那天我開了一扇門 黃頤勝 When the Door Opens Huang Yi-Sheng

When the Door Opens

黃頤勝 Huang Yi-Sheng

When the Door Opens

Artist Statement

「那天我開了一扇門」 創 作 自 述 黃頤勝

思緒隨著幻想任意飄盪，像是不經意地向鄉村小屋窗外望，夢境一般的風

那麼，一個旅程的起點、一個故事的開端，就可以從我所踏過的土地、摸

景，只是一個真也不真的異想世界。

過的泥土、聞過的空氣開始了，我開了一扇門，那裡有寬廣的海岸沙灘、 無人的山岳、清新的草原，還有雲朵漫遊的敞亮天際，這樣的畫面總是營

世界是瞬息萬變的，很多東西或許本身就存在著難以解釋的寓言性，叔本

造著歡愉可人的氣氛，那似乎是個盡善盡美的世界，無憂無慮，讓一切就

華認為「世界即是表象」，表象是用以描述這個世界，所有的東西都和意

這麼和平地存在著，活潑動態的麻雀在此也是輕聲細語，不展翅也不飛翔

識、都和人類有關，任何的感覺都是源自於人的心理層面，一個自我營

地乘著彩色氣球，但牠卻是豐腴安詳地遊戲著，一種悖離本能以及現實的

造、任意堆疊的世界，也將擁有無限的思想在裡面。在朱少麟的小說《燕

合理存在；本來就低調溫馴的雜食性動物在此似乎更顯無語，以極低限的

子》裡有段關於「沙巴女王」的故事，講述的是一個盡善盡美的世界，在

姿態陪伴麻雀們進行一場不吵鬧的和諧遊戲，沒有深刻激烈的撞擊，輕輕

這裡空間是無邊無緣，時間也是無始無終的，人們永生不死，一切的ㄧ切

訴說著故事的正反兩面，這樣的畫面總是讓人時而凝思卻又心曠神怡。

都是圓滿，沒有人知道缺陷的滋味，可是有一天有個人對何謂「不是幸 福」產生了疑惑，也為大家帶來了茫然，那人試著找答案，後來成為了人

或許有天你不經意打開了這扇門，你可以看到更多的故事，那不再僅僅是

們口中的智者，發現所謂的完美如果少了缺陷怎能叫做完美？所有的事情

麻雀的舞台，或許還可以找到自己熟悉的那種想像、那種氣味。

都是有它的相反面，完美或許應該是要包含那些缺陷跟瑕疵，才得以稱為 完美。

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Huang Yi-Sheng Solo Exhibition 2012

When the Door Opens

Artist Statement

Huang Yi-Sheng

Allowing my thoughts to soar with the fantasy, I can almost feel

where everything is perfect. The space and the time reach no end

Everything exists peacefully. Even the sparrows which used to

an unintentional glimpse at the world through a cottage window.

in the kingdom of Shaba, and the people there never die. No one

jump around stay quiet here. Neither spreading their wings nor

It is the dream-like scenery – a world of fantasy which seems to

knows what “imperfection” means.

One day, however, one

flying with the colorful balloons, the sparrows have fun with

be both real and surreal.

person raises a question about “what unhappiness is.” Everyone

themselves quietly and peacefully, showing their presence in a

is lost in the puzzle, so the person decides to look for the answer.

realistic but yet non-instinctive way.

We are living in a world of ephemerality, while many things

Soon, he becomes the wise man in the kingdom as how other

animals seem to be even quieter here, playing a harmonious

surrounding us might be regarded as fables with unexplainable

people see him. He figures out that the so-called “perfection” is

game with sparrows while trying not to be noticed. Though the

morals. Arthur Schopenhauer has once described the world as

not perfect at all since it does not include the “imperfection.”

scene is not visualized in a strong and intensive way, it still tells

The tame omnivorous

the story from the both perspectives, inviting viewers to refresh

“will and representation,” through which the world has been defined and depicted. Everything existing in the world is related

As the story begins, the journey should start with the land I have

to human consciousness, while all the feelings originate from the

stepped on, the soil I have touched, and the air I have smelled. I

psychological perceptions of humans as well. Even though it is a

open a door, which leads to me an endless beach, the mountains

Perhaps one day you happen to open the door, through which

self-constructed and self-accumulated world, it still includes

without any trace of human, the fresh grassland, and the clouds

you might be able to see more stories. In your own stories,

unlimited ideas within. In Chu Shao-Lin’s novel “Sparrows,” she

soaring around the sky.

sparrows no longer take the stage but are replaced by the

mentions a story about the “queen of Shaba,” who lives in a world

atmosphere, suggesting a perfect world without any worry.

The image creates a pleasant

their souls as well as their thoughts.

imagination and the atmosphere you have been experienced.

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When the Door Opens

Essay

詩與寓意的復返

繪畫的傳統及可能—黃頤勝畫筆下的甜美夢境

藝評人 / 沈伯丞

怎樣的生活 2009 油彩畫布 100×100cm

前言

前言

然而真的只是如此嗎？這幅名為《怎樣的生活》的作品以及黃頤勝其他的 畫面中，少女翹著雙眼將右手食指放在嘴邊，那神情看似在望著那頭頂上 然而真的只是如此嗎？這幅名為《怎樣的生活》的作品以及黃頤勝其他的 畫面中，少女翹著雙眼將右手食指放在嘴邊，那神情看似在望著那頭頂上 作品，真的只是讓觀者將腦袋放空舒緩一下，猶如廣告片裡強調清新氣息 的麻雀，卻又好似欲言又止地在思索著什麼？少女頭頂上的麻雀以蹲坐甚 作品，真的只是讓觀者將腦袋放空舒緩一下，猶如廣告片裡強調清新氣息 的麻雀，卻又好似欲言又止地在思索著什麼？少女頭頂上的麻雀以蹲坐甚 的產品，那特意以深呼吸的鏡頭來詮釋釋放生活壓力一般，僅僅是一幅讓 是孵卵的姿態，旁若無人地停頓在他人頭上，神色自若到不禁令人心生疑 的產品，那特意以深呼吸的鏡頭來詮釋釋放生活壓力一般，僅僅是一幅讓 是孵卵的姿態，旁若無人地停頓在他人頭上，神色自若到不禁令人心生疑 視覺感到舒適與甜美的繪畫嗎？然而畫面上每個元素的組合，僅僅是為了 竇，而另一隻站在氣球上的麻雀，看似自由地飄浮在空中，卻又僅是依附 視覺感到舒適與甜美的繪畫嗎？然而畫面上每個元素的組合，僅僅是為了 竇，而另一隻站在氣球上的麻雀，看似自由地飄浮在空中，卻又僅是依附 構成一個甜美的夢境而已嗎？又或者在黃頤勝的繪畫中潛在著創作者想要 在繫著絲帶的氣球上，哪兒也去不了，青藍色的天空與棉花糖般的雲朵， 構成一個甜美的夢境而已嗎？又或者在黃頤勝的繪畫中潛在著創作者想要 在繫著絲帶的氣球上，哪兒也去不了，青藍色的天空與棉花糖般的雲朵， 傳達的某種訊息？那一再出現的麻雀，或許是某個人乃至於某個深具特殊 襯著背後的山色，畫面上的這一切看似極為美好，卻似乎有著令人難以捉 傳達的某種訊息？那一再出現的麻雀，或許是某個人乃至於某個深具特殊 襯著背後的山色，畫面上的這一切看似極為美好，卻似乎有著令人難以捉 摸的語意及故事。 摸的語意及故事。

意義的符號，所以一再地出現在創作者的作品中。 意義的符號，所以一再地出現在創作者的作品中。

在黃頤勝畫裡的麻雀，從不展翅飛翔卻總是保持著與地心引力抗衡的關 儘管觀者總可以清楚地辨識每一個畫面上的元素，然而畫意卻似乎總有著 在黃頤勝畫裡的麻雀，從不展翅飛翔卻總是保持著與地心引力抗衡的關 儘管觀者總可以清楚地辨識每一個畫面上的元素，然而畫意卻似乎總有著 係，無論是坐在人的頭頂上、漂浮在氣球上乃至於從懸崖邊掉落，甚或跟 幾分難以捉摸的模糊與曖昧，於是乎觀看這樣的繪畫，經常是帶著觀賞繪 係，無論是坐在人的頭頂上、漂浮在氣球上乃至於從懸崖邊掉落，甚或跟 幾分難以捉摸的模糊與曖昧，於是乎觀看這樣的繪畫，經常是帶著觀賞繪 著風箏飛翔，黃頤勝的作品總是圍繞著那不願飛（不敢飛？）卻又固執地 本的眼光與潛意識，將感官淡淡地漂浮在那棉花糖一般的雲朵上，又或者 著風箏飛翔，黃頤勝的作品總是圍繞著那不願飛（不敢飛？）卻又固執地 本的眼光與潛意識，將感官淡淡地漂浮在那棉花糖一般的雲朵上，又或者 不願意落地的麻雀。除了麻雀之外，黃頤勝的作品中其重點不在於多了什 讓思緒跟著麻雀悠閒泰然地漂浮在那哪兒也不去的氣球上，只是放空地看 不願意落地的麻雀。除了麻雀之外，黃頤勝的作品中其重點不在於多了什 讓思緒跟著麻雀悠閒泰然地漂浮在那哪兒也不去的氣球上，只是放空地看 著這甜美的畫面與風景。 著這甜美的畫面與風景。

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麼，而更可能是少了甚麼。畫面上你可以看見氣球、風箏、風車、竹蜻蜓 麼，而更可能是少了甚麼。畫面上你可以看見氣球、風箏、風車、竹蜻蜓

Huang Yi-Sheng Solo Exhibition 2012

香氣 2009 油彩畫布 4F

真，卻又與當代寫實繪畫裡對社會、環境以及生活紀錄的個人觀察不同， 乃至於海灘球等等人類的玩物，然而從《怎樣的生活》那位神情裡帶著疑 真，卻又與當代寫實繪畫裡對社會、環境以及生活紀錄的個人觀察不同， 乃至於海灘球等等人類的玩物，然而從《怎樣的生活》那位神情裡帶著疑 儘管有著某種夢境與超現實感，卻又不是想像性的文學繪本或者光怪陸離 問與困惑的少女之後，人類的身影在其作品中徹底地退場，僅剩下人工玩 儘管有著某種夢境與超現實感，卻又不是想像性的文學繪本或者光怪陸離 問與困惑的少女之後，人類的身影在其作品中徹底地退場，僅剩下人工玩 的超現實。在當代藝術的座標裡，黃頤勝的作品一如其畫面上那難以解讀 具與產品暗示著那環境裡依稀的人類足跡。此外，少了人類的身影後，動 的超現實。在當代藝術的座標裡，黃頤勝的作品一如其畫面上那難以解讀 具與產品暗示著那環境裡依稀的人類足跡。此外，少了人類的身影後，動 的意義般，模糊曖昧地遊走在各種可能的閱讀方式中，然而或許此一特 物開始成為每件作品裡的客串來賓，斑馬、黃金獵犬、花貓與火鶴等等不 的意義般，模糊曖昧地遊走在各種可能的閱讀方式中，然而或許此一特 物開始成為每件作品裡的客串來賓，斑馬、黃金獵犬、花貓與火鶴等等不 質，正恰恰指明了創作者其作品的獨特性—繪畫乃是詩與寓意的場域。而 一而足，他們猶如影集裡每一集裡的邀請來賓般出現在不同的場景中，與 質，正恰恰指明了創作者其作品的獨特性—繪畫乃是詩與寓意的場域。而 一而足，他們猶如影集裡每一集裡的邀請來賓般出現在不同的場景中，與 這個獨特的氣質，儘管曾被遺忘許久卻曾經是繪畫藝術裡所追求的夢。在 麻雀共同演出一場甜美的停格寫真劇。在這一系列既甜美又超現實的停格 這個獨特的氣質，儘管曾被遺忘許久卻曾經是繪畫藝術裡所追求的夢。在 麻雀共同演出一場甜美的停格寫真劇。在這一系列既甜美又超現實的停格 黃頤勝的作品中，觀者可以看見這個曾經有過的傳統以及創作者未來的可 寫真裡，畫面的意義卻始終與觀者保持著既模糊又曖昧的距離，甚至那文 黃頤勝的作品中，觀者可以看見這個曾經有過的傳統以及創作者未來的可 寫真裡，畫面的意義卻始終與觀者保持著既模糊又曖昧的距離，甚至那文 能，繪畫是個透過凝視感受而閱讀、體驗的詩，而詩裡的寓意將引領觀者 青氣息濃厚作品的名稱，也不是用來詮釋作品的意義，而毋寧更像是憑添 能，繪畫是個透過凝視感受而閱讀、體驗的詩，而詩裡的寓意將引領觀者 青氣息濃厚作品的名稱，也不是用來詮釋作品的意義，而毋寧更像是憑添 作品詩意與文學氣息的構成元素。 作品詩意與文學氣息的構成元素。

走進精神世界的最深刻處。 走進精神世界的最深刻處。

正是這甜美、逼真而曖昧的畫面，與詩意卻又難解的作品名稱，讓黃頤勝 正是這甜美、逼真而曖昧的畫面，與詩意卻又難解的作品名稱，讓黃頤勝 的作品，很難被歸類至當代藝術裡的特定範疇中，儘管畫面有著某種漫畫 的作品，很難被歸類至當代藝術裡的特定範疇中，儘管畫面有著某種漫畫 式的構成，卻又與卡漫的亮麗、光鮮以及直接無關，儘管極度寫實與逼 式的構成，卻又與卡漫的亮麗、光鮮以及直接無關，儘管極度寫實與逼

5

When the Door Opens

Essay

一、 曾有過的夢與追尋：詩與寓意的追尋者們 一、 曾有過的夢與追尋：詩與寓意的追尋者們 沒能準時的信息 2009 油彩畫布 30×30cm

儘管古典油畫似乎嚴格地恪守著自拉斐爾（Raffaello 儘管古典油畫似乎嚴格地恪守著自拉斐爾（Raffaello Sanzio）以來的格式與 Sanzio）以來的格式與 典範。儘管這個完美而優雅的繪畫範式，透過學院的訓練與傳播成為了古 典範。儘管這個完美而優雅的繪畫範式，透過學院的訓練與傳播成為了古 典油畫的準則，然而依舊有著少數人嘗試著讓繪畫回到拉斐爾以前的時代 典油畫的準則，然而依舊有著少數人嘗試著讓繪畫回到拉斐爾以前的時代 裡，在那個前拉斐爾的時代裡，繪畫乃是一篇視覺的詩，充滿細節與色 裡，在那個前拉斐爾的時代裡，繪畫乃是一篇視覺的詩，充滿細節與色 彩。

彩。

要言之，前拉斐爾時期的作品正如波提切利（Sandro 要言之，前拉斐爾時期的作品正如波提切利（Sandro Botticelli）的《春》、 Botticelli）的《春》、 范艾克（Jan 范艾克（Jan van Eyck）的《阿爾諾非尼夫婦》一般，儘管作品主題明確， van Eyck）的《阿爾諾非尼夫婦》一般，儘管作品主題明確， 然而畫面上卻始終洋溢著難以言明的詩意更無庸置疑地，畫面上的各元素 然而畫面上卻始終洋溢著難以言明的詩意更無庸置疑地，畫面上的各元素 及色彩都承載著特定的寓意。儘管古典的範式在拉斐爾以後成為了不容質 及色彩都承載著特定的寓意。儘管古典的範式在拉斐爾以後成為了不容質

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最後的依偎

疑的標準，然而在十九世紀中葉的英國，卻誕生了一批嘗試著在古典繪畫 疑的標準，然而在十九世紀中葉的英國，卻誕生了一批嘗試著在古典繪畫

2009 油彩畫布 30×30cm

的架構中進行革命的創作者，他們不同於法國那大革命傳統下的印象派進 的架構中進行革命的創作者，他們不同於法國那大革命傳統下的印象派進 行完全而徹底的顛覆運動，而更像是嘗試著讓傳統在現代的視野與架構中 行完全而徹底的顛覆運動，而更像是嘗試著讓傳統在現代的視野與架構中

Huang Yi-Sheng Solo Exhibition 2012

禮儀

站在真實的彼岸

2009 油彩畫布 3F

2009 油彩畫布 100F

《禮儀》…等作品。在這一類的作品中，黃頤勝並未加入過多的人工元素 《禮儀》…等作品。在這一類的作品中，黃頤勝並未加入過多的人工元素 再生與復甦。這群保守卻又進步的英國創作者被稱之為前拉斐爾兄弟會 再生與復甦。這群保守卻又進步的英國創作者被稱之為前拉斐爾兄弟會 以及動物來賓，而僅是麻雀、植物與山景，然而觀者依舊可以感受到那小 以及動物來賓，而僅是麻雀、植物與山景，然而觀者依舊可以感受到那小 （Pre-Raphaelite （Pre-Raphaelite Brotherhood），他們嘗試透過專注於研究自然的狀態並且 Brotherhood），他們嘗試透過專注於研究自然的狀態並且 動物的某種人性或者情感。在這一類的作品中，黃頤勝猶如一個進行田野 動物的某種人性或者情感。在這一類的作品中，黃頤勝猶如一個進行田野 直接、認真而真誠的態度，去感同身受來創作作品。更有甚者這群藝術家 直接、認真而真誠的態度，去感同身受來創作作品。更有甚者這群藝術家 觀察的生物學家一般，細膩地刻畫出屬於麻雀的世界與情感，並透過麻雀 觀察的生物學家一般，細膩地刻畫出屬於麻雀的世界與情感，並透過麻雀 想追尋的乃是一種連結浪漫詩和繪畫間的關係。儘管前拉斐爾兄弟會的嘗 想追尋的乃是一種連結浪漫詩和繪畫間的關係。儘管前拉斐爾兄弟會的嘗 的行為將某種難以言明的人類情感注入其中。從而這些甜美、可愛的麻雀 的行為將某種難以言明的人類情感注入其中。從而這些甜美、可愛的麻雀 試與努力，在藝術史上被淹沒於印象派以及其後的前衛運動那激進而鮮明 試與努力，在藝術史上被淹沒於印象派以及其後的前衛運動那激進而鮮明 與繪畫，給出的不僅是科學性的客觀，更帶有著某種童話或者寓言故事的 與繪畫，給出的不僅是科學性的客觀，更帶有著某種童話或者寓言故事的 的特質，然而1970年代以後，後現代主義藝術裡的新浪漫主義中，卻不乏 的特質，然而1970年代以後，後現代主義藝術裡的新浪漫主義中，卻不乏 對這群創作者的追憶。 對這群創作者的追憶。

想像性與象徵性。而如果知道這位創作者閒來無事便會去野地餵麻雀，便 想像性與象徵性。而如果知道這位創作者閒來無事便會去野地餵麻雀，便 可以想像，為何黃頤勝的麻雀總是有著過人的生動特質。正是這個科學性 可以想像，為何黃頤勝的麻雀總是有著過人的生動特質。正是這個科學性

卻又甚具個人感受性的描繪，讓黃頤勝無意間與前拉斐爾兄弟會所追尋過 卻又甚具個人感受性的描繪，讓黃頤勝無意間與前拉斐爾兄弟會所追尋過 從某個角度上看，黃頤勝的創作在有心或無意間，再度觸碰了這個曾經有 從某個角度上看，黃頤勝的創作在有心或無意間，再度觸碰了這個曾經有 的藝術理想，有了第一個連結的交會點。麻雀讓黃頤勝得以將個人對生活 的藝術理想，有了第一個連結的交會點。麻雀讓黃頤勝得以將個人對生活 過卻又遭受遺忘的追尋。從其作品《香氣》中，觀者可以看見那純然而深 過卻又遭受遺忘的追尋。從其作品《香氣》中，觀者可以看見那純然而深 與世界的想像，注入在一個寫實卻又甜美的浪漫想像中，更意外地讓自我 與世界的想像，注入在一個寫實卻又甜美的浪漫想像中，更意外地讓自我 刻的自然觀察與描繪，儘管作品只是精細地描繪一隻啣著櫻桃站在雞蛋花 刻的自然觀察與描繪，儘管作品只是精細地描繪一隻啣著櫻桃站在雞蛋花 與某個曾被遺忘的藝術追尋傳統連結在一起。 與某個曾被遺忘的藝術追尋傳統連結在一起。 樹上的麻雀，然而卻清楚地顯露了創作者對自然深刻而細膩的觀察與感 樹上的麻雀，然而卻清楚地顯露了創作者對自然深刻而細膩的觀察與感 受。與此相類似的作品尚有《沒能準時的信息》、《最後的依偎》以及 受。與此相類似的作品尚有《沒能準時的信息》、《最後的依偎》以及

7

When the Door Opens

Essay

左至右

二、 艾麗絲夢遊仙境與動物農莊：甜美的冷酷異境 二、 艾麗絲夢遊仙境與動物農莊：甜美的冷酷異境

雲的另一端

上的疏離。諸如作品《那一天我們都一樣》、《微笑的意義》那綿羊總是 上的疏離。諸如作品《那一天我們都一樣》、《微笑的意義》那綿羊總是 如果說麻雀有著創作者某種自我情感的投射與想像，那麼其動物劇場寫真 如果說麻雀有著創作者某種自我情感的投射與想像，那麼其動物劇場寫真

2009 油彩畫布 70×120cm

以一種莫名的表情望著觀者，而若我們仔細觀察麻雀與這些動物間的互 以一種莫名的表情望著觀者，而若我們仔細觀察麻雀與這些動物間的互 般的作品，則無疑地具有著朝向某種寓言故事發展的可能性。更重要的 般的作品，則無疑地具有著朝向某種寓言故事發展的可能性。更重要的

微笑的意義 2009 油彩畫布 50F

動，我們甚至可以發現他們從未真正有過眼神的交會與交流，更遑論作品 動，我們甚至可以發現他們從未真正有過眼神的交會與交流，更遑論作品 是，在其個人所經營的動物寓言中，總是在甜美與柔軟的表象下，無聲地 是，在其個人所經營的動物寓言中，總是在甜美與柔軟的表象下，無聲地 《這是我們的遊戲》裡，那隻客串演出的兔子，我們甚至要懷疑這毛茸茸 《這是我們的遊戲》裡，那隻客串演出的兔子，我們甚至要懷疑這毛茸茸 流洩著某種冷酷的現實性。從寓言故事的某個角度上看黃頤勝的作品，那 流洩著某種冷酷的現實性。從寓言故事的某個角度上看黃頤勝的作品，那 的小動物不懷好意的眼神了。 的小動物不懷好意的眼神了。 麼或許我們可將之比喻為在《愛麗絲夢遊仙境》的甜美奇想中，注入某種 麼或許我們可將之比喻為在《愛麗絲夢遊仙境》的甜美奇想中，注入某種 《動物農莊》式的現實感。在這一類的作品中，諸如《真實的彼岸》裡那 《動物農莊》式的現實感。在這一類的作品中，諸如《真實的彼岸》裡那 這些看似無害的動物，一如《動物農莊》的豬在看似誠懇、老實乃至於可 這些看似無害的動物，一如《動物農莊》的豬在看似誠懇、老實乃至於可 站在佛陀頭上卻啣著派大星氣球絲線的麻雀們，在可愛中似乎透露了某種 站在佛陀頭上卻啣著派大星氣球絲線的麻雀們，在可愛中似乎透露了某種

那一天我們都一樣 2010 油彩畫布 65×65cm

8

愛的外表下，存在著某種生存競爭時的惡意，而那隻看似不懷好意的兔 愛的外表下，存在著某種生存競爭時的惡意，而那隻看似不懷好意的兔 冷冷的嘲諷感，自以為的啟示很可能僅是媒體世界創作的虛構故事，而作 冷冷的嘲諷感，自以為的啟示很可能僅是媒體世界創作的虛構故事，而作 子，則讓麻雀掉入了自以為是《愛麗絲夢遊仙境》的奇想異境，然而這異 子，則讓麻雀掉入了自以為是《愛麗絲夢遊仙境》的奇想異境，然而這異 品《雲的另一端》裡，那俯臥在綿羊背上的麻雀，以及回過頭來望向觀者 品《雲的另一端》裡，那俯臥在綿羊背上的麻雀，以及回過頭來望向觀者 境卻總是在甜美的表象下，潛藏著某種危險的訊息。如果說，《動物農 境卻總是在甜美的表象下，潛藏著某種危險的訊息。如果說，《動物農 卻又似笑非笑的綿羊，襯著遠方的棉花糖白雲，甜美、可愛中總讓人感受 卻又似笑非笑的綿羊，襯著遠方的棉花糖白雲，甜美、可愛中總讓人感受

漫步在雲端

莊》直接而露骨地表現出人類社會的醜陋面，那麼《愛麗絲夢遊仙境》則 莊》直接而露骨地表現出人類社會的醜陋面，那麼《愛麗絲夢遊仙境》則 到一絲異樣的嘲諷，嘲諷著那隻自以為漂浮在雲端的麻雀。更有甚者，在 到一絲異樣的嘲諷，嘲諷著那隻自以為漂浮在雲端的麻雀。更有甚者，在

2010 油彩畫布 55×55cm

是將一切的社會險境與冷酷全部轉化為奇想的冒險場景，而黃頤勝的麻雀 是將一切的社會險境與冷酷全部轉化為奇想的冒險場景，而黃頤勝的麻雀 這一類的作品中，那些受邀前來客串的動物明星們，其比例總是遠遠大過 這一類的作品中，那些受邀前來客串的動物明星們，其比例總是遠遠大過 所身處的甜美場域，其實是一個冷酷的社會寫實場景。 所身處的甜美場域，其實是一個冷酷的社會寫實場景。 於麻雀本身，而彼此間的互動卻又總是在身體距離的親近中帶著某種情感 於麻雀本身，而彼此間的互動卻又總是在身體距離的親近中帶著某種情感

Huang Yi-Sheng Solo Exhibition 2012

三、 漂浮在無生命的幸福裡：物化的美麗幻象 三、 漂浮在無生命的幸福裡：物化的美麗幻象

能。物質的甜美在給予幸福的同時，剝奪了生命飛行的可能，而黃頤勝那 能。物質的甜美在給予幸福的同時，剝奪了生命飛行的可能，而黃頤勝那

左至右

甜美的畫面裡，潛藏著的不是讓觀者放空的輕鬆，毋寧更是留下一道詩意 甜美的畫面裡，潛藏著的不是讓觀者放空的輕鬆，毋寧更是留下一道詩意 構成的冷峻線索。 除了上述兩個主要類型的作品之外，玩具與麻雀或許可以視為是黃頤勝作 構成的冷峻線索。 除了上述兩個主要類型的作品之外，玩具與麻雀或許可以視為是黃頤勝作 品中的另一門類，在這作品中玩具取代了人類的在場身影，卻又暗示了潛 品中的另一門類，在這作品中玩具取代了人類的在場身影，卻又暗示了潛

四、 詩與寓意的復返：一段未竟的旅程 藏於玩具裡的社會限制性，以及麻雀如何不自覺地陷入那甜美的枷鎖中。 四、 詩與寓意的復返：一段未竟的旅程 藏於玩具裡的社會限制性，以及麻雀如何不自覺地陷入那甜美的枷鎖中。 在黃頤勝的作品中，可以發現麻雀總是以一種靜止的姿態存在，他們既不 在黃頤勝的作品中，可以發現麻雀總是以一種靜止的姿態存在，他們既不 跳脫了當代流行的理論與概念，遠離了充滿社會意識的批判性題材，黃頤 飛翔似乎也不太有其他動作，總是堆疊在一起或者漂浮在氣球裡，或者啣 跳脫了當代流行的理論與概念，遠離了充滿社會意識的批判性題材，黃頤 飛翔似乎也不太有其他動作，總是堆疊在一起或者漂浮在氣球裡，或者啣 勝的創作無疑地更像是不合時宜地固執著追尋一段久被遺忘的藝術傳統與 著風箏的絲線，嘗試著借物飛翔，而這似乎暗示了當代年輕一代的自我焦 勝的創作無疑地更像是不合時宜地固執著追尋一段久被遺忘的藝術傳統與 著風箏的絲線，嘗試著借物飛翔，而這似乎暗示了當代年輕一代的自我焦

一段準時展開的冒險 2010 油彩畫布 100×100cm 隨風的日子 2009 油彩畫布 30F

夢想，其作品猶如前拉斐爾兄弟會的堅持一般，頑固地堅持著繪畫的詩性 慮，以及心理狀態的轉化與投射。一方面，玩具給予了麻雀遊戲的理由與 夢想，其作品猶如前拉斐爾兄弟會的堅持一般，頑固地堅持著繪畫的詩性 慮，以及心理狀態的轉化與投射。一方面，玩具給予了麻雀遊戲的理由與 與寓意，並且在甜美的畫面裡，無聲地吐露著某種對當代社會的深刻質疑 幸福的感覺，另一方面卻纏繞住了麻雀自我飛翔的可能性，諸如作品《隨 與寓意，並且在甜美的畫面裡，無聲地吐露著某種對當代社會的深刻質疑 幸福的感覺，另一方面卻纏繞住了麻雀自我飛翔的可能性，諸如作品《隨 與批判，沒有吶喊與嘶吼，黃頤勝的創作一如約翰．艾佛特．米萊（John 風的日子》、《漫步在雲端》等等，麻雀總是糾纏在那感覺上極為輕盈的 與批判，沒有吶喊與嘶吼，黃頤勝的創作一如約翰．艾佛特．米萊（John 風的日子》、《漫步在雲端》等等，麻雀總是糾纏在那感覺上極為輕盈的 Millais）的作品《奧菲莉亞》（Ophelia）一般，在美麗中哀悼著某 幸褔感中，然而一旦嘗試去捕捉則或許又如同作品《一段準時展開的冒 Everett Everett Millais）的作品《奧菲莉亞》（Ophelia）一般，在美麗中哀悼著某 幸褔感中，然而一旦嘗試去捕捉則或許又如同作品《一段準時展開的冒

這是我們的遊戲 2011 油彩畫布 75×132.5cm

種純真與深刻的漸次消散。我們無法得知創作者最終是否能一如那始終堅 險》一般，隨著竹蜻蜓墜落懸崖。玩具象徵了某種物質性的幸福與夢幻， 種純真與深刻的漸次消散。我們無法得知創作者最終是否能一如那始終堅 險》一般，隨著竹蜻蜓墜落懸崖。玩具象徵了某種物質性的幸福與夢幻， 持著詩意與寓言的前拉斐爾兄弟會的藝術家們，然而我們可以期待黃頤勝 更可能投射了小人物對於擁有某種物質的美麗想像（諸如奢侈品、名牌乃 持著詩意與寓言的前拉斐爾兄弟會的藝術家們，然而我們可以期待黃頤勝 更可能投射了小人物對於擁有某種物質的美麗想像（諸如奢侈品、名牌乃 更深刻地去認識詩意與寓言，並以畫筆將其描繪在畫面上。 至於電動玩具…），然而那看似確定的幸福卻無聲地限制了麻雀的飛行可 更深刻地去認識詩意與寓言，並以畫筆將其描繪在畫面上。 至於電動玩具…），然而那看似確定的幸福卻無聲地限制了麻雀的飛行可

9

When the Door Opens

Essay

A Past of Poetry and Meaning:

Traditions and Possibilities of Painting The Beautiful Dreams Materialized by Huang Yi-Sheng Art Critic / Shen Bo-Cheng What Kind of Life 2009 Oil on Canvas 100Ă—100cm

Foreword In the image, the girl tilts her eyes and places her right index finger next to her

vagueness. As a result, a viewing of such a painting frequently utilizes the

mouth. Her gaze seems to be directed at the sparrow on top of her head, yet it

perspective and subconscious that one uses when reading a picture book. A

also seems as if she is hesitantly thinking about something. As if no one is

person finds their senses floating lightly upon those cotton candy-like clouds

looking, the sparrow squats like it is hatching an egg on top of her head. Her

and their thoughts floating leisurely along with the sparrow on top of the

expression cannot help but raise feelings of suspicion and doubt. The other

balloon. The mind is eased as it takes in this sweet image and landscape.

sparrow standing on top of a balloon seems to be floating freely in the air, but it is actually attached to the balloon by a ribbon and unable to go anywhere. A

But, is this really all there is to it? This painting titled, What Kind of Life, and

cyan sky and cotton candy-like clouds line the mountains in the background.

other works by Huang Yi-Sheng really just let viewers clear their thoughts and

The image itself is very beautiful, yet it also seems to carry an elusive meaning

relax for a bit as if they were commercials emphasizing the freshness of a

and story.

product. A deep breath is deliberately used as a lens to interpret a release of life’s pressures. But, are they really only paintings whose visuals simply enable

10

Although the elements of the image are always clearly identifiable, its

people to feel comfort and sweet sentiments? Are the elements in each image

meanings always seem to hold a somewhat elusive sense of ambiguity and

combined only for the sake of composing a sweet dream-like realm? Or, is

Huang Yi-Sheng Solo Exhibition 2012

there a certain message that Huang wants to convey within his paintings?

verdant titles of the works cannot be used to interpret these meanings. Rather,

Perhaps, these sparrows are personal symbols that carry a deep and special

they are more like the compositional elements of poetry and literary flavor

significance, which would explain why they repeatedly appear throughout his

found in tales.

works.

In truth, it is due to the pairing of this sweet, realistic, ambiguous imagery The sparrows in Huang’s works never spread their wings and always maintain

with these poetic yet puzzling names that make it hard to categorize Huang’s

a contentious relationship with gravity. Whether they are sitting on a person’s

works into a particular genre of contemporary art. Although they feature a

head, floating on a balloon, falling from the edge of a cliff, or even flying along

composition similar to those of comics, his works share nothing in common

with a kite, Huang’s works always center around sparrows that are unwilling to

with their beautiful, bright, and direct images.

fly (lack the courage to fly?), yet are stubbornly unwilling to land. In addition

extreme realism stands apart from the realism found in contemporary realistic

to sparrows, the focus of Huang’s works does not lie in what there is more of,

paintings, which are more like individual observations of society and

but rather in what there is less. In the image, you can see balloons, kites,

surroundings. Although there is a dreamy and surrealistic quality to Huang’s

windmills, bamboo dragonflies, beach balls, and other toys. However, after the

paintings, they are not imaginative literary works nor do they exude a bizarre

doubt and confusion brought by the expression of the girl in What Kind of Life,

sense of surrealism. Huang’s works are as hard to classify within the scope of

human figures have begun to make a thorough exit, leaving behind only

contemporary art as it is to interpret the meanings behind them. Vague and

artificial toys and products that imply a vague human footprint. Additionally,

ambiguous, these works can be interpreted in any possible way. And, perhaps

without any human traces, animals begin to become cameo guests of each

it is this quality that makes these paintings so unique, filling the images with a

work. These include zebras, golden retrievers, cats, flamingos, and numerous

richly poetic meaning. Although forsaken long ago, this unique quality was

other creatures. It is as if they are guests invited to each episode of a television

once a main pursuit behind the practice of painting. Through Huang’s works,

series, appearing throughout different scenes in a stop-motion portrait

the audience can gain a glimpse into this previous held tradition as well as

performance with the sparrows. In the sweet yet surrealistic stop-motion

future possibilities for the artist. By gazing at the image, one experiences

portraits of this series, the meanings behind the images consistently maintain

poetry, whose meanings guide them to their innermost spiritual realm.

Furthermore, the works’

Aroma 2009 Oil on Canvas 4F

a vague and ambiguous distance from the viewer. Even the scholarly and

11

When the Door Opens

Essay

1. Once Held Dreams and Ambitions: Seekers of Poetry and Meaning Classical paintings all seem to abide by the strict format and example set by Raffaello Sanzio. This perfect and elegant painting paradigm has now become the

criteria

for

classical

paintings

through

academy

training

and

dissemination. However, there is a small number of people who try to bring Untimely Messages

painting back to a pre-Raffaello state. In that pre-Raffaello era, painting was

2009 Oil on Canvas 30×30cm

still a visual poem filled with details and colors.

The Spring by Sandro Botticelli and The Arnolfini Portrait by Jan van Eyck epitomized the works before the time of Raphael. Even though these works conveyed articulate themes, there is no doubt that their images inherently spoke of a strict and impartial poetry since every compositional element and color carries an underlying meaning. Even though the principles of classical oil painting strongly adhere to the formats and examples set by Raffaello Sanzio (Raphael), whose elegant works have become the default paradigm to which all oil paintings are judged in formal art training, there still remains a

12

The Last Snuggling

minority that attempt to paint according to practices that predate Raphael - a

2009 Oil on Canvas 30×30cm

style of painting defined by visual poetry, vivid details, and rich colors.

Although Raffaello’s works had become the unequivocal standard of oil

Huang Yi-Sheng Solo Exhibition 2012

painting, artists emerged in mid-nineteenth century Britain seeking to

Among others, similar works include Untimely Messages, The Last Snuggling,

revolutionize the framework for classical oil painting. Their styles differed

and Etiquette. Within these paintings, Huang does not incorporate excessive

from impressionism, a style that blossomed after the French Revolution and

artificial elements nor does he feature other animals. The only objects he

subverted all painting practices before it.

Rather, these artists tried to

paints are sparrows, plants, and mountains. Yet, the viewer can still sense a

rejuvenate and revive traditions through a modern perspective and

human emotion or traces of humanity coming from the small creature within

framework. Later, these conservative yet progressive British painters became

the painting. Within this genre of Huang’s works, the artist, like a biologist or

known as the Pre-Raphaelite Brotherhood. By studying the many states of

botanist studying nature, carefully captures the emotions associated with a

nature, they kept a unwavering, earnest, and sincere attitude while painting.

sparrow and its world, while portraying the creatures’ action in a certain way

Some even sought to establish a connection between Roman poetry and

to inject an almost indescribable human emotion into the image. These sweet

painting. Even though their efforts were drowned out by the more radical and

and adorable paintings of sparrows are not only scientifically accurate and

distinct styles of impressionism and later avant-garde art movements, New

objective, but also exude a sense of imagination and symbolism commonly

Romantic artists did not hesitate to draw elements of these works during the

found in fairy tales or fables. Since the artist enjoys feeding sparrows in his

postmodernist art movement in the 70s.

spare time, it is not hard to imagine why Huang’s sparrows are so vivid and

Etiquette 2009

Oil on Canvas

3F

life-like. Coincidentally, it is this infusion of scientific elements with personal From a certain perspective, Huang’s works, whether intentional or not, revisit

emotions that aligns the objectives behind Huang’s works with those of the

this once prominent yet now forgotten pursuit of poetic expression. From his

Pre-Raphaelite Brotherhood. By painting sparrows, Huang discovered a way

work, Aroma, the audience is faced with images that convey pristine and

to inject his personal life and artistic imagination into a realistic yet sweet

profound impressions of nature. Even though this work is only a detailed

realm of romance. Coincidentally, this intersected with a once forgotten

On the Other Side of Truth

painting of a sparrow with a cherry in its beak standing on a frangipani tree,

artistic pursuit.

2009

Oil on Canvas

100F

the artist’s close observations and feelings for nature are clearly conveyed.

13

When the Door Opens

Essay

2. Alice in Wonderland and Animal Farm: Sweet and Cold Realms

If one were to say that the sparrows are a particular projection and imagination of the artist’s sentiments, then these portrait-like works of this animal theater The Meaning of a Smile

certainly holds the possibility of developing into a sort of fable. Even more

2009

importantly, in any animal fable managed by an individual, a certain cold

Oil on Canvas

50F

sense of realism is always silently revealed under a sweet and soft appearance.

The Other Side of Cloud 2009 Oil on Canvas 70×120cm

Viewing Huang’s works through the perspective of a fable, we can perhaps

expression while looking at the audience. And, if we carefully observe the

draw parallels to the sweet whimsy of Alice in Wonderland while injecting an

interaction between the sparrow and these animals, we can even discover that

Animal Farm-like sense of realism. Amongst these types of works, On the

they never truly exchanged looks or met each other’s gaze. In the work, That’s

Other Side of Truth features sparrows that stand on top of a Buddha head, while

Our Game, we even have to doubt the harmless gaze of the furry little rabbit

clamping down on a balloon string with their beaks. This cute scene almost

who is the cameo guest.

seems to reveal a cold sense of sarcasm. A self-thought revelation is likely only The Day We are All the Same 2010

Oil on Canvas

65×65cm

Walking in the Air 2010

14

Oil on Canvas

55×55cm

a fictional story created by the media world. And, in the work, The Other Side

Behind the harmless guises of the animals, such as the sincere, honest, and

of Cloud, the sparrow on the sheep’s back, along with the sheep who looks at

adorable pig in Animal Farm, there lurks a malice associated with the

viewers with a smile that is seemingly not a smile, stand in front of distant

competition of survival. The rabbit that seems to harbor malicious intentions

cotton candy clouds. Amidst the sweet and cute scene. however, a strange

has led the sparrow into a fantasy world, similar to the one in Alice in

sense of mockery can be felt, directed at the sparrow which seemingly thinks it

Wonderland. Yet, these alien realms, sugarcoated to appear harmless, seem to

is floating on a cloud.

Furthermore, in these works, these animal guest

warn of an eminent danger lurking in the background. If Animal Farm is an

celebrities are always much greater in scale than the sparrows. And, yet their

explicit expression of the ugly side of society, then Alice in Wonderland is a

mutual interaction always seem to bring a sense of emotional alienation while

work that depicts living amidst the dangers and cruelness of society as an

within a close physical distance. For example, in the works, The Day We are All

adventure in a fantasy land. The sweet surroundings that Huang’s sparrow

the Same and The Meaning of a Smile, that sheep continues to hold that strange

inhabits is actually the backdrop for a cruel society.

Huang Yi-Sheng Solo Exhibition 2012

3. Drifting Amidst a Lifeless Happiness: The Objectification of Beautiful Illusions Aside from the two aforementioned genres, toys and sparrows can be seen as another of Huang’s themes. Within such works, toys take the place of humans, revealing social restrictions imposed by toys and how sparrows are unknowing held hostage by the shackles of sweetness. One discovers that the sparrows in Huang’s works are always in a static posture. They do not fly or make any other movements. Rather, they just exist in a motionless state. Sometimes they are

That's Our Game

featured holding onto a kite’s string as if the kite could help them take flight.

2011

These hints are a reflection of the anxiety and psychological state of the current

4. Beyond Poetry and Meaning: An Unfinished Journey

Oil on Canvas

75×132.5cm Time to Take Adventure 2010

Oil on Canvas

100×100cm

generation of young artists. On one hand, the toys give the sparrow a reason to have fun, which usher in contentious feelings. Yet, on another end, they

Going beyond contemporary theory and concepts, as well as standing apart

hinder the bird’s potential for soaring through the skies. This is evident in

from socially critical themes, Huang’s works are, without a doubt,

works, such as The Days of Wind and Walking in the Air, in which the sparrow

anachronistic, obstinate pursuits of a forsaken artistic tradition and ideal.

is held back by the happiness of being content. Yet, once the sparrow attempts

They exude the same tenacity of the Pre-Raphaelite Brotherhood, stubbornly

to hunt for prey, it falters down a ravine with a bamboo-copter in its beak, as

insisting on the poetry and meaning behind painting. Within their sweet

depicted in the work, Time to Take Adventure. Toys symbolize a certain aspect

images, they silently reveal a questioning and critical attitude towards society.

of happiness and fantasy, reflecting the idealization of a particular object (e.g.

Without a trace of extreme outcries, Huang’s works are like John Everett

luxury or branded items or even video games). Nevertheless, that certain

Millais’ Ophelia, where beauty stands as a lamentation for the loss of innocence

sense of happiness is also what limits the bird from taking flight. While

and purity. Although we do not know if Huang will continue to pursue the

indulging in material bliss, the possibility for achieving more in life is stripped

poetic and fable-like elements of paintings like the Pre-Raphaelite

away. The pleasing atmosphere fostered in Huang’s sweet images actually has

Brotherhood, we can expect that he will explore them in greater depth on

a more chilling meaning behind them.

canvas.

The Days of Wind 2009

Oil on Canvas

30F

15

When the Door Opens

Essay

不完美的天堂—

閱讀黃頤勝個展「那天我開了一扇門」

藝評人 / 孫曉彤 飄移的旅程 2012 油彩畫布 132×220cm

清朗的天空，天際線在蔚藍無垠的海面盡頭淺淺滑過，白色的雲朵緩慢漂 頤勝的眼中，麻雀是一種不能為人所親近，然而卻依附人而存在的動物， 清朗的天空，天際線在蔚藍無垠的海面盡頭淺淺滑過，白色的雲朵緩慢漂 頤勝的眼中，麻雀是一種不能為人所親近，然而卻依附人而存在的動物， 浮於蒼穹，海浪沖刷上淺灘，水面漫著薄薄的白色泡沫。這是一個甜美靜 麻雀特殊的行為模式，在黃頤勝的眼中，彷彿是一種「我需要你，但我卻 浮於蒼穹，海浪沖刷上淺灘，水面漫著薄薄的白色泡沫。這是一個甜美靜 麻雀特殊的行為模式，在黃頤勝的眼中，彷彿是一種「我需要你，但我卻 謐的瞬間，就連都市裡常見的麻雀也彷彿暫時停止了聒噪和跳躍，安靜而 不信任你」的宣告。而這種曖昧、矛盾卻又幽微的依存關係，某種程度 謐的瞬間，就連都市裡常見的麻雀也彷彿暫時停止了聒噪和跳躍，安靜而 不信任你」的宣告。而這種曖昧、矛盾卻又幽微的依存關係，某種程度 愜意地停駐在這令人窒息的美麗境界，牠們降落在飛揚的彩色氣球上、在 上，或許正好呼應了藝術家在社會和人際關係中的心理狀態，緊密而又疏 愜意地停駐在這令人窒息的美麗境界，牠們降落在飛揚的彩色氣球上、在 上，或許正好呼應了藝術家在社會和人際關係中的心理狀態，緊密而又疏 鬆軟的沙灘上踱步、甚至在隨時可能墜落或彈起的繩索上棲息，未來將至 離、希望親近卻又保持距離。黃頤勝的作品雖然並未以人物作為直接描寫 鬆軟的沙灘上踱步、甚至在隨時可能墜落或彈起的繩索上棲息，未來將至 離、希望親近卻又保持距離。黃頤勝的作品雖然並未以人物作為直接描寫 的改變或危機似乎並未喚起麻雀們任何擅於逃離的本能，或許是因為周遭 的對象，然而卻精準地以象徵和擬人的方式轉譯了這個曖昧的內在情境； 的改變或危機似乎並未喚起麻雀們任何擅於逃離的本能，或許是因為周遭 的對象，然而卻精準地以象徵和擬人的方式轉譯了這個曖昧的內在情境； 的美好讓牠們感覺到前所未有的舒適和安逸，也或許是如這個完美境界的 換言之，當觀眾以為面對的是一個有著可愛動物們的甜蜜景象時，其實隱 的美好讓牠們感覺到前所未有的舒適和安逸，也或許是如這個完美境界的 換言之，當觀眾以為面對的是一個有著可愛動物們的甜蜜景象時，其實隱 創造者、同時也是藝術家黃頤勝所說的：「在這裡，牠們根本忘了自己會 約能察覺到美麗表層後那些細微的不安和顫動，完美的表象下壓抑著的是 創造者、同時也是藝術家黃頤勝所說的：「在這裡，牠們根本忘了自己會 約能察覺到美麗表層後那些細微的不安和顫動，完美的表象下壓抑著的是 飛。」 飛。」

那些隨時可能到來的意外變化，就像是那支即將要射過來的竹蜻蜓、瞬間 那些隨時可能到來的意外變化，就像是那支即將要射過來的竹蜻蜓、瞬間 會爆破的氣球、下一秒就要滾落的瓜果、馬上就要翻飛的繩索……。儘管 會爆破的氣球、下一秒就要滾落的瓜果、馬上就要翻飛的繩索……。儘管

麻雀雖小，但卻是黃頤勝在這次個展「那天我開了一扇門」的系列作品 麻雀的姿態仍然悠然恬靜，但身為旁觀者，當你參透了這個美麗世界中的 麻雀雖小，但卻是黃頤勝在這次個展「那天我開了一扇門」的系列作品 麻雀的姿態仍然悠然恬靜，但身為旁觀者，當你參透了這個美麗世界中的 中，一個貫穿所有畫面的重要角色。為了畫這些麻雀，黃頤勝經常在生活 種種隱憂，你開始坐立難安，置身在這一片看上去很美的幸福天堂，卻再 中，一個貫穿所有畫面的重要角色。為了畫這些麻雀，黃頤勝經常在生活 種種隱憂，你開始坐立難安，置身在這一片看上去很美的幸福天堂，卻再 裡仔細地觀察這些小生物。「如果你在公園的空地撒米，只有麻雀和鴿子 也無法由衷地快樂起來。 裡仔細地觀察這些小生物。「如果你在公園的空地撒米，只有麻雀和鴿子 也無法由衷地快樂起來。 會來吃，別的鳥類不會。但是當人靠近，麻雀卻又是最先飛走的。」在黃 會來吃，別的鳥類不會。但是當人靠近，麻雀卻又是最先飛走的。」在黃

16

Huang Yi-Sheng Solo Exhibition 2012

閱讀黃頤勝近期的繪畫作品，觀眾可能會歷經幾個心理感受上的轉折—— 閱讀黃頤勝近期的繪畫作品，觀眾可能會歷經幾個心理感受上的轉折—— 初次見面，你會驚嘆於藝術家精湛的寫實技巧，他營造的是一個毫無瑕疵 初次見面，你會驚嘆於藝術家精湛的寫實技巧，他營造的是一個毫無瑕疵 的夢幻國度，柔和的光線和優美的景緻，看似天真無邪的動物在這裡顯得 的夢幻國度，柔和的光線和優美的景緻，看似天真無邪的動物在這裡顯得 適得其所，什麼都自然而然、一切都渾然天成；然而當你逐漸凝視，你的 適得其所，什麼都自然而然、一切都渾然天成；然而當你逐漸凝視，你的 觀察力和經驗法則提醒你其中詭異的現象，你開始想像這個美麗瞬間之後 觀察力和經驗法則提醒你其中詭異的現象，你開始想像這個美麗瞬間之後 的可能發展，並且同時懷疑起創作者所要表達的不僅僅是漂亮的故事圖畫 的可能發展，並且同時懷疑起創作者所要表達的不僅僅是漂亮的故事圖畫 而已；甚至，你也有可能在終於理解了藝術家整個思考脈絡的結構之後， 而已；甚至，你也有可能在終於理解了藝術家整個思考脈絡的結構之後， 把這個更迭變換的觀看經驗和你自己的際遇與記憶結合，終於你發現那些 把這個更迭變換的觀看經驗和你自己的際遇與記憶結合，終於你發現那些 看似溫柔的表面糖衣背後，其實往往隱含著更多出乎意料的危機，而在那 看似溫柔的表面糖衣背後，其實往往隱含著更多出乎意料的危機，而在那

未知的遠行 2012 油彩畫布 100×100cm

些嚴峻的處境裡，美麗的火光總是迸現在最為黝黯的角落。 些嚴峻的處境裡，美麗的火光總是迸現在最為黝黯的角落。 「完美或許應該是要包含那些缺陷跟瑕疵才得以稱為完美。」黃頤勝如是 「完美或許應該是要包含那些缺陷跟瑕疵才得以稱為完美。」黃頤勝如是 「什麼是完美？」黃頤勝以自己的創作為實踐，不斷地探索這個亙古以來 「什麼是完美？」黃頤勝以自己的創作為實踐，不斷地探索這個亙古以來 說道。在他於畫面中所架構出來的、一個個盡善盡美的景緻中，創作者刻 說道。在他於畫面中所架構出來的、一個個盡善盡美的景緻中，創作者刻 人們追尋不已的大哉問。在他與展覽同名的創作自述中，提到了台灣作家 人們追尋不已的大哉問。在他與展覽同名的創作自述中，提到了台灣作家 意避開了任何帶有負面意味的符號，包括色彩、物件、姿態和整體氛圍的 意避開了任何帶有負面意味的符號，包括色彩、物件、姿態和整體氛圍的 朱少麟在小說《燕子》中的、一個關於探尋何謂完美的故事橋段——一個 朱少麟在小說《燕子》中的、一個關於探尋何謂完美的故事橋段——一個 營造，都極力地展現出人們認為好的、正向的一面，刻意抹去了瑕疵和缺 營造，都極力地展現出人們認為好的、正向的一面，刻意抹去了瑕疵和缺 名為沙巴的女王統治著一個奇異的天堂，女王美麗而永遠年輕，麾下的子 名為沙巴的女王統治著一個奇異的天堂，女王美麗而永遠年輕，麾下的子 陷，黃頤勝描述的是一個近似於沙巴王國的美好天堂，然而在這個繽紛燦 陷，黃頤勝描述的是一個近似於沙巴王國的美好天堂，然而在這個繽紛燦 民則長生不死，那裡的空間無邊無緣、時間無始無終，在這裡沒有哭泣和 民則長生不死，那裡的空間無邊無緣、時間無始無終，在這裡沒有哭泣和 爛的幸福情境之外，創作者真正意圖卻是在提示著完美表象下的不完美， 爛的幸福情境之外，創作者真正意圖卻是在提示著完美表象下的不完美， 悲傷，幸福無窮無盡。然而某天卻有個人提問「什麼不是幸福？」然而眾 悲傷，幸福無窮無盡。然而某天卻有個人提問「什麼不是幸福？」然而眾 而有天當完美的假象迸裂，幸福瞬間潰散，當天堂的虛殼灰飛煙滅之後， 而有天當完美的假象迸裂，幸福瞬間潰散，當天堂的虛殼灰飛煙滅之後， 人卻沒能回答這個問題，茫然的空氣開始瀰漫，意圖尋找解答的人開始了 人卻沒能回答這個問題，茫然的空氣開始瀰漫，意圖尋找解答的人開始了 廢墟般殘缺卻亟待重建的人間，或許才是人們永恆信仰的依歸。 廢墟般殘缺卻亟待重建的人間，或許才是人們永恆信仰的依歸。 探索的旅程，最後他成為了智者，參透了事物總有正反兩面：醜相反於 探索的旅程，最後他成為了智者，參透了事物總有正反兩面：醜相反於 美、惡相反於善、死相反於生、缺陷相反於圓滿，那麼缺少了缺陷的國 美、惡相反於善、死相反於生、缺陷相反於圓滿，那麼缺少了缺陷的國 有沒有天堂、完美的幸福存不存在，或許並非黃頤勝試圖要去解釋或回答 有沒有天堂、完美的幸福存不存在，或許並非黃頤勝試圖要去解釋或回答 度，怎麼能夠被稱作是完美的天堂？這個問題震撼了所有的人，再也沒有 度，怎麼能夠被稱作是完美的天堂？這個問題震撼了所有的人，再也沒有 的，作為一個創作者，他更像是一個人間世界的吟遊者，用他的創作和身 的，作為一個創作者，他更像是一個人間世界的吟遊者，用他的創作和身 人相信沒有缺陷的這裡就是幸福的天堂，結果所有完美都崩解，人民瞬間 人相信沒有缺陷的這裡就是幸福的天堂，結果所有完美都崩解，人民瞬間 老去，女王和她的王國終究崩潰而不復存在。 老去，女王和她的王國終究崩潰而不復存在。

體力行，拋出一連串引人思索的現世寓言，並且邀請所有人和他一起探索 體力行，拋出一連串引人思索的現世寓言，並且邀請所有人和他一起探索 那扇門後的生命視野。 那扇門後的生命視野。

17

When the Door Opens

Essay

The Imperfect Paradise –

A Reading of Huang Yi-Sheng’s Solo Exhibition When the Door Opens Art Critic / Sun Xiao-Tong

Levitating Journey

The sky is clear, while the skyline slides through the end of the azure ocean –

2012 Oil on Canvas 132×220cm

all the way toward the edge of the world. The white clouds slowly float around the sky, gazing upon the waves hitting on the shallow beach creating a thin layer of white foam. It is a peaceful and pleasant moment. Even the sparrows, often seen in the city, seem to be quieted down for a while from the noisy chirping and jumping. Relaxed and undisturbed, they stop here to enjoy such a breathtakingly beautiful moment.

Some of them land on the colorful

balloons soaring high in the air; some of them roam around the soft sand beach; while some of them even perch on the unfixed ropes. The upcoming change or risk seems barely bother the sparrows. Putting away the instinct to be alert, they are lost in the comfort provided by the soothing surroundings which they have never experienced before. “Here, they almost forget that they can fly,” as described by the artist Huang Yi-Sheng, the creator of such a wonderful world.

18

Huang Yi-Sheng Solo Exhibition 2012

Unknown Journey 2012 Oil on Canvas 100×100cm

A sparrow might be small, but it becomes the recurring motif of the series

maintaining certain distance. Even though Huang’s artworks never feature

works demonstrated in Huang Yi-Sheng’s recent solo exhibition When the

“humans” as the main depicted subjects, he precisely transforms such an inner

Door Opens.

ambiguity through metaphors and personification.

In order to paint the sparrows, Huang Yi-Sheng pays

In other words, while

extraordinary attention to these small creatures in his daily life. “While there

viewers look at the pleasant scenes with lovable animals, they can still slightly

are grains scattered around the empty space in the park, no bird will come to

notice the indistinct disturbance hidden behind the beautiful surface. Within

eat them except for sparrows and pigeons; but if there is any human being

the perfect appearance hide the unexpected accidents which might burst out at

approaching the space, sparrows will be the first to fly away,” says the artist. In

any minute, such as the bamboo dragonfly which is about to fly over, the

Huang’s eyes, sparrows cannot stay too close to humans but they depend on

balloon which is about to burst, the fruit is about to fall, the rope which is

humans to survive.

Sparrows’ special behavior is thus regarded as a

about to be flipped… The sparrows might stay still, but viewers, as observers,

declaration that “I need you but I do not trust you,” as described by the artist.

start to feel the anxiety once they realize the hidden worries in the wonderful

Such an independent relationship is full of subtlety, ambiguity, and

world. They find themselves in a blissful paradise where everything seems to

contradiction. To some degree, it happens to make a response to the artist’s

be perfect, but they can no longer feel the true happiness.

psychological perception of the society and interpersonal relationship – being close but yet staying alienated, suggesting how Huang expects intimacy while

19

When the Door Opens

Essay

When you study Huang’s recent paintings, you might experience several

forever. The kingdom has no end in terms of space or time. People live happily

psychological transitions. At the first sight, you will be amazed by the artist’s

without sorrow and weep. One day, however, one man raises a question: “what

exquisite skill in realistic paintings. What he creates in his paintings is a

is not happiness?” With no one to answer the question, the whole kingdom is

flawless kingdom of fantasy with soft light and beautiful landscape, while

soon haunted by the puzzle. There is one man who wants to find the answer, so

innocent animals seem to find home at this place. The scene is so natural as if

he starts the journey of exploration. In the end, he becomes the wise man in

it has existed here since the world begins. However, when you gradually gaze

the kingdom, realizing that everything has two sides: the ugly is the opposite

into it, your observation skills and past experiences start to remind you that

of the beautiful; the evil is the opposite of the goodness; death is the opposite

there is something wrong with it. You start to imagine what might happen

of life; imperfection is the opposite of perfection.

after this beautiful moment. Meanwhile, you start to suspect that the artist

kingdom without the imperfection still be called a perfect paradise? The

wants to represent something more than a lovely image. Furthermore, you

question astonishes everyone, and they no longer believe that they live in a

might finally realize the entire narratives of the artist while you study the

paradise of bliss and happiness. At this moment, all the perfection collapses –

structure, and relate the ephemerality you have observed to your past

people soon become old, while the queen and her kingdom are fallen into

experiences and memories. Eventually, you will figure out that there are far

pieces.

Therefore, how can a

more unexpected dangers hidden behind the harmless and gentle surface. In the most difficult situations, the most beautiful flash always flickers at the

“The perfection is regarded as perfect probably because it includes the defects

darkest corner.

and the flaws,” says Huang Yi-Sheng. In the most perfect scenery depicted in his paintings, the artist intentionally avoids any negative symbols – no matter

20

“What is perfect?” – throughout Huang Yi-Sheng’s artistic practice, he has

it is a color, an object, a posture, or an atmosphere – to represent what is

been exploring the question, just like how humans have been pursuing the

defined as the best and as the most positive. Through the intentional absence

answer from generation to generation. In the artist statement which he writes

of the imperfect, Huang Yi-Sheng visualizes a paradise as beautiful as the

for the exhibition When the Door Opens, he quotes a story from the novel

Kingdom of Shaba.

Sparrows, written by a Taiwanese writer Chu Shao-Lin. It is a story about the

nevertheless, the artist’s real attempt is to point out the imperfection hidden

pursuit of perfection – a queen named Shaba rules a fantastic paradise. The

within the perfect appearance. One day, the illusion of perfection might

queen is always young and beautiful, while the people in the kingdom live

disappear, and the happiness will be broken into pieces. After the illusionary

Beyond the splendid scene of absolute happiness,

Huang Yi-Sheng Solo Exhibition 2012

Such a Sky Like That Once 2011 Oil on Canvas 45Ă—100cm

paradise becomes ashes and dusts, people might put their faith in the once-ruined-and-deserted

mundane

world

which

is

waiting

to

be

reconstructed.

Is there really a paradise? Does the perfect happiness exist? Huang Yi-Sheng might not intend to provide an answer or explanation in his artworks. Instead, as an artist, he regards himself as a minstrel in the mundane world. Through his artistic practice and real life experience, Huang creates a parable as a response to the present world, inviting all of us to explore the horizon behind that door.

21

When the Door Opens

About Huang Yi-Sheng

Born in Kaohsiung, Taiwan in 1981, Huang Yi-Sheng graduated from the Department of Fine Arts at National Taiwan Normal University with a specialization in Western Painting. Having worked on realistic painting for many years, Huang is best known for his delicate expression as well as a gentle metaphoric narrative style. Throughout his artistic practice, Huang has expected that his works provide a spiritual consolation. It

黃頤勝 Huang Yi-Sheng

is not his intention to demonstrate the skillful technique in his paintings or to create the comfortable atmosphere through the images painted with various pinks. Instead, he believes that art-making should stir the space of imagination which used to be motionless but yet extensive, encouraging viewers to realize that how they can either meditate or take a break in this peaceful and undisturbed land.

1981年生於台灣高雄，畢業於國立台灣師範大學美術研究所西畫創作組。

After graduating from the graduate school, Huang started exploring new possibilities

研習寫實繪畫多年，擅長以細膩的表現手法、平緩隱喻的方式鋪成述說。期

in the use of colors in the recent series works The New Alien Land. In the year of 2010,

待作品能供養精神一種新的慰藉，不在於靈巧的畫技有多精湛、或大量粉色

the artist demonstrated the series works in the solo exhibition A Sterile Room for the

鋪陳的畫面有多舒適，而是希望創作混淆某種清淡卻寬廣的想像空間，讓所

first time. Huang has received several awards, including National Taiwan Museum of

有觀者知道自己正踏入一片安靜無擾的淨土，能夠冥想或稍作喘息。

Fines Arts’ 2008 Collection Project for Young Taiwanese Artists, the Bronze Medal at the National Oil Painting Exhibition, the Merit Award at Taiwan Provincial Fine Arts

22

研究所畢業後調整想法於色彩呈現，開始進行此一系列的創作，名為〈新

Exhibition, the Merit Award at Da Dun Fine Arts Exhibition, the Honorable Mention

異境〉，2010年的「無菌室」展覽為此系列的首次個展，作品曾於日本大

at Nanying Art Exhibition, and the Nomination Award of Union Fine Art Award. His

阪、香港以及台灣地區展覽，獲2008國立臺灣美術館青年藝術作品購藏計

artworks have been exhibited in Osaka (Japan), Hong Kong, and Taiwan, and included

畫、全國油畫展銅牌獎、全省美展優選、大墩美展優選、南瀛雙年展佳

in the collections of National Taiwan Museum of Fine Arts, the Kaohsiung City

作、聯邦新人獎入選等獎項。國立台灣美術館、高雄縣政府文化局、聯邦

Government's Bureau of Cultural Affairs, Union Culture Foundation, Taiwan National

文教基金會、台灣國展委員會皆有收藏其畫作。現居住、創作於台灣台

Exhibition Committee for Arts, and etc. Huang currently lives and works in Taipei,

北。

Taiwan.

Huang Yi-Sheng Solo Exhibition 2012

2012年個展前黃頤勝攝於工作室

23

飄移的旅程 Levitating Journey 2012 Oil on Canvas 132×220cm

26

另一個童話的開端 The Beginning of Another Fairy Tale 2012 Oil on Canvas 175×115cm

28

在那扇門之外 Outside the Door 2012 Oil on Canvas 115×175cm

30

信仰的抉擇 Choice of Belief 2012 Oil on Canvas 145×145cm

32

那一刻的悠閒 A Leisurely Moment 2012 Oil on Canvas 125×125cm

34

在相同的地方擱淺 Stranded at the Same Place 2012 Oil on Canvas 125×125cm

36

未知的遠行 Unknown Journey 2012 Oil on Canvas 100×100cm

38

我的天空也很藍 My Sky is Blue as Well 2012 Oil on Canvas 45×100cm

40

當天空太過晴朗 When the Sky is Too Sunny 2012 Oil on Canvas 81×81cm

42

那種莫名的牽引 Inexplicable Traction 2012 Oil on Canvas 65×65cm

44

那一瞬間 At That Moment 2012 Oil on Canvas 30×60cm

46

我們的故事 Our Story 2011 Oil on Canvas 115×175cm

48

那是一個頂點的天空 That is a Summit Sky 2011 Oil on Canvas 100P

50

這是我們的遊戲 That's Our Game 2011 Oil on Canvas 75×132.5cm

52

曾經那樣的天空 Such a Sky Like That Once 2011 Oil on Canvas 45×100cm

54

那一天的想像 Imagine That Day 2011 Oil on Canvas 81×81cm

56

風平浪靜的一天 A Calm Day 2011 Oil on Canvas Dia. 22cm

58

穿越這頭到那頭 From Here to There 2010 Oil on Canvas 80×145cm

60

漫步在雲端 Walking in the Air 2010 Oil on Canvas 55×55cm

62

站在真實的彼岸 On the Other Side of Truth 2009 Oil on Canvas 100F

64

異相之外 Out of the Bizarre Scenery 2009 Oil on Canvas 20M

66

怎樣的生活 What Kind of Life 2009 Oil on Canvas 100×100cm

68

集結遊戲 Assembly Game 2009 Oil on Canvas 55×55cm

70

隨風的日子 The Days of Wind 2009 Oil on Canvas 30F

72

When the Door Opens

Curriculum Vitae

黃頤勝 1981年生於台灣高雄市

學歷

典藏

2009

國立台灣師範大學美術研究所西畫創作組碩士

「台北國際當代藝術博覽會」，王朝大酒店：晴山藝

2004

國立台南師範學院美勞教育學系學士

術中心，台北，台灣 「高雄市美術家聯展」，高雄市立文化中心，高雄，台灣

個展 2012

「那天我開了一扇門—黃頤勝個展」，尊彩藝術中心， 台北，台灣

2009

《綠韻》，高雄縣政府文化局

「界線‧延續─陳俊華、周佳正、黃頤勝、陳宏群聯展」， 一畫廊，台北，台灣

「黃頤勝油畫個展」，LILI藝術空間，台北，台灣

「風情萬種—創作‧現實與想像結合的重現」，漢鄉

2008

「靜謐之域─黃頤勝創作個展」，國立台灣藝術教育館，

畫廊，高雄，台灣

台北，台灣

「幸福年代─春神來了」，觀想藝術中心，台北，台灣

「思維‧印記─黃頤勝創作個展」，台北縣立藝文中心，

「Revolution藝術祭—2009 Taipei展覽」，台北世貿二館，

台北，台灣

台北，台灣 「看見幸福的感動—聯邦藝術十年回顧展」，國父紀 念館，台北，台灣

「飛行熱氣球—台灣當代藝術展」，尊彩藝術中心，

「金車新生代藝術家創作聯展」，金車文藝中心，台北，

台北，台灣

台灣

「聚賢迎春—十位當代藝術家聯展」，尊彩藝術中心，

「輪廓線—另一種遼闊，油畫創作聯展」，金車文藝

台北，台灣 「台灣寫實新銳—手感」，晴山藝術中心，台北，台灣

中心，台北，台灣 2007

「台北國際當代藝術博覽會」，王朝大酒店：晴山藝

2010

教育館，台北，台灣 2004

「全國彩墨藝術大展」，台中市文化局，台中，台灣

「T- ART 酒店型藝術博覽會」，長榮桂冠酒店：晴山

2003

「高雄市美術家聯展」，高雄市立美術館，高雄，台灣

「日本大阪飯店型藝博會」，Dojima Hotel：晴山藝術 中心，台北，台灣 「台灣當代寫實繪畫─延續與再造」，華瀛藝術中心，台北，台灣

74

「靜默之外的自然─七人春季聯展」，國立台灣藝術

術中心，台北，台灣 藝術中心，台中，台灣

《國度》、《夢境》、《信仰》、《歸宿》、《枯》， 聯邦文教基金會

「無菌室—黃頤勝個展」，一畫廊，台北，台灣

2011

《遙想》，台灣國展委員會 2006

漢鄉畫廊，高雄，台灣

2009

2012

《靜思‧話語》，國立台灣美術館

「悸動‧心之歌─陳文福、楊騰集、陳臻、黃頤勝」，

2010

聯展

2008

Huang Yi-Sheng Solo Exhibition 2012

Huang Yi-Sheng 1981 born in Kaohsiung, Taiwan

EDUCATION 2006 2004

MFA, Western Painting, Department of Fine Arts,

“T-ART in Taichung 2012”, Evergreen Laurel Hotel:

“See the sense of gratitude—Federal Art 10 year

National Taiwan Normal University

Imavision Gallery, Taichung, Taiwan

retrospective Exhibition”, Sun Yat-sen Memorial

“Art Fair in Osaka”, Dojima Hotel: Imavision

Hall, Taipei, Taiwan

Gallery, Osaka, Japan

“New generation of artists King Car Exhibition”,

BFA, Art and Craft Education, Department of

2010

Education, National Tainan Teachers College SOLO EXHIBITIONS 2012 2010 2009 2008

“Contour line Another Vast Oil Painting

Golden Aries Art

Center, Taipei, Taiwan

Exhibition”, Liang Gallery, Taipei, Taiwan

“Young Art Taipei 2010 Contemporary Hotel Art

“Sterile room— Huang Yi-Sheng Sole Exhibition”,

Fair”, Dynasty Hotel: Imavision Gallery, Taipei,

A Gallery, Taipei, Taiwan

Taiwan

“Huang Yi-Sheng Oil Painting Exhibition”, LILI Art

“Kaohsiung Artists Exhibition”, Kaohsiung Cultural

Space, Taipei, Taiwan

Center, Kaohsiung, Taiwan

“The Quiet Domain- Huang Yi Sheng Sole

“Song of the Heart throb—Chen Wenfu, Yang

Exhibition”, National Taiwan Arts Education

Tengji, Chen Zhen, Huang Yi-Sheng”, Hang

Center, Taipei, Taiwan

Shiang Gallery, Kaohsiung, Taiwan

Taipei County Arts Center, Taipei, Taiwan GROUP EXHIBITIONS

2011

King Car Art Center, Taipei, Taiwan

painting and Recreation”,

“When the Door Opens—Huang Yi-Sheng Sole

“Thinking.Mark- Huang Yi Sheng Sole Exhibition”,

2012

“Taiwan continuation of contemporary realist

2009

Exhibition”, King Car Art Center, Taipei, Taiwan 2007

“Silence outside Nature—Seven Spring Exhibition”, National Taiwan Arts Education Center, Taipei, Taiwan

2004

“National Color and Ink Art Exhibition”, Taichung City Cultural Affairs Bureau, Taichung, Taiwan

2003

“Artists Exhibition in Kaohsiung”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

“Boundary.Continued—Chen Junhua, Zhou

PUBLIC COLLECTIONS

Jiazheng, Huang Yi-Sheng, Chen Huangcun”, A

2008

Retreat and Words, National Taiwan Museum of

Gallery, Taipei, Taiwan

Fine Arts

“Customs— Creative Combination of Reality and

Rethinking, Taiwan's National Development

“Exploring with a Balloon—Taiwan contemporary

Imagination and Reproduction”, Hang Shiang

Art Exhibition”, Liang Gallery, Taipei, Taiwan

Gallery, Kaohsiung, Taiwan

“Celebrating Spring Together—Group Exhibition of Ten

“Age of Happiness— Chunshen’s Coming”,

Culture Foundation Collection, Taipei, Taiwan

Contemporary Artists”, Liang Gallery, Taipei, Taiwan

Conceptive Art Center, Taipei, Taiwan

Green Melody, Kaohsiung County Government

“Forever Young”, Imavision Gallery, Taipei, Taiwan

“Revolution Art Festival 2009 Taipei Art

“Young Art Taipei 2011 Contemporary Hotel Art Fair”,

Exhibition”, Taipei World Trade Center II, Taipei,

Dynasty Hotel: Imavision Gallery, Taipei, Taiwan

Taiwan

Committee Collections 2006

State, Dream, Belief, Fate, Guaisui, Dry, Union

75

When the Door Opens

Art Works

作品 Art Works

信仰的抉擇 Choice of Belief 2012 油彩、畫布 Oil on Canvas 145×145cm

2012

P.33

那一刻的悠閒 A Leisurely Moment 2012 油彩、畫布 Oil on Canvas

飄移的旅程 Levitating Journey 2012

125×125cm P.35

油彩、畫布 Oil on Canvas 132×220cm P.27

在相同的地方擱淺 Stranded at the Same Place 2012 油彩、畫布 Oil on Canvas 125×125cm P.37

76

另一個童話的開端 The Beginning of Another Fairy Tale

未知的遠行 Unknown Journey

2012

2012

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

175×115cm

100×100cm

P.29

P.39

在那扇門之外 Outside the Door

我的天空也很藍 My Sky is Blue as Well

2012

2012

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

115×175cm

45×100cm

P.31

P.41

Huang Yi-Sheng Solo Exhibition 2012

當天空太過晴朗 When the Sky is Too Sunny

那是一個頂點的天空 That is a Summit Sky

2012

2011

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

81×81cm

100P

P.43

P.51

那種莫名的牽引 Inexplicable Traction

這是我們的遊戲 That's Our Game

2012

2011

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

65×65cm

75×132.5cm

P.45

P.53

那一瞬間 At That Moment

曾經那樣的天空 Such a Sky Like That Once

2012

2011

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

30×60cm

45×100cm

P.47

P.55

那一天的想像 Imagine That Day

2011

2011 油彩、畫布 Oil on Canvas 81×81cm P.57

我們的故事 Our Story

風平浪靜的一天 A Calm Day

2011

2011

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

115×175cm

Dia. 22cm

P.49

P.59

77

When the Door Opens

Art Works

莫名的對峙 Inexplainable Confrontation

2010

2010 油彩、畫布 Oil on Canvas 20F

穿越這頭到那頭 From Here to There

漫步在雲端 Walking in the Air

2010

2010

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

80×145cm

55×55cm

P.61

P.63

一段準時展開的冒險 Time to Take Adventure

飛翔的意義 Meaning of Flying

2010

2010

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

100×100cm

15M

一個幻想島嶼 Fantastic Island

2009

2010 油彩、畫布 Oil on Canvas 25F

如同在那個城市一樣 Same as That City 2010 油彩、畫布 Oil on Canvas 20F

78

站在真實的彼岸 On the Other Side of Truth 2009 油彩、畫布 Oil on Canvas 100F P.65

Huang Yi-Sheng Solo Exhibition 2012

遠端的信息 Message from Far Away 2009 油彩、畫布 Oil on Canvas

隨風的日子 The Days of Wind 2009 油彩、畫布 Oil on Canvas 30F

125×125cm

P.73

航向 Course

最後的依偎 The Last Snuggling

2009

2009

油彩、畫布 Oil on Canvas

油彩、畫布 Oil on Canvas

100×100cm

30×30cm

異相之外 Out of the Bizarre Scenery 2009 油彩、畫布 Oil on Canvas 20M P.67

怎樣的生活 What Kind of Life 2009 油彩、畫布 Oil on Canvas 100×100cm P.69

集結遊戲 Assembly Game 2009 油彩、畫布 Oil on Canvas 55×55cm P.71

79

When the Door Opens

黃頤勝 Huang Yi-Sheng

發行人

余彥良

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

印刷

日動藝術印刷有限公司

出版

2012年10月初版

ISBN

978-986-88331-3-5 （平裝）

Executive Director

Yu Yen-Liang

Publisher

Liang Gallery Co., Ltd

Editor

Liang Gallery

Printing

Jih-Tung Art Pringting Co., Ltd.

Publishing Date

First Edition, October, 2012

ISBN

978-986-88331-3-5 (Paperbound Edition)

www.lianggallery.com‧Tel +886-2-2797-1100‧Fax +886-2-2656-0033‧lianggallery@gmail.com 台北市11492內湖區瑞光路366號 | No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm | 週一公休 Closed on Monday