1
目
錄
序 文
余彥良
4
風景，移動的身體 文
張晴文
6
流動的寧靜 文
林煒翔
16
作 品 21
簡 歷 57
圖 錄 71
Contents
Preface YU Yen-Liang
by
5
Landscape and the Moving Body CHANG Ching-Wen
by
10
Flowing Tranquility LIN Wei-Hsiang
by
18
Artworks 21
Biography 57
Catalog 71
3
序
余彥良 尊彩藝術中心 董事長
早年有個神話小官，叫「漆園吏」，漆園當然就是漆樹林，園吏伴隨各種大樹小樹來回漆刷，總感到非常有趣，又可親近大自 然，又可了解天時生態，長期以來受益極深。我總覺得林煒翔就像漆園吏，坐在房間裡透過窗戶，心神早已飛到戶外，漆起了 我們心靈的一片嚮往。
畫面常見淺與深的相合，森林就這樣不自覺地一直安靜下去，並深邃了起來。他的「淺」召示了內在的透明，他的「淺」也凸 顯出內在的深度，很寧靜地告訴我們，那一片綠或藍，都是隨遇而安。人也應該是隨遇而安的，社會如同森林一般，內部有族 群滋生，有動物猛禽，所以必須管理好每一個細節，如同「漆園吏」設法去漆刷掉每一個不好的細胞，當然每一筆依然還是隨 遇而安。安於環境，安於自身，告訴觀畫者，風吹樹動，而心不動者，才能掌握畫面的深度，沉靜在一片安詳裡。又如同嬰孩 般，以真眼觀看這個世界，一切的美好都在他的畫布當中，完美而洋溢著幸福，所以每一幅畫都是一片清新，不再是社會的禁 區，喜悅地招喚你，正如同嬰孩般地進入這片不矯柔造作的新天地。
直到，你是樹，樹是我，你我融入這突然相逢的美好，忘掉自己才能得到自己的境界。景物隨著你的「心」有了不一樣的格局， 物物互含互有，景致姿態與種種感知都已映入你的心坎，心隨景所定，彼此認同，認同這片美好，或許心依舊隨景物走，但總 有一天，你會修鍊成景為心而留。
Preface
YU Yen-Liang President of Liang Gallery
In early years, there was an official named Qiyuan Li. Literal translation of “qiyuan” is the lacquer woods, “yuanli” is a person who used
to paint various small and big trees. It fascinates me how this person was able to get closer to nature and learn more about daily ecology,
thus benefiting a lot from his work during a long time. I have always felt that Lin Wei-Hsiang is just like Qiyuan Li, sitting in the room, looking through the window with a mind fluttering outside, and painting the longing for the soul that all of us experience.
The combination of shallow and deep hues are common in Lin’s paintings, often unconsciously affecting quietness and profoundness of
the forest. Shallowness in his works evokes inner transparency and highlights the depth of feelings, thus very gently telling us that those bits of green and blue colors are comfortably flowing on canvas. People also should be at ease, because society is just like a forest with
breeds of ethnic groups, animals, and raptors. For this reason, it is necessary to manage every detail very well, just as Qiyuan Li was aiming
to cover in paint every bad cell with the flowing strokes of a brush. Feeling content with the environment and oneself, telling the viewers
that the wind blows and the trees move, while the heart is not moving, only then it is possible to master the depth and peacefulness of a painting. Like an infant Lin is watching the world with his eyes, everything what is good is depicted in his paintings, it is perfect and
filled with happiness, hence each painting looks pure and fresh. You can enter this new world just like the infants welcome this nonaffected realm, since it no longer is a restricted area of society, it will joyfully summon you.
In truth, you are a tree, a tree is me. When you and I blend into this world, we suddenly realize the beauty, we forget that only each of us separately are able to reach our own realms. If you follow your heart, the arrangement in the painting will also change accordingly, objects
will be mutually interacting, your attitude towards landscape and all kinds of perceptions will be reflected through your heart. Your heart
might be predetermined by the landscape, you might even feel a mutual recognition, perhaps your heart will react to the scenery, and someday you will know how to lock this scenery in your heart.
5
風景， 移動的身體 林煒翔「對景觀心」個展
張晴文 國立清華大學藝術與設計學系助理教授
風景，移動的身體
「在每一次的旅程中，也許是當我小心翼翼地走過某個危崖碎石坡之後， 也許是在某個疲憊踱步的小徑上，或是終於可以休息後的顧盼間，這些 景致就那樣不期然地在我眼前呈現了，是一種深深的或溫柔或駭異的撞 1
擊，而我的整個人便也忽地裡燦燦然豁亮，心神蕩漾恍惚間，人與天地好
陳列，〈告別與承諾〉，
像頓時有了一種神祕的契合，感覺到一種難以言說的純粹的愛與快樂，彷
收入《永遠的山》。台北：
彿覺得隱約捕捉到了一些特質，關於美，關於大自然裡的生命奧祕。」1
印刻文學生活雜誌出版，
2013 ，頁 9 。
心念自然之人行走於天地之間，腳下踩踏的每一石礫或泥濘，吸進肺裡 的每一個空氣粒子，所回饋的或許不是外在世界的模樣，而是對於自己 不止的叫喚。那是存在的證明，生命的流動，在某個時刻清楚示現。
向來，對於林煒翔作品的理解與討論往往脫離不了「風景」這個關鍵字。 這是以西方繪畫的類型來思考、判斷的結果。雖然藝術家確實採取油畫 做為媒介，在其創作生涯所受的教育、自我養成的過程，也相當注重寫 生訓練，就作品呈現的題材或內容而言，一向也是自然景致為主，但他 所描繪的風景，幾乎都不是現實景物的模仿再現，大多來自一己的主觀 2 Catherine Grout ，《重 返風景——當代藝術的地
想像。這樣的想像並非全然杜撰，而是得自大量的觀察、紀錄等自然體 驗的累積，透過藝術家自我感性的描述，在畫布上呈現出來。在他筆下，
景再現》。台北：遠流出
那些指涉山林樹石，或者水色天光的內容，並不在某種生態知識或者環
版事業， 2009 ，頁 15 。
境倫理的傳達，而是為了表現主觀意識的「造境」手段。就題材來看，
在本書中，藝術史學者廖 新田亦在序文寫道：「風
被劃入風景範疇而論似乎難免；但或許，中國繪畫裡談論山水的概念，
景是人與自然、人與人之
會更貼近其創作姿態。
間、人與自我的一個關 係語詞，其中的核心是 『人』。」見廖新田，〈解 放風景：自然的新人文思 索〉，收入《重返風景—— 當代藝術的地景再現》。 台北：遠流出版事業，
2009 ，頁 6 。
一如許多藝術史學者對於以風景做為內容的創作所下的註腳——「風景 表達了我們和世界、和他人，甚至是和我們自己的關係」2 ，林煒翔在其 創作自述中也清楚表示「經常挪借自然界的景物，做為自我的象徵，寄 託對自然的嚮往與傾慕」，對於創作者而言更遠的理想是「永恆價值」 的提煉。筆下所繪何地何景自不是關鍵，投射自我心緒相對重要。他在 「像是風景的畫作」創作過程裡，解決了自我的煩惱和情緒。然而對於
7
觀者而言，這些畫作則提供了一個想像、神往自然的窗口，藉由喚醒某 些接觸自然的經驗所帶來的感覺重整，從中意識到自我的存在，就像曾 經置身自然所有的體驗。對於畫者、觀者而言，那些觸及的經驗仍舊重 要，儘管在人類世（Anthropocene）的今日，我們對於「自然」可能早 有了不同的定義。
另一方面，這些被定格在窗景一般視覺結構下的事物，其實還隱含著時 間性的內涵層面，在那裡靜靜地流動。
2016 年的「對景觀心」個展中，林煒翔延續了既有的創作路線，發展出 舊系列新作，也有全新的作品呈現。「心景」、「如夢」、「遊蹤」等 系列以戲劇性的手法表達朦朧的風景，雲霧水氣飽滿之外，畫中僅有一 株樹影，其與背後山巒之間的比例經常失衡。在這樣象徵性的樹木姿態 背後，更為巨大的漩渦一般的場景；或者說，天與地的分野幾近模糊的 景致，讓觀者的視線陷入透過線性堆疊而產生的寬闊場域，有一股強烈 的流動感。這樣的力量在近作也化為不知是山或者海的一片無垠，例如 〈秋色如金〉、〈清涼山〉、〈雲集〉、〈求音〉等作，以重複性的筆 觸大量塗刷，除了暗示了創作勞動時間性的過程，同時構築出一片極富 動態感的場面。這樣的動態感不僅由筆觸的動勢展現了觀眾不可得見的 藝術家移動的身體（從筆畫的痕跡到藝術家作畫的手勢，一直到更為抽 象的自然中身體移動的、心緒移動的軌跡），同時也呈現了藝術家對於 宇宙自然的恆動觀點。這種移動性（mobility）的彰顯，我認為是林煒翔 幾年以來風景類型畫作重要的特質，尤其在此次個展中更為直接而全面 地透露。
3 Peter Adey ，《移動》， 徐苔玲、王志弘 譯。 台北：群學出版， 2013 ，
頁 xviii 。
文化地理學家彼得．艾迪（Peter Adey）認為移動性是一種「跟世界產生 關連、參與，並在分析上理解世界的方式」3 。他在論述移動的身體時， 特別談到移動性的感覺和感受，並且斷言「它們很難闡釋和再現」4 。移
4
動過程中知覺性的部分，難以透過任何文字、圖解，甚至觀念思考的方
同前註，頁 204 。
風景，移動的身體
式有效地複製出來，這是移動性的某種本質。移動具備某種當下原始的 特質，那很難訴諸測量或知識理性。
就形式上來說，林煒翔的風景近作有愈形抽離物象的態勢。熟悉他的朋 友們都知道，他工作和居住的地方就在台北的觀音山腳下，位居市郊荒 野地帶，附近不是住宅區，僅有一些鐵皮工寮。他怡然自得地活在這麼 5 筆者訪談林煒翔， 2016 年
11 月 8 日於國立清華大學 竹師藝術空間。
一個城市裡尚存大片自然地景的環境之中，寂靜地面對繪畫。他曾對我 談到近來處理畫面時，經常任由自己的身體伴隨當下情緒，在大尺幅的 畫布上過癮地來回塗刷，較之過去似乎更為自在開放5。我想，拋開精細 描繪的方式，放任自己的感知帶領手與畫筆揮灑，是林煒翔投入風景一 類創作多年以來，一個階段性的開展。他曾經以大量的素描、寫生累積 對於自然面貌的捕捉能力，其實也是自我面對自然的各種寄情與對語紀 錄。這些本於真實的經驗導引了他後來所創作的各種不存在的風景。於 今，這些大量湧現在畫面中的動勢，亦即某種移動性的體現，正如不假 思索移動的熟練拳擊手，試著做出當下的判斷和應對，拋去知識性描繪 的僵硬，使身體在各種意義上協調地移動，才有可能進而探求某種可以 被稱做自然永恆之類的物事。
而所謂大自然生命的奧秘等等，也唯有仰賴不斷的身體移動，才能頓悟。
9
Landscape and the Moving Body A Reading on Lin Wei-Hsiang’s Solo Exhibition “Reflecting the Heart Through Landscape”
by
CHANG Ching-Wen Assistant Professor, National Tsing Hua University Department of Arts and Design
Landscape and the Moving Body
“In every journey comes a moment, perhaps after I carefully pass a steep cliff or a
scree hill, when I walk on an exhausting path with my heavy steps, or at a longwaited break to get a sense of my whereabouts, that a landscape is unexpectedly
rendered before my eyes. Like a sinking crash, gently and strangely, my whole body 1 Chen Lie, “Farewell and Commitment,” The Eternal Mountain, Taipei: Ink Publishing, 2013, p.9.
is instantly illuminated with a dreamlike excitement. A mysterious connection between humans and nature is soon established, through which I feel a pure sense of
love and happiness beyond any verbal communication, as if I somehow captured the secret essence about beauty, about the myth of life hidden within nature.” 1
A person of nature is a walker in the world. The gravels they walk on, the
mud they step into, or the air they breathe in reward them not the image of
the external world but a lasting calling within the self. It is the proof of one’s existence, while the flow of life demonstrates itself at such a moment.
We have always depended on the keyword “landscape” to read into Lin Wei-
Hsiang’s artworks, a consequence of an interpretation based on the context of Western painting. Indeed, the artist uses oil painting as his material, and 2 Catherine Grout, Return to the Landscape – Contemporary Art Landscape Reproduction, trans. Huang Chin-Chu, Taipei: YuanLiou Publishing Co., 2009, p.15. (The quotation here is the translation from its Chinese translation). In the book, art historian Liao Hsin-Tien also writes it in his foreword that “landscape is a relative adverb which connects humans and nature, human and human, as well as humans and selves, with “human” as its keyword.” See Liao Hsin-Tien, “Liberate the Landscape: A New Humanity on Nature,” Return to the Landscape – Contemporary Art Landscape Reproduction, trans. Huang Chin-Chu, Taipei: YuanLiou Publishing Co., 2009, p.6.
painting from life has taken a big part in his artistic training – academically
or as a self-pursuit – as well as his artistic practice. However, his landscape is
rarely an imitative representation of the reality, but a result of his subjective imagination. Rather than entirely fictional, such an imagination is the
accumulation based upon comprehensive observations, documents, and the experiences of nature which are expressed unto the canvas through the artist’s
personal sensitive descriptions. His brushstrokes, visualizing the forests, the stones, the lands, and the waters, are not to preach any environmental
knowledge or ecological ethics, but to reveal how a landscape is created with subjective consciousness. We sometimes rashly categorize his artworks as
landscape painting because of the subject he chooses, but “Chinese landscape” may be a better interpretive context for them.
Catherine Grout, among many art historians, footnotes the artworks about landscape that “landscape expresses our relationship with the world, with
others, even with ourselves.”2 Similarly, Lin Wei-Hsiang declares it in his
11
artist statement that “the landscape appropriated from nature, a recurring
theme in my works, symbolizes the self and visualizes a calling from nature.” For the artist, the long-term ideal is to extract the “eternal values.” The view
with which the painting is created should not be the first concern. Instead, what really matters is how the inner thoughts are reflected. The making of
Lin’s “landscape-like paintings” helps the artist to solve his anxieties and worries, but for viewers, these paintings provide an imaginative window to nature, evoking memories of how we experience nature and refreshing the
nature-inspired sentiments, through which we are aware of our own existence, just like the moments when we find ourselves in nature. For both the painter and viewers, the intimate first-person experiences still matter, although we
may have come up with a ver y different idea about nature in the Anthropocene.
If we read it from another perspective, the scene framed within the windowlike visual composition also reveals a sense of time silently flowing in the image.
In Lin’s 2016 solo exhibition “Reflecting the Heart Through Landscape,” the artist extends his previous artistic practice as he develops new works for old series and creates new series. Series such as Reflection of the Heart,
Like a Dream, and Traces of Travel feature a sense of theatricality to express the obscure and ambiguous landscape. A lonely tree emerges from the saturating misty fog, creating an imbalance against the mountains in the
background. The symbolic tree stands before a giant swirl, or, to put it in a
different way, the indistinct boundary between sky and land seduces viewers’ gaze into a spacious space, a result of a linear accumulation, through which we experience a strong sense of flowing. Such a momentum in his recent works is transformed into a vastness like mountains or an ocean. Examples
can be found in Golden Autumn, Refreshing Mountain, Collection of Clouds, and Looking for a Sound, where a great amount of repetitive strokes not only
suggest a time and labor-consuming artmaking process but also constructs a scene with strong mobility. The mobility adopts the dynamic movement of the
Landscape and the Moving Body
strokes to visualize the artist’s moving body before our eyes (from the traces
of strokes, we see the artist’s gestures, the way he moves his hands, and, more
abstractly, the traces of how his body and mind move in nature). Meanwhile, 3 Peter Adey, Mobility, trans Hsu Tai-Ling and Wang Chih-Hung, Taipei: Socio Publishing, 2013, p.xviii.
it demonstrates the artist’s constantly moving perspective on nature and the
universe. In my opinion, to demonstrate the mobility is most essential in Lin’s recent paintings, especially in his solo exhibition, where we are offered a more straightforward and comprehensive picture of it.
Peter Adey, a scholar in Cultural Geography, believes that “(m)obility is a way
of having a relation to, engaging with and understanding the world 4 Ibid., p.204.
analytically.” 3 He specifies the bodily perceptions, feelings and sensations in a
terrain of mobility-in-action when he talks about moving bodies and asserts that “(it) is difficult to portray or represent.”4 The perceptual part of the
mobility-in-action can hardly be efficiently reproduced with any text, image, or even a conceptual thinking. It is the essence of mobility, primitive and
spontaneous, which makes it almost impossible to be measured or analyzed with knowledge and rationality.
From the aspect of form, Lin’s recent landscape paintings gradually depart from figuration. Those who know him well know that he lives and works at
the foot of Guanyin Mountain, the outskirt of Taipei – it is not a residential
area but with some temporary warehouses scattering around. He occupies a 5 Interview with Lin Wei-Hsiang, November 8, 2016 at National Tsing Hua University’s NHCUE Art Space.
peaceful corner of his own, close to nature and far away from the noisy downtown, where he can have a quiet relation with his paintings. He has once told me that recently he allows his body be overwhelmed by the emotions of
the moment to run the strokes all over the large canvas with full strength, and
the experience gives him more freedom and ease.5 I would like to say that
Lin has made an artistic breakthrough in landscape painting as he abandons a
meticulous depiction and liberates his hands and brush to follow his perceptions. The long-term practice of drawing and painting from life
improves the artist’s skill to capture what nature looks like, but his works also
document or inspire a dialogue between the self and nature. Following the reality-based experiences, he later creates various landscapes which do not
13
exist at all. Here, the momentum surging in the image is the embodiment of a
certain mobility, like a well-trained boxer moving without thinking. The reaction and decision are made at that particular moment. Getting rid of the
stiffness of a knowledge-oriented depiction, he allows the body to move in accordance with every given meaning. It is the only possible way for us to explore something which deserves to be called as “eternal nature.”
Ultimately, the so-called myth of life found in nature can only be understood through a body with mobility-in-action.
〈秋色如金〉 Golden Autumn 局部
Detail
油彩、畫布 Oil on canvas 120 x 200 cm 2016
Landscape and the Moving Body
15
流動的寧靜
林煒翔
對我來說，自己所描繪的每一件作品，像一段一段的旅行，是追尋寧靜的 過程與痕跡。在畫面中，我以簡化、單純的鋪陳，來表現個人內在的心靈 世界。我經常挪借自然界的景物，作為自我的象徵，寄託對自然的嚮往與 傾慕。透過物象的安排，傳遞自身在日常生活中，與大自然親近、交往和 對話的真誠體驗。
在我們周遭的風景是活的，是會呼吸的。我一直想把理想中的美好風景表 達出來，但卻好像永遠都達不到。我的心緒在變，風景也不斷在變，我永 遠追不上它。儘管如此，我仍希望在不斷變動的當下，試著凝鍊出一種永 恆的價值。藉由對風景的描繪，表現關於物與我、視象與心靈之間的對話 關係及交互作用，意圖捕捉瞬間即成的永恆。
我筆下的風景，是我用心感受自然，並且經過內化之後，呈現在畫布上 的結果。畫中的世界並非單純寫景，而是一個重新造境、如夢一般的空 間與場域。這些年來的我，無意僅僅只是再現眼中的世界。期許自己能 將更多心緒，以及那些無以名狀的內在感受，放進作品裡。我認為應該 盡可能去探索自己未知的，或者迷迷濛濛不清楚的感受，希望可以像詩 一樣表達出來。
我覺得，自然界的水氣很有意思，很有想像空間，讓眼見的山水更有詩意、 充滿靈氣，好像隔了一層薄紗，蘊含著無限的神祕感。那種雲霧的遮蓋，
自述
暗示著一種未知。我著迷於這類的樣態，也不斷地在其中來回尋訪。我總 是喜歡將這種帶有氤氳的、漂浮的狀態，表現在畫面裡。
一直以來，我以徐緩的步調，進行我的風景繪畫；同時，在創作中投射自 己的心緒。繪畫就像是一件日常生活中極為平凡的功課，也是自己整理思 緒的方法。我常常一邊畫畫，心裡一邊想著其他的事；很多時候，隨著畫 作完成，事情也就想通了。就像無目的地到處散步閒晃，心情便會開朗、 思緒也逐漸清明。
雖然，我面對的風景沒有說話，不過它卻教會了我許多事。天地之間，有 花開花謝、有各種陰晴圓缺；關於人、事、物的生滅，是無常的。讓我感 到深刻的是，從自然中所領受的心得與體會，成為我生命裡一股重要的支 撐力量，滋養著我的內在心靈，並使我成長。
我始終在探索自然，也持續在認識我自己。自然相對於我，是一位良師， 給予無限的學習機會。自然的變化源源不絕，非常豐富，無法一次看完； 也因為永遠尋找不完，所以讓我可以一直探索下去，在生活和創作上，陪 伴我持續緩緩前行。
17
Flowing Tranquility
LIN Wei-Hsiang
I consider every piece of art to be its own journey, a process and record of searching for tranquility. I use a simple, pure layout to express my inner spiritual
world. I often make use of natural scenery and objects to represent myself, investing an admiration and longing for nature. Arrangement of images conveys the genuine experience of conversing, interacting, and being intimate with nature in everyday life.
We are surrounded by a living and breathing scenery. I always wanted the
opportunity to express my ideal scenes of beauty, but fell short of perfection.
My moods would shift and the scenery would change, always out of my grasp. Nevertheless, I attempted to create and refine a permanent value within the ever-changing present. Artistic depiction of nature expresses the dialogue and
interaction between object and self, image and the spirit, thus attempting to capture the eternity completed in a moment.
The scenery I paint and present on the canvas is the result of intentionally
perceiving nature and internalizing the experience. The world of the painting
is not a mere depiction but rather a reconstruction of the artist's conception, a dreamlike space and setting. Over the last few years, I have unintentionally
been simply recreating the world as I see it. I hope to make a greater degree of emotion, as well as nameless internal feelings, a part of my art. We should
always strive to explore the unknown and unfamiliar, or express our vague indefinite feelings in a poetic way.
Exhibition Statement
I find mist particularly interesting and inspiring of the imagination. It gives the scenery a poetic feeling, or a spiritual influence, as if thinly veiling vast
mysteries. Its obscurity seems to imply the existence of something unknown. I find it enchanting, becoming lost within. I enjoy representing this dense, floating atmosphere in my art.
I have always created scenic art at a leisurely pace while investing it with personal
emotion. It is like an extremely ordinary assignment that is part of my daily life, as well as a way to deal with thoughts and feelings. While I paint, my mind is
preoccupied with all kinds of thoughts that are resolved by the time I finish. Wandering or taking a stroll can also help to clear the mind and lift spirit.
I do not speak to the scenery, but it has much to teach me. In the natural world, flowers bloom and fade just as everything must undergo phases and cycles. Everything that is born must die, and the world remains impermanent. I strongly
feel that what I have learned from nature has been a great support throughout life, nourishing the spirit and helping me grow.
I have never ceased to explore nature and continue learning about myself. For
me, nature is a wonderful teacher who always has something new to share. Its variations and transformations are rich and infinite, too great to be fully
witnessed. The never-ending exploration of nature has become a fixed part of my art and daily routine, as I gradually progress through life.
19
Reflecting the Heart Through Landscape LIN Wei-Hsiang Solo Exhibition
Artworks
21
〈心景（一）〉 Reflection of the Heart (1)
油彩、畫布 Oil on canvas
90.5 x 116.5 cm 2016
23
〈如夢（十）〉 Like a Dream (10)
油彩、畫布 Oil on canvas
38 x 45.5 cm 2016
25
〈秋色如金〉 Golden Autumn
油彩、畫布 Oil on canvas
120 x 200 cm 2016
27
〈晃遊（十三）〉 Stroll (13)
油彩、畫布 Oil on canvas
162 x 227 cm 2016
29
〈求音〉 Looking for a Sound
油彩、畫布 Oil on canvas
150 x 150 cm 2016
31
〈清涼山〉 Refreshing Mountain
油彩、畫布 Oil on canvas
200 x 300 cm 2016
33
〈雲集〉 Collection of Clouds
油彩、畫布 Oil on canvas
100 x 80.5 cm 2016
35
〈山路（一）〉 Mountain Road (1)
〈山路（二）〉 Mountain Road (2)
〈山路（三）〉 Mountain Road (3)
〈山路 ( 一）〉 Mountain Road (1)
油彩、畫布 Oil on canvas
200 x 200 cm 2016
〈山路（二）〉 Mountain Road (2)
油彩、畫布 Oil on canvas
200 x 200 cm 2016
41
〈山路（三）〉 Mountain Road (3)
油彩、畫布 Oil on canvas
200 x 200 cm 2016
43
〈夢遊（五）〉 Wandering in a Dream (5)
油彩、畫布 Oil on canvas
100 x 100 cm 2016
45
〈親山〉 Closer to Mountain
油彩、畫布 Oil on canvas
90 x 90 cm 2016
47
〈對景觀心〉 Reflecting the Heart Through Landscape
油彩、畫布 Oil on canvas
140 x 400 cm 2016
49
51
〈有三 棵 樹的風景〉 The Scenery with Three Trees
油彩、畫布 Oil on canvas
180 x 100 cm x 3pcs 2013
53
〈遊蹤 - 22.21.20〉 Traces of Travel - 22.21.20
油彩、畫布 Oil on canvas
140 x 140 cm x 3pcs 2013
55
Reflecting the Heart Through Landscape LIN Wei-Hsiang Solo Exhibition
Biography
57
林煒翔 1983 出生於新竹，台灣
2009 年畢業於國立新竹教育大學美勞教育研究所，創作多以平面繪畫 為主。他的創作靈感源於自然界的景色，不同於學院派的寫實風景畫， 他呈現的是寫意、抽象的畫面，強調的是作品內在的精神性而非外在形 式的模仿；從他的繪畫作品可以感受到流動的雲霧、溼潤的水氣，筆觸 和用色帶入水墨畫的概念。他將自己的心靈世界描繪成飄渺、虛幻的風 景，藉此訴說他無以名狀的內在感受。2005 年獲李澤藩教授藝術創作 獎，2004 年獲文建會青年繪畫作品典藏徵件入選、全國學生美展西畫
類大專美術系組優等、南瀛美展水彩類優選；作品獲台灣藝術銀行、國 立台灣美術館及國立交通大學藝文中心典藏。
簡 歷 Biography
LIN Wei-Hsiang Born in Hsinchu, Taiwan in 1983
In 2009, he graduated from the Graduate Institute of Fine Arts and Crafts Education at the National Hsinchu University of Education. His inspiration comes from the natural sceneries, though unlike the Realists’ landscape paintings, his paintings are more impressionistic and abstract, emphasizing inherent spirituality rather than extrinsic imitation. In his paintings one can feel the movement of clouds or moist humid air. He portrays his own ethereal inner world and illusory landscapes that cannot be expressed in words. In 2005, Lin received Professor TzeFan Lee Creative Award, in 2004 was selected for Young Artist Collection, received an award for excellence in “National Student Art Exhibition” and honorable mention in “Nanying Fine Art Exhibition.” His works have been collected by the Taiwan Art Bank, the National Taiwan Museum of Fine Arts, and the National Chiao Tung University Arts Center.
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學 歷 2009 國立新竹教育大學美勞教育研究所碩士，新竹，台灣
2005 國立新竹師範學院美勞教育學系學士，新竹，台灣
個 展 2016 「林煒翔個展－對景觀心」，尊彩藝術中心，台北，台灣 「林煒翔個展－心景」，竹師藝術空間，新竹，台灣
2015 「山水有真實」，弔詭畫廊，高雄，台灣
2014 「流動的寧靜」，槩藝術，台北，台灣
2013 「在畫裡聽見風聲」，弔詭畫廊，高雄，台灣
2009 「緩緩行」，二十號倉庫，台中，台灣 「慢板」，新竹教育大學，新竹，台灣
2008 「慢板」，中國科技大學藝文中心，新竹，台灣
2007 「林煒翔個展」，新竹教育大學，新竹，台灣 「永恆」，金禧美術，台中，台灣
2005 「凝視的詩意與存在」，新竹師範學院，新竹，台灣
2004 「林煒翔個展」，金變堂藝術空間，新竹，台灣
2002 「單純與暗喻」，新竹師範學院，新竹，台灣
簡歷
聯 展 2016 「我 • 再新竹－當代新銳藝術展」，新竹市美術館，新竹，台灣 「林中路」，安卓藝術，台北，台灣 「地方－ 2016 年朱銘美術館典藏特展」，朱銘美術館，台北，台灣
2015 「小藝思－小品聯展」，新心藝術，台南，台灣 「2015 高雄藝術博覽會」，駁二藝術特區，高雄，台灣 「無以名狀－台灣新生代具象繪畫試探」，靜慮藝術，台北，台灣 「存在－意識」，尊彩藝術中心，台北，台灣 「閱讀藝術 II －夏祭聯展」，尊彩藝術中心，台北，台灣 「現代台灣的藝象－台灣藝術家聯展」，銀座幸伸畫廊，東京，日本 「2015 台中藝術博覽會」，日月千禧酒店，台中，台灣 「2015 台北國際當代藝術博覽會」，台北喜來登大飯店，台北，台灣 「夜予晝」，拾米屋，台北，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」，高雄翰品酒店，高雄，台灣 「變奏風景」，臻品藝術中心，台中，台灣 「綠境藝廊開幕首展」，綠境藝廊，台北，台灣 「2014 台中藝術博覽會」，日月千禧酒店，台中，台灣 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 「2014 台北國際當代藝術博覽會」，晶華酒店，台北，台灣 「島」，一票人票畫空間，台北，台灣
2013 「紙上作品」，臻品藝術中心，台中，台灣 「貳零壹參．集體走春」，臻品藝術中心，台中，台灣
2012 「人．獸．風景－黃海欣、林彥瑋、林煒翔三人繪畫展」，誠品畫廊，台北，台灣
2011 「夢遊」，金變堂藝術空間，新竹，台灣 「台灣新世代藝術家聯展」，國泰世華藝術中心，台北，台灣
61
「百年好合，心存好藝」，臻品藝術中心，台中，台灣 「這城市裡沒有兔子－ 2011 兔年特展」，一票人票畫空間，台北，台灣
2010 「後青春」，國立台灣美術館，台中；關渡美術館，台北，台灣
2009 「私．風景」，國泰世華藝術中心，台北，台灣 「2009 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣
2008 「蝕．宇宙」，國泰世華藝術中心，台北，台灣 「擺盪－實境」，北投公民會館，台北，台灣 「虛擬空間」，新竹教育大學，新竹，台灣 「寫時三少」，金禧美術，台中，台灣
2007 「袋袋相傳」，臻品藝術中心，台中，台灣 「2007 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「佈展中」，新竹教育大學，新竹，台灣 「風景的面貌」，臻品藝術中心，台中，台灣
2006 「自己的世界－當代繪畫聯展」，金禧美術，台中，台灣 「關於我們自身的」，金變堂藝術空間，新竹，台灣 「金變堂主造像圖展」，金變堂藝術空間，新竹，台灣 「2006 台北國際藝術博覽會」，華山文化園區，台北，台灣 「四季如藝」，南畫廊，台北，台灣
2005 「土地．視界內的真實」，由鉅藝術中心，台中，台灣 「新聲」，新竹教育大學，新竹，台灣 「十人寫實繪畫展」，台灣藝術大學，台北；新竹師範學院，新竹；大古文化，台中，台灣 「藝起瘋」，竹師藝術空間、新竹縣文化局，新竹；台中市文化局，台中，台灣 「情．調」，新竹師範學院，新竹，台灣 「在乎現實」，新竹師範學院，新竹，台灣 「全國學生美術比賽優勝作品展」，台南社會教育館，台南，台灣 「靜觀，冥想－空間意境的無窮靈思」，台灣科技大學，台北，台灣 「跨越時空」，南畫廊，台北，台灣
簡歷
2004 「國泰藝術節－新世紀潛力畫展」，國泰金融中心，台北，台灣 「靜觀，冥想－空間意境的無窮靈思」，智邦藝術迴廊，新竹，台灣 「南瀛美展」，台南縣文化局，台南，台灣 「新竹美展」，新竹市文化局、新竹縣文化局，新竹，台灣 「追，尋」，新竹師範學院，新竹，台灣 「風景小品聯展」，清華大學，新竹，台灣
2003 「心的饗宴」，交通大學，新竹，台灣 「新竹美展」，新竹縣文化局，新竹，台灣 「第 57 屆全省美展」，台中市文化局，台中，台灣
2002 「李蔡配藝術教育基金會義賣聯展」，竹師藝術空間，新竹，台灣 「荷花藝術季作品展」，交通大學，新竹，台灣
獲 獎 2005
李澤藩教授藝術創作獎，台灣 2004
全國學生美展西畫類大專美術系組，優等，台灣 文建會青年繪畫作品典藏徵件，入選，台灣 「 南瀛美展 」水彩類，優選，台灣 「 新竹美展 」水彩類，特優、油畫類，佳作，台灣 2003
「 新竹美展 」水彩類，佳作，台灣 2002
「 第 57 屆全省美展 」水彩類，入選，台灣 交通大學荷花藝術季寫生比賽大專組，首獎，台灣
63
典 藏 2015
台灣藝術銀行，台中，台灣 2013
台灣藝術銀行，台中，台灣 2009
國立台灣美術館，台中，台灣 2004
國立台灣美術館，台中，台灣 2002
交通大學藝文中心，新竹，台灣
簡 歷 Biography
Education 2009 M.F.A., Graduate Institute of Fine Arts and Crafts Education, National Hsinchu University of Education, Hsinchu, Taiwan 2005 B.A.E., Department of Fine Arts and Crafts Education, National Hsinchu Teachers College, Hsinchu, Taiwan
Solo Exhibitions 2016
“Lin Wei-Hsiang Solo Exhibition – Reflecting the Heart Through Landscape” , Liang Gallery, Taipei, Taiwan “Lin Wei-Hsiang Solo Exhibition – Reflection of the Heart” , NHCUE Art Space, Hsinchu, Taiwan 2015
“Reality in the Landscape” , Crane Gallery, Kaohsiung, Taiwan 2014
“Flowing Serenity” , Gai Art, Taipei, Taiwan 2013
“Seeing the Stroll of Wind” , Crane Gallery, Kaohsiung, Taiwan 2009
“Stroll” , Stock20, Taichung, Taiwan
“Adagio” , National Hsinchu University of Education, Hsinchu, Taiwan 2008
“Adagio” , China University of Technology Art Center, Hsinchu, Taiwan 2007
“Lin Wei-Hsiang Solo Exhibition” , National Hsinchu University of Education, Hsinchu, Taiwan “Eternity” , Arthis Fine Art, Taichung, Taiwan 2005
“Poetry and Existence of the Gaze” , National Hsinchu Teachers College, Hsinchu, Taiwan 2004
“Lin Wei-Hsiang Solo Exhibition” , Jin-Bien-Tang Art Space, Hsinchu, Taiwan
65
2002
“Simple and Metaphor” , National Hsinchu Teachers College, Hsinchu, Taiwan
Group Exhibitions 2016
“Representing the City: Hsinchu – Contemporary Art Exhibition” , Hsinchu City Art Gallery, Hsinchu, Taiwan “The Road Not Taken” , Mind Set Art Center, Taipei, Taiwan
“A Place of One's Own – 2016 Exhibition of Juming Museum Collection” , Juming Museum, Taipei, Taiwan 2015
“Art Think – Small Painting Group Exhibition” , Sing Art, Tainan, Taiwan “Art Kaohsiung 2015” , Pier-2 Art Center, Kaohsiung, Taiwan
“Indescribable Figure – New Figurative Painting in Taiwan” , Jing Lu Art, Taipei, Taiwan “Reality – Testing” , Liang Gallery, Taipei, Taiwan
“Art in the Library II – Summer Festival Exhibition” , Liang Gallery, Taipei, Taiwan “Art Contemporaneity Taiwan” , Ginza Kousin Gallery, Tokyo, Japan
“Art Taichung 2015” , Millennium Vee Hotel Taichung, Taichung, Taiwan “Young Art Taipei 2015” , Sheraton Grande Taipei Hotel, Taipei, Taiwan “Regain from Darkness” , Sheme House, Taipei, Taiwan “Freshness of March” , Liang Gallery, Taipei, Taiwan 2014
“Art Kaohsiung 2014” , Chateau de Chine Hotel Kaohsiung, Kaohsiung, Taiwan “Variation of Landscape” , Galerie Pierre, Taichung, Taiwan
“Rhythm Gallery Opening Exhibition” , Rhythm Gallery, Taipei, Taiwan
“Art Taichung 2014” , Millennium Vee Hotel Taichung, Taichung, Taiwan “Apple Core Contemporary Art Exhibition” , Liang Gallery, Taipei, Taiwan “Young Art Taipei 2014” , Regent Taipei, Taipei, Taiwan “The Island” , Piaopiao Gallery, Taipei, Taiwan 2013
“On the Paper” , Galerie Pierre, Taichung, Taiwan
“2013 New Year Group Exhibition” , Galerie Pierre, Taichung, Taiwan 2012
“Man．Animal．Landscape: Huang Hai-Hsin, Lin Yen-Wei, and Lin Wei-Hsiang” , Eslite Gallery, Taipei, Taiwan
Biography
2011
“Wandering in a Dream” , Jin-Bien-Tang Art Space, Hsinchu, Taiwan
“Taiwan's New Generation Artists Exhibition” , Cathay United Art Center, Taipei, Taiwan “Forever Together, Peace Within” , Galerie Pierre, Taichung, Taiwan
“There Is No Rabbit in this City – Year of the Rabbit Special Exhibition in 2011” , Piaopiao Gallery, Taipei, Taiwan 2010
“Post – Adolescence” , National Taiwan Museum of Fine Arts, Taichung; Kuandu Museum of Fine Arts, Taipei, Taiwan 2009
“Desire to See – Rising Young Artists Exhibition” , Cathay United Art Center, Taipei, Taiwan “Art Taipei 2009” , Taipei World Trade Center, Taipei, Taiwan 2008
“Eclipse．Universe – Rising Young Surrealist Artists Exhibition” , Cathay United Art Center, Taipei, Taiwan “Swing – Reality” , Beitou Citizens Activities Center, Taipei, Taiwan
“Virtual Space” , National Hsinchu University of Education, Hsinchu, Taiwan “Timing is Everything” , Arthis Fine Art, Taichung, Taiwan 2007
“Art Bag” , Galerie Pierre, Taichung, Taiwan
“Art Taipei 2007” , Taipei World Trade Center, Taipei, Taiwan
“Layout” , National Hsinchu University of Education, Hsinchu, Taiwan “Landscape” , Galerie Pierre, Taichung, Taiwan 2006
“Own World – Contemporary Painting Exhibition” , Arthis Fine Art, Taichung, Taiwan “About Ourselves” , Jin-Bien-Tang Art Space, Hsinchu, Taiwan
“The Portraits of Mr. Xu” , Jin-Bien-Tang Art Space, Hsinchu, Taiwan “Art Taipei 2006” , Huashan Culture Park, Taipei, Taiwan “Four Seasons as Art” , Nan Gallery, Taipei, Taiwan 2005
“Land．Truth Within the Horizon” , GSR Gallery, Taichung, Taiwan
“New Voice” , National Hsinchu University of Education, Hsinchu, Taiwan
“Realism Exhibition by Ten Artists” , National Taiwan University of Art, Taipei; National Hsinchu Teachers College, Hsinchu; Da-Ku Art Gallery, Taichung, Taiwan
“Art from the Crazy” , NHCTC Art Space, Cultural Affairs Bureau, Hsinchu; Cultural Affairs Bureau, Taichung, Taiwan
67
“Sentiment” , National Hsinchu Teachers College, Hsinchu, Taiwan
“Believe in Reality” , National Hsinchu Teachers College, Hsinchu, Taiwan
“National Art Students Competition Winners Exhibition” , National Tainan Social Education Center, Tainan, Taiwan “Contemplation and Meditation – Inf inite Spiritual Thoughts on Ambience” , National Taiwan University of Science and Technology, Taipei, Taiwan
“Across Time and Space” , Nan Gallery, Taipei, Taiwan 2004
“Cathay Art Festival – Young Talents of the New Century” , Cathay Financial Center, Taipei, Taiwan
“Contemplation and Meditation – Inf inite Spiritual Thoughts on Ambience” , Accton Gallery, Hsinchu, Taiwan “Nanying Fine Art Exhibition” , Cultural Affairs Bureau, Tainan, Taiwan
“Hsinchu Fine Art Exhibition” , Cultural Affairs Bureau of Hsinchu City, Cultural Affairs Bureau of Hsinchu County, Hsinchu, Taiwan
“Pursue” , National Hsinchu Teachers College, Hsinchu, Taiwan
“Small Landscape Painting Group Exhibition” , National Tsing Hua University, Hsinchu, Taiwan 2003
“Feast of the Heart” , National Chiao Tung University, Hsinchu, Taiwan
“Hsinchu Fine Art Exhibition” , Cultural Affairs Bureau, Hsinchu, Taiwan
“The 57th Taiwan Provincial Fine Art Exhibition” , Cultural Affairs Bureau, Taichung, Taiwan 2002
“Tsai-Pei Lee Arts Education Foundation Exhibition”, NHCTC Art Space, Hsinchu, Taiwan “Lotus Art Festival” , National Chiao Tung University, Hsinchu, Taiwan
Awards 2005 Professor Tze-Fan Lee Creative Award, Winner, Taiwan
2004
“National Student Art Exhibition” , Excellence in Western Painting Category, Taiwan Young Artist Collection, Council for Cultural Affair, Selected, Taiwan
“Nanying Art Exhibition” , Honorable Mention in Watercolor Category, Taiwan
“Hsinchu Art Exhibition” , Special Honor in Watercolor Category, Honors in Oil Painting Category, Taiwan
Biography
2003
“Hsinchu Art Exhibition” , Honors in Watercolor Category, Taiwan 2002
“The 57th Provincial Art Exhibition” , Shortlisted in Watercolor Category, Taiwan
Chiao Tung University Lotus Art Festival Sketch Competition, First Prize, Taiwan
Public Collections 2015 Taiwan Art Bank, Taichung, Taiwan 2013 Taiwan Art Bank, Taichung, Taiwan 2009 National Taiwan Museum of Fine Arts, Taichung, Taiwan 2004 National Taiwan Museum of Fine Arts, Taichung, Taiwan 2002 National Chiao Tung University Arts Center, Hsinchu, Taiwan
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Reflecting the Heart Through Landscape LIN Wei-Hsiang Solo Exhibition
Catalog
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25
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〈心景（一）〉
〈如夢（十）〉
〈秋色如金〉
Reflection of the Heart (1)
Like a Dream (10)
Golden Autumn
油彩、畫布 Oil on canvas
90.5 x 116.5 cm 2016
38 x 45.5 cm 2016
油彩、畫布 Oil on canvas
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120 x 200 cm 2016
油彩、畫布 Oil on canvas
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〈晃遊（十三）〉
〈求音〉
〈清涼山〉
Stroll (13)
Looking for a Sound
Refreshing Mountain
162 x 227 cm 2016
油彩、畫布 Oil on canvas
150 x 150 cm 2016
油彩、畫布 Oil on canvas
200 x 300 cm 2016
油彩、畫布 Oil on canvas
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〈雲集〉
〈山路（一）〉
〈山路（二）〉
Collection of Clouds
Mountain Road (1)
Mountain Road (2)
油彩、畫布 Oil on canvas
100 x 80.5 cm 2016
油彩、畫布 Oil on canvas
200 x 200 cm 2016
油彩、畫布 Oil on canvas
200 x 200 cm 2016
圖 錄 Catalog
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〈山路（三）〉
〈夢遊（五）〉
〈親山〉
Mountain Road (3)
Wandering in a Dream (5)
Closer to Mountain
200 x 200 cm 2016
油彩、畫布 Oil on canvas
Oil on canvas
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〈對景觀心〉 Reflecting the Heart Through Landscape 油彩、畫布 Oil on canvas
140 x 400 cm 2016
100 x 100 cm 2016
油彩、畫布
90 x 90 cm 2016
油彩、畫布 Oil on canvas
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〈有三棵樹的風景〉
〈遊蹤 - 22.21.20〉
The Scenery with Three Trees
Traces of Travel - 22.21.20
油彩、畫布 Oil on canvas
180 x 100 cm x 3pcs 2013
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油彩、畫布 Oil on canvas
140 x 140 cm x 3pcs 2013
出版者 Publisher
尊彩國際藝術有限公司 Liang Gallery Co., Ltd.
發行人
總經理
Executive Director
Director
余彥良
陳菁螢
Yen-Liang YU
Claudia CHEN
策劃編輯
翻譯
Editor
Translation
楊旻軒
白斐嵐、李樂蓉
Cindy YANG
Siraya PAI, Laura LYGAITYTE
展場執行
展場燈光
Display Executive
Lighting
Ding-Jiun HONG
Chung-Chang HO
洪鼎鈞
何仲昌
攝 影
設 計
Photographer
Designer
何星原
劉銘維
Hsin-Yuan HO
Ming-Wei LIU
林 煒 翔 個 展
印 刷 Printing
日動藝術印刷有限公司 Jih-Tung Art Printing Co., Ltd.
出 版 Publishing Date
2016 年 12 月初版
First Edition, Dec. 2016
ISBN
978-986-92798-9-5
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