個 展
Solo Exhibition
TSAI Chieh-Hsin
蔡 潔 莘
Rainbow Rain Village 2016
目 錄
Contents
4
彩虹雨村落 文
蔡潔莘
13
作 品
64
下雨了 給潔莘 文
蔡根（藝術家蔡潔莘的父親）
72
沉浸式挫敗後的烏托邦 文
黃建宏（國立臺北藝術大學美術學院副教授）
簡 歷
81
圖 錄
91
Rainbow Rain Village by
8
Tsai Chieh-Hsin
Artworks
13
It's Raining For Chieh-Hsin by
68
Tsai Ken (Artist Tsai Chieh-Hsin’s father)
An Immersive Utopia After Defeats by
76
Huang Chien-Hung (Associate Professor, School of Fine Arts at the Taipei National University of the Arts)
Biography
81
Catalog
91
彩虹雨村落
「其實我的內心是脆弱的。」
小時候，總是希望趕快長大，可以自己作主；但長大後，又時常 懷念著，小時候的任性與無知。過去的懵懂、血氣方剛，自然形 文
成了所謂的勇氣，也不能說是沒有真切地面對，就只是看顧了前 方，未曾回頭瞻望。
在學會了回顧後，少了任性與無知的衝動，許多事情變得不再能 夠簡單處理，讓我變得容易脆弱，需要建立更多的勇氣才得以向
蔡潔莘
前走。已經不可能回到不受外界任何影響，如初生的嬰兒，然而 矛盾的是也不想完全回去，只好總是懷念著沒有煩惱、沒有現實、 沒有壓力的心靈。
「那勇氣哪裡來？」
我們需要彼此、共享體溫、尋求慰藉、抵抗生活。受傷、修復、 平靜，再受傷、再修復……，再習慣不過的循環，無時無刻存在 我們的生命中，又是怎麼渡過的？
聽 一 首 老 歌， 緬 懷 過 去 的 時 光， 暫 時 穿 越 了 時 空。 看 一 段
Youtube，老虎像貓一樣在大箱子中玩耍，超萌！暫時忘卻了人心
的黑暗面，回到純粹的動物性。閱讀 Facebook 一篇文章，集結了 志同道合的陌生人，很近又很安全的距離，相互攝取溫度建立自 我認同感。 生活中不斷地藉由 Facebook、Youtube、Google 等，用最快速簡單 的方法搜尋著能暫時笑開懷、溶化、療癒的聲音、影像或圖片， 我們都仰賴片刻的愉悅好讓疲憊的身心稍作歸零。而這短暫的片 刻也許其實就是堆疊勇氣的信念。愈消極的環境愈需要信念的存 在，因為唯有信念才得以前進。
如同的天堂般的彩虹雨村落，是傳說、是桃花源還是假想地？你 仍有勇氣相信它的存在嗎？
「我相信，因為我也需要它！」
時常想像可以回到如同一張白紙，這樣就可以很單純地感受顏色 的美。彩虹雨村落就是我將快樂的碎片集結成了時空，我的美好 花園，也是我的出口。
下雨，就像是大地給予我們的洗禮，在彩虹雨村落的雨更不同了。 每下一次雨，就可以重新回歸到原初的樣貌，一次一次地去著裝 成想要的樣貌。
彩虹雨村落
5
馬來貘是新進來的成員，所以只敢將他原本的白色接受彩虹雨的 挑染。
獅子與老虎是彩虹雨村落裡最活潑的夥伴，他們喜歡將七彩的彩 虹雨全部留住。
小烏龜最喜歡石頭，背上也長出了彩虹般的植物！
北極熊還是最喜歡白色，所以他總是只留著鼻子上的顏色！
彩虹雨村落的人類們，最害怕失去，時時警惕著自己，總是保留 著身上的白色，但也謙虛著跟隨著動物們，學習模仿大地的生態。
誠摯地邀請你來到彩虹雨村落，在這裡你可以安心地放下裝備， 卸下大人的模樣，拋開外界的眼光，回到小時候可以脫口而出的 「好可愛喔！」。想像這場彩虹雨也許會把世界變成是糖果做的； 想像這場彩虹雨也許會把壞的污染都洗乾淨；想像這場彩虹雨也 許可以把我們都變得跟彩虹一樣美麗！
我喜歡「紙」給人樸質又厚實的溫度，所呈現的作品樣貌都是很 直接且容易閱讀的，透過紙漿表現的拙趣感來傳遞最難喚回的簡 單、心中原初的美好與感動。
「只要你也相信，彩虹雨村落就存在。」
彩虹雨村落
7
Rainbow Rain Village by
Tsai Chieh-Hsin
Actually, my heart is fragile When I was a little child, I always wanted to grow up as fast as possible and to make my own decisions. Now, when I grew up I often miss willfulness and ignorance, the one only children have. Muddle of the past, youth and vitality has naturally shaped my courage. It would be wrong to say that I have not faced the past, that I looked only towards the future and that I did not turn around to look back. Once I learned to look back at the past, willfulness and ignorance became less impulsive, many things turned out not that easy to handle any more. I became more fragile and I was able to move forward only when I became more courageous. It is impossible to go back to the time when no things were influencing me, for example the time when I was a newborn baby, yet, I do not want to go far back into the past, I just miss those days when I did not need to worry about things, when no reality and no pressure really existed.
Where is this courage from? We need each other, we share our feelings, we seek for solace and we aim to resist the pressure encountered in our life. Injury, healing, calming down, injury again and healing again‌ A constant cycle is present in our lives at all the times. How to go through it? Listening to an old song recalls the memories of the old times, which temporarily cuts through time and space. There is a video on Youtube of a cat, which looks like a tiger, playing in a big box. Super cute! For a moment it makes you forget the dark
side of people and reminds you of the pureness of animals. One article on Facebook might bring together the like-minded strangers into a very close and yet a very safe zone. The mutual absorptions of these strangers build selfidentity. Using Facebook, Youtube and Google is the quickest and the easiest way to search for things that would make you laugh heartily, to look for voices of healing, videos or pictures. We all rely on a moment of pleasure. Most likely, this brief moment is stacked with courage and faith. The more negative environment is, the more presence of faith it requires. Only faith helps us move farther ahead. Is the heavenly Rainbow Rain village a legend, a utopian or imaginary place? Do you still have courage to believe that it exists?
I believe, because I also need it! You can often find the same white piece of paper in your imagination. This is how you can feel the beauty of the colors. Rainbow Rain village is a place filled with fragments of happiness. My beautiful garden also is my exit. Rain is like the baptism given to us by the earth. Rain in the Rainbow Rain village is even more special. Every time when it rains it brings us the original appearance and we can dress again as we desire. The Malayan tapir is a new member in the village; therefore it only has few colorful highlights.
Rainbow Rain Vllage
9
The lion and the tiger are the most active partners in the Rainbow Rain village. They like to keep the colorful rainbow rain all for themselves. The little turtle likes the stones the most and it grows colorful plants on its back! White color is still polar bear’s most favorite, for this reason it only keeps the color on its nose. People in the Rainbow Rain village are most afraid of losing. They constantly alert themselves to retain the white color of their body, but they follow the animals with humbleness and try to learn how to imitate the ecology of earth. I would like to invite you to visit Rainbow Rain village where you can safely relax, put aside the adultness, lay aside from the outside world and go back to that moment of your childhood when you shout out “It is so cute!” Imagine this rainbow rain turning this world into a place made out of candies; imagine this rainbow rain cleaning the polluted air; imagine this rainbow rain making all of us as beautiful as the rainbow. I like that “paper” is something earthy and thick. The works on display are very direct and easy to understand. Paper pulp conveys something simple, beautiful and touching.
“The Rainbow Rain village will be here as long as you believe in it.”
Rainbow Rain Vllage
11
作品
Artworks
13
紙漿、壓克力顏料、鐵網、不鏽鋼骨架
彩虹雨村落的馬來貘
Malayan Tapir in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel
68×144×49cm 2016
15
紙漿、壓克力顏料、鐵網
彩虹雨村落的尾巴花
紙漿、壓克力顏料、鐵網、不鏽鋼骨架
彩虹雨村落的獅子
Tail Flower in Rainbow Rain Village
Paper pulp, acrylic, iron wire
59×85×58cm 2016
Lion in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel
131×185×67cm 2016
17
紙漿、壓克力顏料、鐵網、不鏽鋼骨架
彩虹雨村落的老虎
Tiger in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel
103×174×71cm 2016
19
紙漿、壓克力顏料、鐵網、不鏽鋼骨架
彩虹雨村落的小豹與小女孩
Small Leopard and Little Girl in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel
117×115×60cm 2016
21
紙漿、壓克力顏料、鐵網、不鏽鋼骨架
彩虹雨村落的鱷魚
Crocodile in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel
85×287×70cm 2016
23
紙漿、壓克力顏料、鐵網
彩虹雨村落的浣熊
Raccoon in Rainbow Rain Village Paper pulp, acrylic, iron wire
46×100×40cm 2016
25
紙漿、壓克力顏料、鐵網、不鏽鋼骨架、錄像
彩虹雨村落的北極熊
Polar Bear in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel, video
115×158×70cm 2016
27
紙漿、壓克力顏料、鐵網
彩虹雨村落的食蟻獸
Anteater in Rainbow Rain Village Paper pulp, acrylic, iron wire
60×129×50cm 2016
29
紙漿、壓克力顏料、鐵網、不鏽鋼骨架
彩虹雨村落的長頸鹿
Giraffe in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel
315×231×75cm 2016
31
Paper pulp, acrylic, iron wire
紙漿、壓克力顏料、鐵網
彩虹雨村落的小女孩
Little Girl in Rainbow Rain Village
68×130×50cm 2016
33
紙漿、壓克力顏料、鐵網
彩虹雨村落的小男孩
紙漿、壓克力顏料、鐵網
彩虹雨村落的狐獴們
75×107×84cm
71×23×19cm
Meerkats in Rainbow Rain Village Paper pulp, acrylic, iron wire
2015-2016
Little Boy in Rainbow Rain Village
Paper pulp, acrylic, iron wire
2015
35
紙漿、壓克力顏料、鐵網、不鏽鋼骨架、毛布
彩虹雨村落的貓頭鷹
Owl in Rainbow Rain Village
Paper pulp, acrylic, iron wire, stainless steel, artificial fur
55×56×35cm 2016
37
紙漿、壓克力顏料、鐵網、不鏽鋼骨架、毛布
彩虹雨村落的樹懶
Sloth in Rainbow Rain Village
Paper pulp, acrylic, iron wire, stainless steel, artificial fur
140×85×50cm 2016
39
紙漿、染料、壓克力顏料、鐵網、不鏽鋼骨架、毛布
彩虹雨村落的鳥兒們
I
Birds in Rainbow Rain Village I
Paper pulp, dyestuff, acrylic, iron wire, stainless steel, artificial fur
51×180×34cm 2016
55×130×26cm 2016
Birds in Rainbow Rain Village II
Paper pulp, dyestuff, acrylic, iron wire, stainless steel, artificial fur
III
紙漿、染料、壓克力顏料、鐵網、不鏽鋼骨架、毛布
Paper pulp, dyestuff, acrylic, iron wire, stainless steel, artificial fur
彩虹雨村落的鳥兒們
Birds in Rainbow Rain Village III
紙漿、染料、壓克力顏料、鐵網、不鏽鋼骨架、毛布
彩虹雨村落的鳥兒們
II
35×122×29cm 2016
41
43
紙漿、壓克力顏料、鐵網、不鏽鋼骨架
彩虹雨村落的松鼠
Squirrel in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel
55×89×89cm 2016
45
紙漿、壓克力顏料、鐵網
彩虹雨村落的烏龜與石頭
25×26×19cm
10×11×18cm
20×18×14cm
Turtle and Stones in Rainbow Rain Village Paper pulp, acrylic, iron wire
31×50×34cm
2016
47
紙漿、壓克力顏料、鐵網
彩虹雨村落的奇異鳥
Kiwi Bird in Rainbow Rain Village Paper pulp, acrylic, iron wire
25×25×20cm 2016
49
紙漿、壓克力顏料、鐵網、不鏽鋼骨架
彩虹雨村落的飛鼠
Flying Squirrel in Rainbow Rain Village Paper pulp, acrylic, iron wire, stainless steel
20×100×72cm 2016
51
紙漿、壓克力顏料、不鏽鋼背板
謝謝你出現在我生命中
紙漿、壓克力顏料、不鏽鋼背板
謝謝你出現在我生命中
I
II
Thank You for Being in My Life I Paper pulp, acrylic, stainless steel
50×40×4.5cm 2016
Thank You for Being in My Life II Paper pulp, acrylic, stainless steel
46×45×4cm 2016
53
55
57
59
61
文章
Articles
63
下雨了給潔莘
潔莘，我的小女兒， 一個心裡充滿愛的和平宣揚者。
蔡根
藝術家蔡潔莘的父親
文
在她八歲時我們遷到三芝，水源國小是一個小而美的學校，她在 那快樂地成長。小學四年級時說要去參加寫生比賽，當時我完全 沒意識她喜歡畫畫，得了獎回來，隔年又是。之後她提出想讀美 術班，就這樣一路國中、高中、大學、研究所都在自己的意志下， 選擇學校學習美術。
大學時考上了我所任教的學校，升三年級需要選組別，她說要選 雕塑組，那一刻，心中的震撼至今仍不能忘。當天下午心裡一直 問為什麼？為什麼？
我大學聯考時是考上繪畫組，但發現了自己的特質後，轉科就讀 雕塑組。雕塑它是一個較不令人了解或接受的創作形式，尤其是 在華人的社會，一直被認為是白工之一，尤其它是大量勞力活動 又需要較大空間的工作室。我二十多年來的創作，一路走來辛苦， 當然不希望女兒步入我後塵，然而她也作了同樣選擇。
兒時在我的工作室撿零碎材料玩耍的小女孩，不知不覺地迷上了 手做的創造魅力。她小時候在我的工作室隨手玩的作品，至今有 些還留著，為數不少的陶捏小作品都還在家裡陳列櫃中。在她日 後的訴說中有一件事特別具有意義。我任教初期，假日去學校工
作會帶全家一起去，當時有位老師的助手在工作棚研磨石雕，潔 莘很好奇撿起地上碎石片，也模仿起來。她回憶說，在那一刻開 始想做一個雕塑家。而這位助手後來在家中看到女兒的陶土作品， 受了感動也興起做土材質的念頭，並到德國留學，選擇以土材質 做創作。
研究所潔莘選擇就讀國立台南藝術大學造形藝術研究所，與家的 距離拉開後，發現了創作的想法和以往有所不同，忽然意識到她 的學習和創作，一直和我有某種關連，開始想去釐清藝術與她和 我之間的糾結。三年後的碩士論文她以《給爸爸和我》作為論題； 這也是我從未想像在她創作中，我的角色對她產生那麼大的影響。 從父親轉為藝術家再來又是老師，三種的角色，在她開展生命的 學習中有著錯綜複雜的關係。
每一個創作者都在找自己創作的原點，潔莘出生在我家，這是她 生命的原點。藝術並不是我教導的重心；家庭的和諧關係，人和 人之間的尊重與包容，這才是我想給孩子們的。兩個女兒成長中 有不同的境遇；至於我一個父親的角色，永遠尊重孩子的選擇， 透過接近藝術而開啟心靈，全家國外旅行，認識差異，藉由讓她 們參與我和學生的互動與交流，了解創作與生活的關係。我以家 庭為重，多年來仍堅持晚上不進工作室，即使工作室就在家隔壁。 作為父親，永遠尊重孩子的選擇，相信她們會透過生命歷練走出 自己的人生。
下雨了
65
潔莘在十多年前作了和我同樣的選擇，而今日我很驕傲，因她走出 了自己的路，開創出個人的特色，用雕塑的語彙來述說她的故事。
潔莘從大學就以彩虹作為她創作中重要元素。彩虹是自然現象， 彩虹是一個和諧的色彩關係，彩虹出現在雨後的天晴；彩虹的存 在是必然的，在一些條件俱足時，它就會出現。彩虹的背後可能 有不和諧，可能有混亂的前序，然而它是一個結果，在什麼什麼 之後，或許也是類似童話故事的結局，這就是她想說的。
從小她和姊姊都喜歡動物，相較於人，動物單純多了；動物的造 形比人美，動物也成了她造形的主角。人與動物的社群，雖都有 爭奪，但動物界中的爭奪，是純粹為生存，屬於食物鏈關係；人 類的爭奪就不只如此，除了食物的爭奪之外，還有理念、信仰、 種族、文化不同而形成的對立、互不相容，甚至導致戰爭，相對 於人類的相處，動物是和諧的。在彩虹雨村落的成員，牠們都信 守同樣的理念，當天降甘霖時，沒有任何成員是除外的，大家共 同分享，沒有爭奪，沒有分配的多寡，平和的、自然的。我的小 女兒，潔莘就像一個小泰山會帶領著一群動物衝向一個空曠地， 抬起頭，一起迎接彩虹雨的洗禮，一次又一次……。
最後一段話是我多年前寫下來的，如今我送給同樣在創作路上的 女兒，及其他的創作者：
喔 ! 下雨了，潔莘不要忘了帶領妳的動物們再次地受洗 !
下雨了
67
It's Raining For Chieh-Hsin
by
Tsai Ken Artist Tsai Chieh-Hsin’s father
Chieh-Hsin, my little daughter, a peace preacher with a heart full of love. When she was eight years old we moved to Sanzhi. Shuiyuan Elementary School was a lovely little school, where she grew up happily. When she was in her fourth year of elementary school, she said she wanted to enter a nature-drawing contest. At that time I had no idea that she liked to draw, but she won a prize and brought it back, and then did the same the following year. Afterwards, she mentioned that she wanted to study art. And that's the way things went, all the way from junior high school, high school, university, and on to research institute, all at her own will, choosing the schools she wanted to study art at. When the time came for university, she was admitted to the school I teach at. In her third year, she had to select a study group. She said she had chosen the Sculpture Group. I can still remember the joy I felt in my heart at that moment. That afternoon, I kept asking myself why? Why? When I took my university entrance exam I was admitted to the Painting Group, but after discovering my own special qualities, I transferred to the Sculpture Group. Sculpture is a less easily understood or accepted creative form, especially in Chinese society, where it has always been regarded as one of the pointless and unrewarding fields of creative work, particularly as it is a labor-intensive activity and requires a studio with plenty of space available. My past twenty-plus years of creative life had been a hardship all the way; naturally, I did not want my daughter to follow in my footsteps. But she also made the same choice. The little girl, who in childhood would pick up bits and pieces of material to play with in my studio, unwittingly fell under the spell of hand-made creative work. I still
have some of the works she inattentively played with as a child in my studio, and a large number of her little ceramic sculpture works are still showcased in our home. There was one thing of particular significance in her subsequent story. Early in my teaching career, when going to work meetings at school on holidays, I would take the whole family. At that time there was a teaching assistant in the workshop grinding stone. Curious, Chieh-Hsin picked some stone fragments off the floor, and used them imitate the assistant's sculpting work. She recalls that it was at that moment that she began wanting to be a sculptor. And when this assistant later saw my daughter's ceramic works at our home, he felt moved and was also inspired by the idea of doing clay modeling, and so went to study in Germany, selecting the subject of clay modeling creation. For her graduate studies, Chieh-Hsin chose to attend the Graduate Institute of Plastic Arts at the Tainan National University of the Arts. After some distance had opened up between her and our home, I discovered that there was some difference between her present creative ideas and those of the past. It suddenly came to me that there was some kind of a consistent connection between her learning and creative work, and myself. That's when I started to think about clearing up this entanglement between art, herself, and me. Her third year Master's thesis took "For My Dad and Me" as its topic. This was also something I had never imagined; that my role had produced such a big influence on her creative work. From father, to artist, and then on to teacher, these three roles had a complex and intricate relationship with her starting out on the learning of life. Every creator is searching for the starting point in their creation. ChiehHsin was born in my house; this was the starting point of her life. Art is not the core of what I teach. Harmonious family relations, respect and tolerance between people, these are what I want to give to my children. My
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two daughters grew up in different circumstances. As for my role as a father, I have always respected my children's choices. Through being close to art and so opening our minds, and through family trips overseas, we understand our differences. By allowing them to participate in the interactions and exchanges between myself and my students, they came to understand the relationship between creativity and life. I put family life first. For many years, I've insisted on not going into the studio at night, even though the studio is right next door to our home. As a father, I will always respect my children’s choices. I believe they will find their own ways through the practice and experience of life. The choice Chieh-Hsin made over ten years ago was the same as my own. And today I'm proud of that, because she set out on her own road, creating her own special personal qualities, using the vocabulary of sculpture to tell her story. Since her university days, rainbows have been important elements in Chieh-Hsin's creative work. The rainbow is a natural phenomenon, a harmonious relationship of color. Rainbows appear in the fine weather which comes after rain. The existence of rainbows is inevitable, when some conditions are present in sufficiency, they will appear. There may be discord behind the rainbow, there may be a prelude of disorder. Nevertheless, rainbows are a result, they appear after something or other..., perhaps they are also something like a fairy tale ending; this is what she wanted to say. Since childhood, she and her elder sister have liked animals. Compared to humans, animals are a lot simpler. The form of animals is more beautiful than that of humans. Animals also became the role for her forms. Although there is contention in both human and animal communities, contention in the animal kingdom is purely for survival, something that belongs to the food chain relationship. Human contention is not limited to that. In addition to contention over food, there is also contention over differences and mutual incompatibilities in philosophy, religion, race, and culture, which can even lead to war. Comparing them to humans in terms
of getting along with each other, animals are more harmonious. Members of the rainbow rain village all hold the same philosophy. When the heavens yield their rewards, no members are excluded, everybody shares in them together, there's no contention, no amounts to be assigned, it's peaceful, and natural. My little daughter, Chieh-Hsin, was just like a little Tarzan leading a group of animals toward a clearing, whereupon, looking up, together they would welcome the baptism of rainbow rain, again and again... The last paragraph was something I wrote down many years ago. Now I'd like to give it to the daughter who is also on the creative road, and to other creators as well: From the moment we are born, we cry because we know we have to face the world alone, face the starting point of loneliness. In childhood your sense of loneliness is not strong. Gradually, as you grow up and reach adulthood, you find the people who understand you are fewer and fewer, even though the people around you still love you. This is also the reason why we want to use some sort of expression, to win other people's understanding of you. Creative work is precisely that kind of behavior. But even as you're doing it, you still doubt it, or you want to earn more understanding from people. Clearly, all this is a futile waste of effort. Ultimately, you still face your own monologue on your creative works, because they're difficult for others to fully understand. But you slowly come to realize that although you are still alone, this hundred years of loneliness is also the most exquisite part of the creative process. You should make the most of it! Oh! It's raining. Chieh-Hsin, don't forget to lead your animals to their baptisms again!
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沉浸式挫敗後 的烏托邦
「彩虹」因為總是出現在雨後，是雨後在天空中拉出的光，它「開 展自身」，以光譜的面容給人一種生動而包容的感動。它是一種 飽滿明亮和彩色的水光，映照著剛剛洗刷過的天空，因此，它以 其自然的天賦而獲得縈繞我們記憶的詩性。然而，蔡潔莘卻嘗試 順著彩虹的詩性給出一種弔詭的意象：彩虹雨。「彩虹雨」揉合 原本自然現象中被先後排列的「雨」（陰鬱）與「彩虹」（美麗）
黃建宏
國立臺北藝術大學美術學院副教授
文
兩種元素，改變了原本人類「雨後彩虹」的修辭順序，讓雨後的 彩虹成為改變「雨」的喻意要素：讓「雨」成為形塑未來的動詞。
雨的陰鬱於是在彩虹雨的想像中轉換了角色，成為將色彩帶給動 物、聚落、世界的行動者。如此將簡單的普通修辭，轉化成一個 烏托邦，我們或許再不能如此簡單地將它解釋為一種「療癒」或 「可愛」，而且，甚至可以說我們應該好好地思考這樣的轉化指 涉著甚麼樣的「心智圖像」？在蔡潔莘的創作中，首先看到的不 是任何議題的提示或形式的宣稱，而是一種虛擬的環境；這個環 境以及存在於環境中的生命，隱含著某種「創傷」，或更準確地 說，整個展出的創作就是為了提出「跨越創傷」的假設。
「創傷」一直是我們生命中必要面對的重要問題，因為那是事件 對於個體內在紋理的銘刻。這種因為遠超過個體經驗與心理承受 極限的外在衝擊所引發的內在變化，意味著該事件同自身原有價 值觀與理解之間產生劇烈衝突，也就是「傷害」就出自於自身所 信任之價值與觀點無法承受否定性的打擊，進而觸發某種強迫性 情感，而進入某種短暫或長期的心理機制循環。過往的精神分析
或心理學常主張這種「創傷」有其根源，即「事件」，但其實我 們今天面對的卻是一種「沉浸式」的挫敗感，換言之，今天的創 傷並非特定事件造成，而是漸次生成、高密度且覆蓋面廣的創傷； 況且，各種引發壓抑或受挫的原因之間，又可能在「無事件」的 狀況下彼此交織、積累、疊合。事實上，這種沉浸式的挫敗感已 經不是特例個案，而是一種極為普遍的社會與文化事實。
此外，在台灣當代藝術的發展中，由於對藝術菁英或專業教學的 追求與側重，我們似乎一方面將藝術家、藝術教育者或工作者視 為競爭中的優勢者或健康者，所以，對他們來說「創傷」可以作 為一種有距離的再現主題，卻又盡可能不要直接影響創作工作的 狀態。另一方面則藉著全球當代藝術極盡所能擴張以「世界」作 為思考尺度的問題意識，而不斷將創傷的情感外部化到各種歷史 脈絡與社會現象。簡言之，在今天全球經濟衰退與全球文化競爭 下，台灣藝術工作者有一種消抹「自身」或移開「自身」的狀態， 也因此往往沉浸在全球當代藝術的現代性之中，沉浸在一種無所 不在的挫敗感裡。
面對這種沉浸式的挫敗現象時，蔡潔莘默默地思考她與這世界之 間、與這世界中的人之間的關係，換言之，她所形塑的物件與展 覽，首先必須觀察到她營造的某種「返回世界」的姿態；然而， 一次次的「返回世界」都是為了開啟新的世界。在這一次展覽所 營造的世界中，「人」的形體僅僅作為附屬的存在，其中最為強 烈的或許就是入口處的「傘」。相對地，沐浴在彩虹雨底下的是
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一群動物。在此的動物，首先就作為對「人」的某種否定性判斷 而存在，但藝術家嘗試以這否定性擴張出一個烏托邦；事實上， 在彩虹雨底下，所有的動物都是為了映射出彩虹雨的存在而被想 像出來，而相對地彩虹雨的顏色附著性讓一個烏托邦的世界顯現 出來。更進一步去想，烏托邦中現身的動物彷如純淨幽靈的存在， 那是一齣為了逃離「人」同時又捨不得「人」消失，而以動物取 代其在場的寓言故事。
展場中唯一以現實狀態出現的是位於展場底的兩個鏡框中的圖 像，一是藝術家的外婆，另一是她的貓，無疑地，他們就像是展 覽的出口，同時又是生成烏托邦的原因所在。我們甚至可以大膽 地說，藝術家藉由他們而創造出的是「彩虹雨」，而不是動物， 動物在根本上是帶有對人的否定意味的，而彩虹雨不將動物帶回 人身上，而是帶往一個未來的「自身」。
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An Immersive Utopia After Defeats by
Huang Chien-Hung Associate Professor, School of Fine Arts at the Taipei National University of the Arts
The title “Rainbow” is named because rainbow is always present after the rain, and it is the light that comes out in the sky. It “opens itself up” while its look gives a vibrant and yet touching sensation. It is a watery light filled with brightness and colors, shinning upon a just washed clear sky. Therefore, by its innate inherency, it can access the poetic side in our lingering memories. However, Tsai Chieh-Hsin attempts to give a paradoxical image by following the poetics of rainbows: rainbow rain. “Rainbow Rain” combines two elements that are original phenomena found in nature and put in order, namely “rain”(gloomy) and “rainbow” (beautiful), and she changes the order of the initial rhetoric “rainbow after rain” so that the idea of rainbow after rain becomes a metaphorical element for the changes of “rain” as well as allows the concept of “rain” to turn into a verb that has the ability to shape the future. Hence the gloomy rain shifts its role inside the imagination of Rainbow Rain and grows into a character resembling a trailblazer and the bringer of colors for the world of both animals and people. Looking at this simple and common rhetoric transformed into an idea of utopia, we may no longer be able to think so simple as to interpret it like one kind of “healing” or simply “cuteness.” Can one even go further to say that we should think about what kind of “mental image” such a transformation is referring to? In the artworks of Tsai Chieh-Hsin, we do not see any suggestion of topics or any claim of certain forms but only a virtual environment; there implies some kind of “trauma” and other life forms existing in such environment. Or, more precisely speaking, the intention of this whole exhibition is to propose the hypothesis of “going beyond the trauma.” “Trauma” has been an important issue in our lives that we need to face, because the specific event is the inner trace that’s engraved inside each individual. Such internal changes, caused by the external shocks far beyond the individual experiences and psychological limits of tolerance, mean that the specific happening produces a dramatic conflict between one’s own original values and understanding of it. This
signifies that the “trauma” comes from the unaccepted negative blow in trusting in one’s own values and point of views, which triggers some kind of forced emotional response, then enters into some kind of short-term or long-term cycles of psychological mechanism. In the past, psychoanalysis or psychology often advocated the idea that this kind of “trauma” has its own roots, which is the “event” itself, but in fact what we are facing today is a kind of “immersive” feeling of defeats and frustrations. In other words, nowadays the wound is not caused by a specific event, but by gradually generating a wide range of traumas in a matter of high density; moreover, between repressions or frustrations caused by a variety of reasons, the traumatic feelings may be intertwined, accumulated and overlapped under situations of “non-event”. In fact, this kind of immersive feeling of defeats is already not a rare case, but a very common social and cultural fact. Additionally, on the one hand, due to the pursuit and emphasis on developing artistic elites or professional teachers in the evolution of contemporary art in Taiwan, we seem to regard artists, art educators or workers as the better or healthier ones in the midst of competitiveness. Therefore, to the Taiwanese artists, “trauma” can be a kind of reappearing theme dealt from a distance while trying their best not to allow it affect directly the mental state of creative works. On the other hand, by ways of being in the global contemporary art scene, this concept can assist in expanding awareness to help questioning our thinking scales as well as let it continuously externalize the emotional aspect in different traumas, extending the concept to various historical contexts and social phenomena. In short, these days under the conditions of global recessions and worldwide cultural competitions, Taiwanese artists have a kind of tendency to erase or remove the idea of “self ”, thus often immerse themselves in the modernity of the global contemporary art scene, drenched in an ubiquitous feeling of defeats.
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When facing this immersive and frustrated phenomenon, Tsai Chieh-Hsin ponders quietly the relationships between her and this world as well as that between people. In other words, for the objects and the exhibition she has made, we must first observe “returning to the world” attitude which she created; however, the intention of repeatedly “returning to the world” is to open a new world. Among the world created in this exhibition, the bodies of “humans” are only used as the secondary presence, and the strongest existence is perhaps the “umbrella” at the entrance. Conversely, bathed beneath the rainbow rain is a group of animals. The animals here exist in the first place because of negative judgment of the idea of “humans”, but the artist attempts to expand this negativity into an idea of utopia; as a matter of fact, beneath the rainbow rain, all animals are imagined to being for the sake of reflecting the existence of the rainbow rain, and relatively the metaphoric colors of the rainbow rain allows an utopian world to reveal itself. Moreover, the animals appearing in the utopia are just like the presence of pure spirits; this is a fable where the artist portrays the desire to escape from “humans” but at the same time she is reluctant to see the disappearance of “humans”, thus uses animals to replace the presence of humans. The only realistic things found in the exhibition are the two photos inside the mirror frames. One is the grandmother of the artist and the other is her cat. Without a doubt, they are like an exit for the exhibition while act as the very reason that the utopia exists. We can even venture to say that, by ways of depicting them, what the artist creates is the “rainbow rain” and not the animals. Because the term “animals” carries fundamentally a negative connotation in humans, and rainbow rain does not bring this negative notion of animals back to people, but taking it to a future “self.”
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簡歷
Biography
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蔡潔莘 Tsai Chieh-Hsin b.1982
蔡潔莘 2010 年畢業於國立臺南藝術大學造形藝術研究所（MFA）， 擅長以紙漿雕塑傳遞樸實、溫潤的情感，注重當代快速繁忙的生 活基調底下，人與人之間的情感交流。相較一般雕塑常見的石材 與銅雕，蔡潔莘選擇了更具溫度與柔軟的紙漿作為創作媒材。她 關注人類獨有的情緒表達方式，以紙漿捏塑牽手、微笑等肢體動 作，傳遞存在你我生命中幻化無形的感知。蔡潔莘曾榮獲 2009 富 邦藝術基金會粉樂町藝術大使，第三屆與第五屆桃源創作獎、雕 刻五．七．五金獎、與港區立體新貌獎。
Graduating from the Graduate Institute of Plastic Arts at the Tainan National University of the Arts in 2010, Tsai Chieh-Hsin is best known for her pulp sculptures that express the warm and sincere emotions communicated through the interpersonal relationship instead of the rapid pace of life. Instead of the more common materials in sculpture art such as stone or copper, Tsai Chieh-Hsin chooses pulp for its warmer and softer quality. She is particularly interested in the expressions of emotions that are human-exclusive, using pulp to create gestures such as smile or holding hands to deliver the invisible feelings existing in our lives. Tsai Chieh-Hsin has been selected by Fubon Art Foundation’s Very Fun Park as the Art Ambassador in 2009, received the Third and the Fifth Taoyuan Contemporary Art Awards, the Gold Prize of HAIKU for sculpture, and the Newly Emerging Artists Award.
200×130×60cm
115×35×40cm
Forest Family I, II, III
紙漿、染料、水泥、不鏽鋼骨架
森林家族
I II III
195×80×50cm
2014
Paper pulp, dyestuff, cement, stainless steel
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學歷 2010
國立台南藝術大學造形藝術研究所，台南，台灣
2006
國立台北藝術大學美術學系，台北，台灣
個展 2016
「彩虹雨村落」，尊彩藝術中心，台北，台灣
2007
「超馬戲團」，新樂園藝術空間，台北，台灣
2005
「很高興在這裡遇到你」，南北畫廊，台北，台灣
聯展 2016
「親親 我的愛－藝術家聯展」，尊彩藝術中心，台北，台灣
2015
「天津泰達藝術季」，泰達 MSD 園區，天津，中國 「是彩虹雨嗎？」，松菸文化園區－台灣大哥大，台北，台灣 「我的，後花園」，國立清華大學，新竹，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 「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 「有機感知－自然材質表現藝術展」，九九峰生態藝術園區，南投，台灣 「台灣美術散步道： 1927-2014 」，尊彩藝術中心，台北，台灣 「 2014 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「蘋果核－當代藝術展」，尊彩藝術中心，台北，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 「台北地球日：抱抱地球」，國立台灣博物館，台北，台灣 「想像一個美好的未來」，尊彩藝術中心，台北，台灣 「親親我的寶貝－愛的禮物藝術創作義賣活動」，尊彩藝術中心，台北，台灣
2013
「台大粉樂町－時代的眼睛：與當代藝術對話」，國立台灣大學藝文中心、富邦藝術基金會，台北，台灣 「粉樂町－和諧」，富邦大樓，台北，台灣 「崎山 × 關渡 台日雕塑交流展」，也趣藝廊，台北，台灣 「從 0 開始∞無限大的小」，形而上畫廊，台北，台灣
2012
「在磨光的黃銅裡照一照曠野和天空—徐睿志、謝怡如、蔡潔莘、林慧姮 四人展」，藝境畫廊，台北，台灣 「 Peace and War 」， Haslla Art World ，江陵，韓國 「種子．集」，南海學院、牯嶺街區，台北，台灣
2011
「民生主義 民民好所在」，民生社區創意街區，台北，台灣 「台北百年－光陰的故事」，台北市藝文推廣處，台北，台灣 作品提供鈕承澤電影「 Love 」拍攝，台北，台灣
2010
「笑 CC 」，紅樓藝術空間，台北，台灣 「 Very Fun Park 」，國立政治大學，台北，台灣
2009
「 S-Homo 」， K's Art ，台南，台灣 「粉樂町－ 10:10 笑率效率」，富邦大樓，台北，台灣
2008
「慾火鳳凰或者愛」，台南藝術大學，台南，台灣 「青年藝術家博覽會」，首爾，韓國
2007
「我媽雙魚」，台南大學慶中街藝術特區，台南，台灣 「輕飄飄低調調」，台南藝術大學，台南，台灣 「 3L4D 動漫展」，國父紀念館，台北，台灣 「雕刻的五七五」，沖繩藝術大學，那霸，日本
2006
「關嬉公園」，國立台北藝術大學，台北，台灣 「 2006 藝術家博覽會」，華山藝文特區，台北，台灣
85
「一 一」，國立台南藝術大學，台南，台灣
2005
「不向畫」，關渡藝文中心，台北，台灣
2004
「秋季發表」，國立台北藝術大學，台北，台灣
公共藝術 2015
《花，飛花》，三芝櫻花水車公園，新北市，台灣
2014
《快樂泉源》，礁溪鄉水景廣場，宜蘭，台灣
2014
《藷一藷二》，金山區區民休閒運動廣場，新北市，台灣
2013
《打開“藝”想世界》，國立台北教育大學附設國民小學，台北，台灣
獲獎 2007
港區立體新貌獎，入選，台灣 「雕刻的五七五」，金獎，台灣 第五屆桃源創作獎，入選，台灣
2005
第三屆桃源創作獎，優選，台灣
典藏 2006
《手牽手》，國立台灣美術館，台中，台灣
Education 2010
MFA, Tainan National University of the Arts, Tainan, Taiwan
2006
BFA, Taipei National University of the Arts, Taipei, Taiwan
Solo Exhibitions 2016
“Rainbow Rain Village”, Liang Gallery, Taipei, Taiwan
2007
“Super Circus”, Shin Leh Yuan Art Space, Taipei, Taiwan
2005
“Nice to Meet You Here”, Nan-Pei Gallery, Taipei, Taiwan
Group Exhibitions 2016
“Dear Dear – Group Exhibition”, Liang Gallery, Taipei, Taiwan
2015
“Tianjin TEDA Festival of the Arts”, TEDA Modern Service District, Tianjin, China
“Rainbow Rain?”, Songshan Cultural and Creative Park – Taiwan Mobile, Taipei, Taiwan
“My Backyard”, National Tsing Hua University, Hsinchu, Taiwan
“Art in the Library II – Summer Festival Exhibition”, Liang Gallery, Taipei, Taiwan
“Art Taichung 2015”, Millennium Hotels, Taichung, Taiwan
“Freshness of March”, Liang Gallery, Taipei, Taiwan
2014
“Art Kaohsiung 2014”, Chateau de Chine, Kaohsiung, Taiwan
“Sensing Nature – An Organic Expressionism Exhibition”, Jiujiu Peaks Ecology and Art Park
“Walking by Taiwanese Art: 1927-2014”, Liang Gallery, Taipei, Taiwan
“Art Taipei 2014”, Taipei World Trade Center, Taipei, Taiwan
“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan
87
“Young Art Taipei 2014”, Regent Taipei, Taipei, Taiwan
“Art Tainan 2014”, Tayih Landis, Tainan, Taiwan
“Earth Day – Hug the Earth”, National Taiwan Museum, Taipei, Taiwan
“Dream of a Better Tomorrow”, Liang Gallery, Taipei, Taiwan
“Kiss Kiss My Baby Charity Event”, Liang Gallery, Taipei, Taiwan
2013
“Very Fun Park – Eyes of the Times: Dialogue with Contemporary Art”, National Taiwan University Arts Center, Fubon Art Foundation, Taipei, Taiwan
“Very Fun Park – Harmony”, Fubon Building, Taipei, Taiwan
“Sakiyama × Guandu Taiwan – Japan Sculpture Exhibition”, AKI Gallery, Taipei, Taiwan
“Start from Zero – Small With Infinity Large”, Metaphysical Art Gallery, Taipei, Taiwan
2012
“Passing through the Endless Poetic Mind and Imagination: Group Exhibition by Ruei-Jr Shiu, Chieh-Hsin Tsai, Yi-Ju Hsieh, HuiHeng Lin”, Artdoor Gallery, Taipei, Taiwan
“Peace and War”, Haslla Art World, Gangneung, Korea
“Seed．Set”, Nanhai Campus, Guling Street, Taipei, Taiwan 2011
“People’s Livelihood”, Creative District of Minsheng Community, Taipei, Taiwan
“Taipei Centuries: In Our Time”, Taipei City Arts Promotion Office, Taipei, Taiwan
Participated in filming movie “Love”, Taipei, Taiwan
2010
“Laugh CC: Tour Blocks”, The Red House, Taipei, Taiwan
“Very Fun Park”, National Chengchi University, Taipei, Taiwan
2009
“S-Homo”, K’s Art, Tainan, Taiwan
“Very Fun Park – 10:10 Efficient Laughter”, Fubon Building, Taipei, Taiwan
2008
“Phoenix, or Love”, Tainan National University of the Arts, Tainan, Taiwan
“Young Artists Exhibition”, Seoul, Korea
2007
“My Mom Is a Pisces”, National University of Tainan Qing-Zhong Art Special Zone, Tainan, Taiwan
“Light Light Low Low”, Tainan National University of the Arts, Tainan, Taiwan
“3L4D Animation Exhibition”, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
“Sculptures of 575”, Okinawa University of the Arts, Naha, Japan
2006
“Guan C Park”, Taipei National University of the Arts, Taipei, Taiwan
“Artist Fair 2006”, Huashan Culture Park, Taipei, Taiwan
“ 一 一 ”, Tainan National University of the Arts, Tainan, Taiwan 2005
“Do Not Like Painting”, Kuandu Art Center, Taipei, Taiwan
2004
“Autumn Show”, Taipei National University of the Arts, Taipei, Taiwan
Public Art 2015
Flower, Flying Flower, Sanzhi Cherry Blossoms & Water Wheel Park, New Taipei City, Taiwan
2014
Fountain of Joy, Chiaohsi Fountain Plaza, Yilan, Taiwan
2014
One of the Best, Jinshan Residents’ Sports Center, New Taipei City, Taiwan
2013
Open the "Artistic" World, National Taipei University of Education Experimental Elementary School, Taipei, Taiwan
Awards 2007
Newly Emerging Artists in Taiwan 3D Creation Series, Selected, Taiwan
“Sculptures of 575”, Golden Prize, Taiwan
The 5th Taoyuan Creation Award, Selected, Taiwan
2005
The 3rd Taoyuan Creation Award, Selected, Taiwan
Collections 2006
Hand in Hand, National Taiwan Museum of Fine Arts, Taichung, Taiwan
89
圖錄
Catalog
91
彩虹雨村落的馬來貘
彩虹雨村落的獅子
彩虹雨村落的尾巴花
Malayan Tapir in Rainbow Rain Village
Lion in Rainbow Rain Village
Tail Flower in Rainbow Rain Village
紙漿、壓克力顏料、鐵網、不鏽鋼骨架 Paper pulp, acrylic, iron wire, stainless steel
紙漿、壓克力顏料、鐵網、不鏽鋼骨架 Paper pulp, acrylic, iron wire, stainless steel
紙漿、壓克力顏料、鐵網 Paper pulp, acrylic, iron wire
68×144×49cm 2016
131×185×67cm 2016
59×85×58cm 2016
P. 14
P. 16
P. 16
彩虹雨村落的老虎
彩虹雨村落的小豹與小女孩
彩虹雨村落的鱷魚
Tiger in Rainbow Rain Village
Small Leopard and Little Girl in Rainbow Rain Village
Crocodile in Rainbow Rain Village
紙漿、壓克力顏料、鐵網、不鏽鋼骨架 Paper pulp, acrylic, iron wire, stainless steel
紙漿、壓克力顏料、鐵網、不鏽鋼骨架 Paper pulp, acrylic, iron wire, stainless steel
紙漿、壓克力顏料、鐵網、不鏽鋼骨架 Paper pulp, acrylic, iron wire, stainless steel
103×174×71cm 2016
117×115×60cm 2016
85×287×70cm 2016
P. 18
P. 20
P. 22
彩虹雨村落的浣熊
彩虹雨村落的北極熊
彩虹雨村落的食蟻獸
Raccoon in Rainbow Rain Village
Polar Bear in Rainbow Rain Village
Anteater in Rainbow Rain Village
紙漿、壓克力顏料、鐵網 Paper pulp, acrylic, iron wire
紙漿、壓克力顏料、鐵網 Paper pulp, acrylic, iron wire
46×100×40cm 2016
紙漿、壓克力顏料、鐵網、不鏽鋼骨架、錄像 Paper pulp, acrylic, iron wire, stainless steel, video 115×158×70cm 2016
P. 24
P. 26
P. 28
60×129×50cm 2016
彩虹雨村落的長頸鹿
彩虹雨村落的小女孩
彩虹雨村落的狐獴們
Giraffe in Rainbow Rain Village
Little Girl in Rainbow Rain Village
Meerkats in Rainbow Rain Village
紙漿、壓克力顏料、鐵網、不鏽鋼骨架 Paper pulp, acrylic, iron wire, stainless steel
紙漿、壓克力顏料、鐵網 Paper pulp, acrylic, iron wire
315×231×75cm 2016
68×130×50cm 2016
紙漿、壓克力顏料、鐵網 Paper pulp, acrylic, iron wire 75×107×84cm
P. 30
P. 33
狐獴 ( 橘 )：51×35×25cm 狐獴 ( 綠 )：36×28×22cm 樹幹：75×107×80cm
2015-2016
P. 34
彩虹雨村落的小男孩
彩虹雨村落的貓頭鷹
彩虹雨村落的樹懶
Little Boy in Rainbow Rain Village
Owl in Rainbow Rain Village
Sloth in Rainbow Rain Village
紙漿、壓克力顏料、鐵網 Paper pulp, acrylic, iron wire
紙漿、壓克力顏料、鐵網、不鏽鋼骨架、毛布 Paper pulp, acrylic, iron wire, stainless steel, artificial fur
紙漿、壓克力顏料、鐵網、不鏽鋼骨架、毛布 Paper pulp, acrylic, iron wire, stainless steel, artificial fur
71×23×19cm 2015
55×56×35m 2016
140×85×50cm 2016
P. 34
P. 36
P. 38
彩虹雨村落的鳥兒們 I
彩虹雨村落的鳥兒們 II
彩虹雨村落的鳥兒們 III
Birds in Rainbow Rain Village I
Birds in Rainbow Rain Village II
Birds in Rainbow Rain Village III
紙漿、染料、壓克力顏料、鐵網、不鏽鋼骨架、毛布 Paper pulp, dyestuff, acrylic, iron wire, stainless steel, artificial fur
紙漿、染料、壓克力顏料、鐵網、不鏽鋼骨架、毛布 Paper pulp, dyestuff, acrylic, iron wire, stainless steel, artificial fur
紙漿、染料、壓克力顏料、鐵網、不鏽鋼骨架、毛布 Paper pulp, dyestuff, acrylic, iron wire, stainless steel, artificial fur
51×180×34cm 2016
35×122×29cm 2016
55×130×26cm 2016
P. 40
P. 41
P. 41
彩虹雨村落的松鼠
彩虹雨村落的烏龜與石頭
彩虹雨村落的奇異鳥
Squirrel in Rainbow Rain Village
Turtle and Stones in Rainbow Rain Village
Kiwi Bird in Rainbow Rain Village
紙漿、壓克力顏料、鐵網、不鏽鋼骨架 Paper pulp, acrylic, iron wire, stainless steel 55×89×89cm
紙漿、壓克力顏料、鐵網 Paper pulp, acrylic, iron wire
紙漿、壓克力顏料、鐵網 Paper pulp, acrylic, iron wire 25×25×20cm 2016
傘：55×89×65cm 松鼠：20×26×12cm 水灘：2×26×22cm
烏龜：31×50×34cm 石頭 ( 大 )：25×26×19cm 石頭 ( 中 )：20×18×14cm 石頭 ( 小 )：10×11×18cm
2016
2016
P. 44
P. 46
P. 48
彩虹雨村落的飛鼠
謝謝你出現在我生命中 I
謝謝你出現在我生命中 II
Flying Squirrel in Rainbow Rain Village
Thank You for Being in My Life I
Thank You for Being in My Life II
紙漿、壓克力顏料、鐵網、不鏽鋼骨架 Paper pulp, acrylic, iron wire, stainless steel
紙漿、壓克力顏料、不鏽鋼背板 Paper pulp, acrylic, stainless steel
紙漿、壓克力顏料、不鏽鋼背板 Paper pulp, acrylic, stainless steel
20×100×72cm 2016
50×40×4.5cm 2016
46×45×4cm 2016
P. 50
P. 52
P. 52
個 展
Solo Exhibition
發行人
Executive Director 總經理
Director 出版者
Yu Yen-Liang 陳菁螢
Claudia Chen
策劃設計
尊彩藝術中心
Liang Gallery Co., Ltd.
尊彩國際藝術有限公司
Rainbow Rain Village
978-986-92798-4-0
First Edition, June, 2016
年六月初版 2016
Jih-Tung Art Printing Co., Ltd.
日動藝術印刷有限公司
Liu Ming-Wei
劉銘維
Chu Chi-An , JD
朱祈安、黃嘉達
Liang Gallery
ISBN
Publishing Date
出版
Printing
印 刷
Designer
設 計
Photographer
攝影
Editor
Publisher
余彥良
TSAI Chieh-Hsin
蔡 潔 莘
2016
7.3 6.4