｜ 73×91.5 cm ｜ 2017
33
Place Unit 2
壓克力、畫布板 Acrylic on canvas panel ｜ 60.4×60.4 cm ×2 ｜ 2017
35
Place Unit 3
壓克力、畫布板 Acrylic on canvas panel ｜ 60.4×60.4 cm ｜ 2017
37
Place Unit 4
壓克力、畫布板 Acrylic on canvas panel ｜ 60.4×60.4 cm ｜ 2017
39
Immortal Posture
畫 作｜壓克力、畫布板 Acrylic on canvas panel ｜ 110.2×50.3 cm ｜ 2017
植 栽｜紅銅、鐵、水泥、FRP Copper, iron, cement, FRP ｜ 60.5×24×23 cm ｜ 2017
41
An Ordinary Home
窗戶組件 壓克力、木板
Acrylic, wood panel 234.5×160×58cm×2
植栽 紅銅、鐵、水泥、FRP
Copper, iron, cement, FRP 2017 A B C D E F G
76.5×24.5×24 31.5×12×11 29.5×25×25 57×33×7 108.5×32×31 24.5×19×21 75×37.5×10
cm cm cm cm cm cm cm
A
B
C
D
E
F
43
G
45
Oasis
壓克力、畫布板 Acrylic on canvas panel ｜ 130.3×162.1 cm ｜ 2016
47
Fireworks
壓克力、畫布板 Acrylic on canvas panel ｜ 130.4×162.3 cm ｜ 2016
49
51
53
〈棲域接境〉系列 Surrounded by Boundaries Series | 2014-2016
Surrounded by Boundaries – Dwelling
壓克力、畫布板 Acrylic on canvas panel ｜ 152.5×152.5 cm ｜ 2016
55
Surrounded by Boundaries – The Moon
壓克力、畫布板 Acrylic on canvas panel ｜ 120.5×120.5 cm ｜ 2016
57
Surrounded by Boundaries – The Skyline
壓克力、畫布板 Acrylic on canvas panel ｜ 100.5×100.5 cm ｜ 2016
59
Surrounded by Boundaries – Pool (I) 壓克力、畫布板 Acrylic on canvas panel ｜ 40.3×40.3 cm ｜ 2016
Surrounded by Boundaries – Pool (II) 壓克力、畫布板 Acrylic on canvas panel ｜ 50×50 cm ｜ 2016
61
Wheeling in the Air
壓克力、畫布板 Acrylic on canvas panel ｜ 120.3×36.2 cm ｜ 2016
Surrounded by Boundaries – Pause 壓克力、畫布板 Acrylic on canvas panel ｜ 60×60 cm ｜ 2015
63
Surrounded by Boundaries - Night Watch 壓克力、畫布板 Acrylic on canvas panel ｜ 60×60 cm ｜ 2015
Surrounded by Boundaries – Expectation 壓克力、畫布板 Acrylic on canvas panel ｜ 60×60 cm ｜ 2015
65
Surrounded by Boundaries – Searching 壓克力、畫布板 Acrylic on canvas panel ｜ 60×60 cm ｜ 2015
Surrounded by Boundaries – Exploring the Border 壓克力、畫布板 Acrylic on canvas panel ｜ 80×80 cm ｜ 2015
67
Surrounded by Boundaries – Unknown Distance 壓克力、畫布板 Acrylic on canvas panel ｜ 100.2×100.1 cm ｜ 2015
Surrounded by Boundaries – Freedom 壓克力、畫布板 Acrylic on canvas panel ｜ 100.4×100.4 cm ｜ 2015
69
Surrounded by Boundaries – Migration 壓克力、畫布板 Acrylic on canvas panel ｜ 80×80 cm ｜ 2015
Carefree 壓克力、畫布板 Acrylic on canvas panel ｜ 20.5×81 cm ｜ 2014
71
Visitors At Night 壓克力、畫布板 Acrylic on canvas panel ｜ 20.5×81 cm ｜ 2014
Silent Fly 壓克力、畫布板 Acrylic on canvas panel ｜ 40.3×40.3 cm ｜ 2014
73
Colonization Plan
壓克力、畫布板 Acrylic on canvas panel ｜ 24×162 cm ｜ 2014
75
〈家屋〉系列 Home Series | 2014-2016
Home – Private Paradise
壓克力、畫布板 Acrylic on canvas panel ｜ 150.5×200.5 cm ｜ 2016
77
Blowing in the Wind
壓克力、畫布板 Acrylic on canvas panel ｜ 100.5×100.5 cm ｜ 2016
79
Home – Celebration
壓克力、畫布板 Acrylic on canvas panel ｜ 130×162.2 cm ｜ 2015
81
Home – Private Island
壓克力、畫布板 Acrylic on canvas panel ｜ 162.4×130.3 cm ｜ 2015
83
Home
壓克力、畫布板 Acrylic on canvas panel ｜ 200.3×150.3 cm ｜ 2014
85
〈交界迷蹤〉系列 Boundary Maze Series | 2014
In Between 壓克力、畫布板 Acrylic on canvas panel ｜ 155×155 cm ｜ 2014
Horizon 壓克力、畫布板 Acrylic on canvas panel ｜ 37×95.5 cm ｜ 2014
87
Get Lost 壓克力、畫布板 Acrylic on canvas panel ｜ 60.5×60.5 cm ｜ 2014
Stacked Distance 壓克力、畫布板 Acrylic on canvas panel ｜ 45.5×45.5 cm ｜ 2014
89
BIO
簡
GR
歷
AP
HY
攝影
陳 / 明聰
Photo by Alex Chen
胡朝聰
HU Chau-Tsung b.1981
92
胡朝聰 1981 年出生於台灣台北，2017 年畢業於國 立台北藝術大學美術學系碩士班創作組（MFA）。 創作靈感與核心來自於他的生命經驗及生活實踐， 「城市－自然」交界是他最大靈感的來源，也是時 常停留的地方。他在城市的邊境中，最捉摸不定的 角落裡，捕捉了過去年少的記憶。他擷取生活中和 地緣有關的邊緣輪廓影像，組構成屬於自身的體驗 與經歷，細膩的色階變化，形成繪畫與影像的曖昧 地帶。
人文與自然的共生關係及交界區域一直是胡朝聰觀 察探討的對象，其創作理念試圖表達自然環境與人 工場景的交界—一種曖昧模糊、無法捉摸的關係及 空間的滲透與矛盾感；作品的畫面模糊、曖昧、無 法定義，不斷改變的交界，反而產生了更大的想像 空間，使得在理性的圖像中，情緒也得以滲透穿梭， 讓觀者產生屬於自身的記憶經驗。畫面中也透露出 對大自然美好的嚮往及召喚，讓人們重新慎思自然 的存在及對共生關係的探討—一種對地景的再思 考。除此之外近期作品從以往交界空間至歸屬感探 討的基礎上展開，將部分視點放至人和土地連結的 關係上，衍伸出對「居所」、「地方」的探討。 於 2005 年獲國泰新世紀潛力畫展優選、2006 年獲 第 10 屆雙和美展－油畫類大專社會組雙和獎、2008 年獲高雄市立美術館－高雄獎入選。作品《更美好 的未來》（2012）、《之間》（2014）、《交錯下 的未知凝視》（2013）與《家屋－私樂園》（2016） 獲國立台灣美術館典藏。
93
Hu Chau-Tsung was born in 1981 in Taipei, Taiwan. He received his MFA from the Taipei National University of the Arts in 2017. Hu’s creative inspiration arises from his personal life experiences and practice. The greatest source of inspiration for him, also a place to frequently visit, is the border between city and nature. The border of the city, the most elusive location of all, is the place where he chases the memories of his youth days. Hu captures the outlines of the edges in real life and geographic sites, which he composes with personal experiences, also a delicate gradation of colors, to paint ambiguous areas. Hu has been continuously focusing on observing and researching the symbiosis of humanity and nature. In his artworks, Hu is aiming to express the common boundary of a natural environment and artificial scene – a vague, ambiguous and untouchable relationship, as well as a penetrating and contradictory sense of space. Obscure, ambiguous, indefinable and constantly changing cross-borders in Hu’s paintings create a larger space for imagination, allowing the audience to reflect on their own memories and experiences. His works show his fantasy about nature, which arouse the spectators to rethink how to exist naturally and to think over again about the landscape. Starting with the cross-borders, space and the sense of belonging as a basis for his explorations, Hu has also derived a discussion of “residence” and “place” from the approach to the relationship between people and land. Hu Chau-Tsung has received a numerous awards including the Merit Award at the “New Century Painting Exhibition of Cathay Life Insurance” in 2005, the First Place in Oil Painting at “The 10th Art Exhibition of Zhonghe City” in 2006, and was selected as a nominee of the Kaohsiung Awards in 2008 organized by the Kaohsiung Museum of Fine Arts. Hu’s artworks In a Better Future (2012), Under the Gaze of Unknown (2013), In Between (2014), and Home – Private Paradise (2016) have been collected by the National Taiwan Museum of Fine Arts.
2017 國立台北藝術大學美術學院碩士班創作組碩士，台北，台灣 2004 中國文化大學美術系，台北，台灣
2016 「成為一個地方」，尊彩藝術中心，台北，台灣 2014 「交界迷蹤」，尊彩藝術中心，台北，台灣 2011 「交界段落－微隱若現的平淡敘事」，雅逸藝術中心，台北，台灣 2008 「靜謐與空靈之間」，台北縣政府藝廊（今新北市藝文中心），台北，台灣 「流域邊界」，文化大學藝廊，台北，台灣
2017 「 2017 福爾摩沙藝術博覽會」，松山文化創意園區，台北，台灣 2016 「 2016 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「 Art16 London 」，奧林匹亞展會中心，倫敦，英國
2015 「 2015 高雄藝術博覽會」，城市商旅，高雄，台灣 「 2015 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「閱讀藝術 II －夏祭聯展」，尊彩藝術中心，台北，台灣 「 2015 台中藝術博覽會」，台中日月千禧酒店，台中，台灣 「 2015 台南藝術博覽會」，台南大億麗緻酒店，台南，台灣 「三月三日天氣新」，尊彩藝術中心，台北，台灣
2014 「 2014 高雄藝術博覽會」，翰品酒店，高雄，台灣 「台灣美術散步道： 1927-2014 」，尊彩藝術中心，台北，台灣
94
「 2014 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「 2014 台中藝術博覽會」，台中日月千禧酒店，台中，台灣 「 2014 台北當代國際藝術博覽會」，晶華酒店，台北，台灣 「 2014 台南藝術博覽會」，台南大億麗緻酒店，台南，台灣 「親親我的寶貝－愛的禮物」，尊彩藝術中心，台北，台灣
2013 「 YOGO 」，國立台北藝術大學地下美術館，台北，台灣 「 2013 高雄藝術博覽會」，高雄翰品酒店，高雄，台灣 「閱讀藝術」，尊彩藝術中心，台北，台灣 「繁星閃閃」，尊彩藝術中心，台北，台灣 「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，台灣
2012 「 Back Yart 倉庫型藝術博覽會」，二十號倉庫，台中，台灣 「 2012 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「藝術家博覽會」，台中文化創意產業園區，台中，台灣 「藝術家博覽會」，松山文創園區，台北，台灣 「飛行熱氣球」，尊彩藝術中心，台北，台灣 「 2012 台北國際當代藝術博覽會」，台北喜來登大飯店，台北，台灣 「如果是小王子」，尊彩藝術中心，台北，台灣
2011 「還不是這麼熟」，國立台北藝術大學地下美術館，台北，台灣 「首都淘寶 × 藝遊華山聯展」，華山藝文特區，台北，台灣
2010 「金車新生代藝術家創作聯展」，金車文藝中心員山館，宜蘭，台灣 「華岡大美」，國父紀念館，台北，台灣
2009 「心象寫實」青年六人油畫聯展，雅逸藝術中心，台北，台灣 「 Taiwan International Illustration Art Festival 」，華山藝文特區烏梅酒廠，台北，台灣 「輪廓線－另一種遼闊」，金車藝文中心，台北，台灣 「金車新生代藝術家創作聯展」，金車文藝中心員山館，宜蘭，台灣
2008 「漫－兩岸藝術家聯展」，首都藝術中心，台北，台灣 「心象寫實－青年六人油畫聯展」，雅逸藝術中心，台北，台灣 「漂流島嶼」，台北市立美術館，台北，台灣
95
2007 「紗帽山畫會年度大展」，國父紀念館，台北，台灣 「兩岸藝術交流展」，國父紀念館，台北，台灣
2006 「紗帽山畫會年度大展」，國父紀念館，台北 ，台灣 「光影下的靜謐」，台北市社教館聯展，台北，台灣
2005 「紗帽山畫會年度大展」，國父紀念館，台北，台灣 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探」，太平洋文教基金會，台北，台灣 2003 「存在．意象」，華岡博物館，台北，台灣 2002 「存在．意象」，華岡博物館，台北，台灣 「全國大學院校美教：美術系所觀摩展」，台中港區藝術中心，台中，台灣
2001 「吳大光師生聯展」，台北社教館，台北，台灣 「再現時代面貌」，仁愛醫院藝廊，台北，台灣
2008 第一屆金車青年藝術獎，佳作，台灣 「台灣國展」，佳作，台灣 「屏東美展」油畫纇，入選，台灣 第二屆道正新人獎，入選，台灣
2007 「第十二屆大墩美展」油畫纇，入選，台灣 「警察節美展」，第三名，台灣 台北市光華青年水彩寫生比賽大專社會，佳作，台灣
2006 「第十屆雙和美展」油畫類大專社會組雙和獎，第一名，台灣 「第十一屆大墩美展」油畫類，第二名，台灣 「警察節美展」西畫類，第二名，台灣 「帝寶美展」油畫類，第三名，台灣 「國泰新世紀潛力畫展」，優選，台灣 台北市光華青年水彩寫生比賽大專社會，佳作，台灣
96
2005 「國泰新世紀潛力畫展」，優選，台灣 第三十三屆青年水彩寫生比賽大專社會組，佳作，台灣
2003 台北市光華青年水彩寫生比賽大專社會組，銅獅獎（第三名），台灣 「第六十六屆台陽美展」水彩類，入選，台灣 「第二十七屆全國油畫展」，入選，台灣
2016 《家屋－私樂園》，國立台灣美術館，台中，台灣 2015 《交錯下的未知凝視》，國立台灣美術館，台中，台灣 2014 《之間》，國立台灣美術館，台中，台灣 2012 《更美好的未來》，國美館青年藝術家作品購藏計畫，國立台灣美術館，台中，台灣 2006
「第十屆雙和美展」油畫類大專社會組雙和獎，作品榮獲單位典藏，新北市，台灣
2003
台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，台北，台灣
97
2017
MFA, Taipei National University of the Arts, Department of Fine Arts, Taipei, Taiwan
2004
BFA, Chinese Culture University, Department of Fine Arts, Taipei, Taiwan
2017
“Becoming a Place to Be”, Liang Gallery, Taipei, Taiwan
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 (Now New Taipei City Arts Center), Taipei, Taiwan
“Watershed Boundary”, Chinese Culture University Student Gallery, Taipei, Taiwan
2017
“Art Formosa 2017”, Songshan Cultural and Creative Park, Taipei, Taiwan
2016
“Art Taipei 2016”, Taipei World Trade Center, Taipei, Taiwan
“Art16 London”, Olympia Grand, London, UK
2015
“Art Kaohsiung 2015”, City Suites, Kaohsiung, Taiwan
“Art Taipei 2015”, Taipei World Trade Center, Taipei, Taiwan
“Art in the Library II – Summer Festival Exhibition”, Liang Gallery, Taipei, Taiwan
“Art Taichung 2015”, Millennium Hotels, Taichung, Taiwan
“Art Tainan 2015”, Tayih Landis Hotel, Tainan, Taiwan
“Freshness of March”, Liang Gallery, Taipei, Taiwan
2014
“Art Kaohsiung 2014”, Chateau de Chine, Kaohsiung, Taiwan
“Walking by Taiwanese Art: 1927-2014”, Liang Gallery, Taipei, Taiwan
“Art Taipei 2014”, Taipei World Trade Center, Taipei, Taiwan
“Art Taichung 2014”, Millennium Hotels, Taichung, Taiwan
98
“Young Art Taipei 2014”, Regent Taipei Hotel, Taipei, Taiwan
“Art Tainan 2014”, Tayih Landis Hotel, Tainan, Taiwan
“Kiss Kiss My Baby Charity Event “, Liang Gallery, Taipei, Taiwan
2013
“YOGO”, Taipei National University of the Arts Museum, Taipei, Taiwan
“Art Kaohsiung 2013”, Chateau de Chine, Kaohsiung, Taiwan
“Art in the Library”, Liang Gallery, Taipei, Taiwan
“Beautiful Starry Night Sky”, Liang Gallery, Taipei, Taiwan
“Inside - Outside”, Yuan Ze University Arts Center, Taoyuan, Taiwan
2012
“Back Yart”, Stock 20, Taichung, Taiwan
“Art Taipei 2012”, Taipei World Trade Center, Taipei, Taiwan
“Artist Fair ”, Taichung Culture and Creative Industries Park, Taichung, Taiwan
“Artist Fair”, Songshan Cultural and Creative Park, Taipei, Taiwan
“Exploring with a Balloon – Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan
“Young Art Taipei 2012”, Sheraton Hotel, Taipei, Taiwan
“Le Petit Prince”, Liang Gallery, Taipei, Taiwan
2011
“Not So Familiar”, Taipei National University of the Arts Museum, Taipei, Taiwan
“Treasure Hunting in the Capital × Aesthetic Wondering at Huashan”, Huashan 1914 Creative Park, Taipei, Taiwan
2010
“King Car Art Exhibition of New Generation”, King Car Cultural and Art Center Yuanshan Hall, Yilan, Taiwan
“Hwa Kang Exhibition: Extreme Beauty of Culture”, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
2009
“Realism of the Mind 2009 – 6 Realism Painters of New Generation”, Julia Gallery, Taipei, Taiwan
“Taiwan International Illustration Art Festival”, Huashan 1914 Creative Park Eastern Third Hall, Taipei, Taiwan
“Contour – Another Expanse”, King Car Cultural & Art Center, Taipei, Taiwan
“King Car Art Exhibition of New Generation”, King Car Cultural & Art Center Yuanshan Hall, Yilan, Taiwan
2008
“Artists Across the Taiwan Strait Group Exhibition”, Capital Art Center, Taipei, Taiwan
“Realism of the Mind 2008 – 6 Realism Painters of New Generation”, Julia Gallery, Taipei, Taiwan
“Floating Formosa”, Taipei Fine Arts Museum, Taipei, Taiwan
2007
“Shamao Mountain Painting Club Annual Exhibition”, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
“Artists Across the Taiwan Strait Group Exhibition”, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
2006
“Shamao Mountain Painting Club Annual Exhibition”, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
“Stillness Under the Lights”, Taipei Cultural Center, Taipei, Taiwan
99
2005
“Shamao Mountain Painting Club Annual Exhibition”, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
2004
“Atypical Realistic Syndrome”, Pacific Cultural Foundation, Taipei, Taiwan
2003 “Expression．Spirit”, Hwa Kang Museum, Taipei, Taiwan 2002 “Existence．Imagery”, Hwa Kang Museum, Taipei, Taiwan
“Departments of Fine Arts at the National Universities Exhibition”, Taichung City Seaport Art Center, Taichung, Taiwan
2001
“Wu Da-Kuan Joint Exhibition”, Taipei Cultural Center, Taipei, Taiwan
“Reappear the Appearance of Time”, Ren-Ai Hospital Art Gallery, Taipei, Taiwan
2008
Honorable Mention, “The 1st King Car Young Artist Exhibition”, Taiwan
Honorable Mention, Taiwan National Oil Painting Competition, Taiwan
Selected Award in Oil Painting, “Pintung County Art Exhibition”, Taiwan
Selected Award, “The 2nd Daocheng Young Artist Exhibition”, Taiwan, Taiwan
2007
Selected Award in Oil Painting, “The 12th Art Exhibition of Taichung City”, Taiwan
The 3rd Place in West Painting, “The Art Exhibition of Police Day”, Taiwan
Honorable Mention in The Group of Universities, Colleges and Socialites, The Watercolor Outdoor Sketching Competition of Taiwan Lions, Taiwan
2006
The 1st Place in Oil Painting, “The 10th Art Exhibition of Zhonghe City”, Taiwan
The 2nd Place in Oil Painting, “The 11th Art Exhibition of Taichung City”, Taiwan
The 2nd Place in West Painting, “The Art Exhibition of Police Day”, Taiwan
The 3rd Place in Oil Painting, ”The 11th Art Exhibition of Changhua County”, Taiwan
Merit Award, “The New Century Painting Exhibition of Cathay Life Insurance”, Taiwan
Honorable Mention in The Group of Universities, Colleges and Socialites, The Watercolor Outdoor Sketching Competition of Taiwan Lions, Taiwan
2005
Merit Award, “New Century Painting Exhibition of Cathay Life Insurance”, Taiwan
Honorable Mention in the Group of Universities, Colleges and Socialites, The 33th Watercolor Outdoor Sketching Competition, Taiwan
2003
The 3rd Place in the Group of Universities, Colleges and Socialites, The Watercolor Outdoor Sketching Competition of Taiwan Lions, Taiwan
Selected Award in Watercolor, “The 66th Taiyang Art Exhibition”, Taiwan
Selected Award in Oil Painting, The 27th Taiwan National Painting Competition, Taiwan
100
2016
Home – Private Paradise, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2015
Under the Gaze of Unknown, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2014
In Between, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2012
In a Better Future, Young Artist Collection Program, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2006
Work collected at “The 10th Art Exhibition of Zhonghe City”, New Taipei City, Taiwan
2003
Work collected at the Watercolor Outdoor Sketching Competition of Taiwan Lions, Taipei, Taiwan
101
CA TA L
圖
錄
OG
21
23
25
Becoming a Place to Be 1
Becoming a Place to Be 2
Becoming a Place to Be 3
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
80.5×80.5 cm ×2 ｜ 2017
120.3×120.3 cm ×2 ｜ 2017
100.5×100.5 cm ×2 ｜ 2017
27
29
31
A Place
Place Unit 1
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
89.9×146 cm ｜ 2017
130.6×162.3 cm ｜ 2017
73×91.5 cm ｜ 2017
33
35
37
Place Unit 2
Place Unit 3
Place Unit 4
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
60.4×60.4 cm ×2 ｜ 2017
60.4×60.4 cm ｜ 2017
60.4×60.4 cm ｜ 2017
39
41
壓克力、畫布板 Acrylic on canvas panel
植 栽
紅銅、鐵、水泥、FRP Copper, iron, cement, FRP
紅銅、鐵、水泥、FRP Copper, iron, cement, FRP
An Ordinary Home 組 件 窗 戶
畫 作
Immoratal Posture
42
110.2×50.3 cm ｜ 2017
76.5×24.5×24 cm ｜ 2017
壓克力、木板 Acrylic, wood panel 234.5×160×58 cm×2 ｜ 2017
60.5×24×23 cm ｜ 2017
42
42
42
紅銅、鐵、水泥、FRP Copper, iron, cement, FRP
紅銅、鐵、水泥、FRP Copper, iron, cement, FRP
紅銅、鐵、水泥、FRP Copper, iron, cement, FRP
31.5×12×11 cm ｜ 2017
29.5×25×25 cm ｜ 2017
57×33×7 cm ｜ 2017
43
43
43
紅銅、鐵、水泥、FRP Copper, iron, cement, FRP
紅銅、鐵、水泥、FRP Copper, iron, cement, FRP
紅銅、鐵、水泥、FRP Copper, iron, cement,
108.5×32×31 cm ｜ 2017
24.5×19×21 cm ｜ 2017
75×37.5×10 cm ｜ 2017
45
47
53
Oasis
Fireworks
Surrounded by Boundaries – Dwelling
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
130.3×162.1 cm ｜ 2016
130.4×162.3 cm ｜ 2016
152.5×152.5 cm ｜ 2016
55
57
58
Surrounded by Boundaries – The Moon
Surrounded by Boundaries – The Skyline
Surrounded by Boundaries – Pool (I)
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
120.5×120.5 cm ｜ 2016
100.5×100.5 cm ｜ 2016
40.3×40.3 cm ｜ 2016
59
60
61
Surrounded by Boundaries – Pool (II)
Wheeling in the Air
Surrounded by Boundaries – Pause
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
50×50 cm ｜ 2016
120.3×36.2 cm ｜ 2016
60×60 cm ｜ 2015
62
63
64
Surrounded by Boundaries - Night Watch
Surrounded by Boundaries – Expectation
Surrounded by Boundaries – Searching
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
60×60 cm ｜ 2015
60×60 cm ｜ 2015
60×60 cm ｜ 2015
65
67
66
Surrounded by Boundaries – Exploring the Border
Surrounded by Boundaries – Unknown Distance
Surrounded by Boundaries – Freedom
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
80×80 cm ｜ 2015
100.2×100.1 cm ｜ 2015
100.4×100.4 cm ｜ 2015
68
69
70
Surrounded by Boundaries – Migration
Carefree
Visitors At Night
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
80×80 cm ｜ 2015
20.5×81 cm ｜ 2014
20.5×81 cm ｜ 2014
71
73
75
Silent Fly
Colonization Plan
Home – Private Paradise
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
40.3×40.3 cm ｜ 2014
24×162 cm ｜ 2014
150.5×200.5 cm ｜ 2016
77
79
81
Blowing in the Wind
Home – Celebration
Home – Private Island
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
100.5×100.5 cm ｜ 2016
130×162.2 cm ｜ 2015
162.4×130.3 cm ｜ 2015
83
84
85
Home
In Between
Horizon
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
200.3×150.3 cm ｜ 2014
155×155 cm ｜ 2014
37×95.5 cm ｜ 2014
86
87
Get Lost
Stacked Distance
壓克力、畫布板 Acrylic on canvas panel
壓克力、畫布板 Acrylic on canvas panel
60.5×60.5 cm ｜ 2014
45.5×45.5 cm ｜ 2014
發行人
Executive Director
Director
總經理
Publisher
出版者
Editor
策劃編輯
Translation
翻 譯
Display Executive
展場執行
Lighting
燈光設計
影
Photographer
攝
Designer
設 計
余彥良
YU Yen-Liang
Claudia CHEN
陳菁螢
Liang Gallery Co., Ltd.
尊彩國際藝術有限公司
Laura LYGAITYTE
李樂蓉
Siraya PAI, Laura LYGAITYTE
白斐嵐、李樂蓉
HONG Ding-Jiun
洪鼎鈞
HO Chung-Chang
何仲昌
KC. JD
劉光智、黃嘉達
LIU Ming-Wei
劉銘維
First Edition, November, 2017
2017 年 11 月初版 出 版 Publishing Date 日動藝術印刷有限公司 Jih-Tung Art Printing Co., Ltd.
978-986-94070-7-6
印 刷 Printing I SB N