2
1
目
錄
4
序 文
余彥良
尊彩藝術中心 董事長
6
一座森林的完成 文
陳泓易 國立台南藝術大學 藝術創作理論研究所博士班副教授
圖 版
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創作自述
72
森林，詩意迴盪之所在 （也是寫給 U 的一封信）
74
文
張禮豪
藝評暨獨立策展人
2014-2016 歷年創作
79
簡 歷
105
圖 錄
112
2
CONTENTS
Preface by
5 YU Yen-Liang / President of Liang Gallery
Accomplishing a Forest by
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CHEN Horng-Yi / Associate Professor in the Doctoral Program in Art Creation and Theory, Tainan National University of the Arts
Artworks
15
Artist Statement
73
Forest, Where the Poetry Resonates (and a Short Letter to U)
76
by
CHANG Li-Hao / Art critic, independent curator
2014-2016 Past Works
79
Biography
105
Catalog
112
3
文
余彥良 尊彩藝術中心 董事長
最浪漫的事，是常郁的選擇，從巴黎到瑞士，從自己擁有的 東西中發現幸福，完全表露在她的作品當中。
我喜愛旋轉木馬，第一次認識常郁的作品，是在一場個展當 中，華麗木馬旋轉在一座清幽的森林裡，我像是個喜悅歡樂 的小孩，尋找著帶我飛翔的坐騎，想像祂能引導我奔向天際， 我手足舞蹈跟隨著畫面中美妙輕快的節奏，似乎找到了遺失 許久的花樣青春。正如香奈兒和史特拉汶斯基的再度相遇， 剎時間電光石火，碰撞出一段熾熱的相知相惜。我欣賞常郁 的才華，她說話的聲調很像綠森林中的小精靈，而雙手總會 伴隨著輕盈的色彩，施展在畫布中，淡雅卻神奇，偶而些許 如水晶般的音樂，會從溪畔或林間中流竄出來，餘音裊裊， 美不勝收。
達文西說：「我們在河裡接觸到的水，既是逝水的水尾，又 是來水的水頭；眼前的日子也是這樣。」作品畫面中經常讓 我想起這般情景，女孩邀請男孩說：「一起去玩吧？」這是 一幅怎樣的春天與青春美麗的畫卷啊！水潺潺而流，好像失 去，卻又湧現，原來我們必須將心調整到不被任何環境所迷 惑，正如煩惱像一江春水向東流，走就讓他走。所以直至近 期，畫作裡多了許多瑰麗的符號，像是在告訴你，心曾經所 獲得的，只是你的執著，去除表象中的所有美麗，才是讓心 無所得更無所要求，也正因為如此，你才能成為大自然的一 份子，從有為幻化成無為，不再執著任何成果，因為所在皆 是收穫。
再多的刺激也一定要讓心情平靜下來，我散步在常郁隨意營 造的符號裡，泰然自若且更能掌握自己的節奏，因此，我很 幸福，常郁也是。
4
Preface
序
PREFACE Written by
YU Yen-Liang President of Liang Gallery
The most romantic thing about Ursprung is her choices. She chose to live in Paris and Switzerland, and she even chose to find happiness in the things she possessed. All her choices reflect in her artworks. I relish carousels. The first time I came across Ursprung’s work was in one solo exhibition. I spotted a gorgeous wooden horse spinning in a quiet forest, and it made me feel like a little kid filled with joy and happiness, craving to mount on the horse and ride the carousel. I imagined the horse guiding me toward the sky, my hands and feet moved at a brisk pace as I looked at the painting. It seemed as I rediscovered the youth. It hit me like that spark between Coco Chanel and Igor Stravinsky when they met once again thus arousing a moment of mutual understanding and affection. I admire Ursprung’s talent, even the tone of her voice is like elf ’s living in a forest. When painting she always plays with light colors – elegant yet magical. Occasionally, crystal-like music flows out from a river or forest and lingers in the air. It is a great feast for the eyes. Leonardo da Vinci said: “In rivers, the water that you touch is the last of what has passed and the first of that which comes; so with present time.” The scenes in her works often remind me of a situation where a girl asks a boy: “Let’s play together?” What a beautiful picture of springtime and youth! Water murmuringly flows, it feels like a loss, but no, it is an emergence. We must adjust our hearts in order not to be puzzled by the environment. Just as the Spring River flows east, we should let go of our worries. Until recently, Ursprung has used many significant symbols in her paintings, as she was aiming to tell us that dedication is the most important among everything our heart had obtained. Only by eliminating the outer beauty a heart gains nothing and requires nothing. Because of this you can become a part of nature, conditioned can transform into unconditioned, and you no longer feel attached to the results, because everything is a reward to you. No matter how stimulated your heart is, you still must find a way to calm down. I enter the symbols she created so freely, and it brings me serenity, I can even master my pace. Therefore, I feel blessed, just as Ursprung is.
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Accomplishing a Forest 一座森林的完成
文
陳泓易
國 立台南藝術大學 藝 術創作理論研究所博 士 班 副 教 授
「一座森林的完成」的系列風景畫讓我們感覺藝術家許常
希望；結束九零年代野百合與轉型正義的瘋狂派對之後，進
郁已經走進另一座「森林」。許常郁的風景畫充滿了豐富
入新世紀的台灣，經濟成長就幾乎永遠只能緬懷過去。在新
的修辭層次，早期的風景畫某種程度受到新表現主義（Neo-
自由主義引發的產業代工模式化結果，微薄的經濟成長數據
expressionism）或者超前衛運動（Transavantgarde）的影響，從
事實上都嘉惠了海外工廠的勞動者，造成台灣經濟停滯，社
具體的造型到想像的風景，以及象徵圖像的運用，呈現了繪
會也慢慢失去動能，一整個世代的社會彷彿表面富足，卻看
畫的樂趣。然而作為一個在台灣、特別是成長於 2000 年之
不到可以期待的未來。勇敢的或者有夢想的人如許常郁，因
後的藝術家，許常郁既沒有德國表現主義傳統的歷史包袱，
此決定出走，去尋找屬於她自己的派對。
也沒有義大利的社會與藝術史框架，因此這個表現形式讓她 發揮得更為自由，特別是自動性技法的運用使得她的作品甚
饗宴
至更為奔放。 首先她來到巴黎，而今天的巴黎似乎已經沒有當年海明威 我們經常認為藝術創作倘若不指向歷史，又不批判社會，那
（Ernest Hemingway，1899-1961）與亨利米勒（Henry Miller，
麼作品很容易就流於指涉自我。然而許常郁的作品卻又能獲
1891-1980）時代的饗宴了。今天的巴黎仿佛是一個舞台的布
得許多的共鳴，因為即使使用新表現主義語言，卻是一個沒
景尚未拆卸，然而派對卻已結束的場景，那些繁花似錦的絢
有社會運動內涵的新表現主義，毋寧說藝術家擷取新表現主
爛已有似乎些微萎靡的痕跡，交錯的多是捨不得離去的舞者
義的形式作為回到繪畫本質的一種表現與擇選！她的藝術語
或是慕名而來卻遲到的新進場者，彼此圍觀成一個麇集的彷
言與視覺意象彷彿指向主體內心，卻似乎是一整個世代的共
彿暫時駐足的漫遊者（Flâneurs）。沒有煙火，沒有香檳，音
同語言與集體情緒的某種搬演。七零年代台灣經濟充滿活
樂只剩殘響，更多的是虛幻的緬懷與時空錯落的意向性在場
力，然而政治動盪，衝擊中激發了本土化運動與民歌運動；
所自我滿足的幻想；然而巴黎還是給了她豐富的營養。接著
八零年代從抗爭到解嚴，社會流動性釋放，彷彿人人都充滿
她來到布列塔尼（Breizh），從坎培爾（Quimper）到菲尼斯
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一座森林的完成
泰爾（Finistère），輾轉回台灣，又到了瑞士。許常郁的經
現地生活，並且變成他方居民，而心中一直保存著像波特萊
常式的移居豐富了她的創作形式，卻同時也透露了一個藝術
爾（Charles Baudelaire，1821-1867）對城市厭倦的旅行（voyage）
家的特殊質地，從巴黎離開時，她選擇搬到菲尼斯泰爾，並
動機，或者韓波（Arthur Rimbaud，1854-1891）那種醉舟「Le
且稱自己是「「La flâneuse du Finistère」。位於布列塔尼的菲
Bateau Ivre」式迷幻麻醉的航行，一種交錯浪漫主義與象徵主
尼斯泰爾，字面上是土地盡頭的意思，此時的藝術家自稱是
義的形式表現，非常高更（Paul Gauguin，1848-1903），又充
土地盡頭的漫遊者，似乎潛意識中出走到他方是某種內心渴
滿魏爾倫（Paul Verlaine，1844-1896）式的隱喻，節奏疏散一
望，然而是否正如同文化研究學者的說法，在啟蒙的世界文
如德布西（Claude Debussy，1862-1918）的音樂，她將新表
本中，已經沒有真正的自然；在全球化的世界中，也已經沒
現主義的基礎內化成一種本能，品味形式上刻意滲透豐富
有真正的他方。藝術家的內心彷彿充斥著佛洛伊德（Sigmund
的象徵主義痕跡，某種韓波式的漫溢色彩與切分音節奏的
Freud，1856-1939）所說的「Das Unheimliche」情結，像是沒
詩的語言。
有家的心理狀態，一直在找尋那個永遠不在場的他方。更弔 詭的問題在於「Das Unheimliche」的主體並不單純是佛洛伊
森林
德的現代主義時期那一個「異化」（Alienation）的主體，因 為當今異化的是整個世界本身以及它的每一種系統操作；
森林是許常郁持續表現的主題，或許森林是她心中另一種饗
因此從台北到巴黎，巴黎到坎培爾，一直到菲尼斯泰爾，
宴的形式。許常郁說：「一直以來我專注的繪畫主題是風
彷彿只有到達一個象徵他方的極端之處所在，這個出走才
景， 尤 其 是 森 林 與 樹， 每 個 階 段 的 森 林 都 呼 應 著 我 當 時
能算成功。
的生活體驗。」然而她對森林的探尋歷經了幾個不同的階 段，從台灣到巴黎、布列塔尼，畢業後又回到台灣，在布列
許常郁把這個過程寫成一種如詩般的民族誌，她的出走不是
塔尼與台灣時期的森林創作比較像是把森林當成一個他者或
蒐集驗證景點的遊客行旅，而是真正親身參與觀察的在他方
者客體，如她說：「在這兩個階段的創作表現方式，都是以
7
1. Arthur Rimbaud, “Le Bateau Ivre,” 1871.
幻想的方式表現居多。」後來她又到了瑞士，感覺她這一次
她說：「抽象的噴漆線條、色塊或看似文字的密語感覺像是
真的是進入了森林，並且某種程度與森林互為主體。她說：
漂浮在油畫前面，彷彿森林裡漂浮在空氣中的蟲子、葉子、
「我希望這時期的風景接近中性，沒有太多的象徵、指涉或
光線或灰塵定格在畫面上。」噴漆有多重的意義，除了是反
隱喻。」原先從台灣帶著情緒，出走找尋夢想的青澀，到這
差的美學，又是畫面上彷彿文字的符號，也是她在森林中看
個階段開始變得成熟，回到本質、回到生活、回到繪畫、回
到的細膩深刻，甚至是深層的風景。在已經畫好的風景畫上
到真正的森林。
噴漆的行為，也讓我們了解藝術家的手勢和身體動作。一個 簡單自由而且快速的噴漆動作，能瞬間轉化由油彩筆觸緩慢
藝術家表述：「在瑞士的生活非常寧靜，我沒有太多的情緒，
堆疊出的風景氛圍。藝術家在這兩個不同的畫面介入中呈現
我有更多的感覺去融入自己生活的環境中，遵循自然規律，
某種精神分裂情境，卻讓潛藏的畫面訊息得以開顯。藝術家
回歸純樸，人和人的相處即是自然，『無為』是我嚮往的生
認為噴漆的動作不是破壞，而是某種完成的動作；它同時也
活方式，這也是我選擇畫風景的原因。」這種狀態之下，她
呈現了筆觸的形式，讓藝術家的多重自我並陳，讓風景完成。
能更自如地面對媒材和技法來研究繪畫的空間與視覺體驗， 並且用更直接的抽象線條方式呈現兩種空間產生的空氣感。
噴漆的遮蔽與開顯，讓已經內化的自動性技法現形，風景畫
繪畫的語言因而更為真實與趨近自然本質。
的視覺訊息在噴漆過程中並未崩解，只是由外顯轉向內蘊， 讓乘載身體與潛意識訊息的筆觸由內藏漂浮向表層，也轉化 與重建了新的視覺訊息。之前的森林風景在畫面上是安靜
噴漆
的，然而藝術家內心卻是躁動的。表面靜謐的森林是一個他 創作的形式語言更為充滿實驗性，因為在走入森林的過程，
者的森林。藝術家可能在火車上，在某個稍縱即逝的視覺遠
她「看到了人們以為他們似乎所見（Et j'ai vu quelquefois ce que
方或者他方，瞥過一座森林；彷彿安靜的森林，給了觀者一
l'homme a cru voir）」 的某些東西，她用噴漆來表現這種感覺，
個焦躁情緒的出口。她需要一個他者或是他方來作為一種慰
1
8
一座森林的完成
藉，從畫面看到的是藝術家的「詭異」，以及從這個情緒所
作為觀眾，你需要閱讀，需要聆聽，跟著藝術家的引領進入
衍伸的某種不適（Malaise），一種佛洛伊德所分析、因由文
那一座繁花似錦的森林。
明所產生的不滿無奈與萎靡。因為她看到的與她畫出來的只 是片面的森林，或是整個森林的零散片段。
然而這一次在油畫風景或者森林圖像噴漆的作品，畫面的張 力與視覺被強化了、被轉譯了。我們似乎跟著藝術家進入了 真正的森林，那個他者的角度所不可見的森林，藝術家進入 森林、融入森林，看到了真正充滿動能與熱鬧活力的森林， 這個森林已經不是哪個文明的反面或焦慮的出口，而是自然 的一種本質。藝術家原來壓抑隱藏的自然也因而活潑了起來； 作品更回到本質，回到自身，不再被形式拘束，不再以形式 遮蔽本質，不再以似是而非的心理分析語言佯裝作品的內在 層次，而是誠實地展現在森林之中所開顯的自然與自己。
筆觸的痕跡也綻放開來，首先是油畫的筆觸，接著是噴漆的 筆觸，交錯成一種二重奏的結構模式。噴漆讓森林不可見的 訊息被開顯出來，它既是敘事也是描述，那些過去片段的森 林在此形成了某種完成。心靈層次與畫面層次，從技法與概 念的學習到理想自處空間的尋找，到今天整座森林的完成，
9
Accomplishing a Forest ACCOMPLISHING A FOREST
Written by
CHEN Horng-Yi
Associate Professor in the Doctoral Program in Art Creation and Theory, Tainan National University of the Arts
Featuring a rich, multi-layered artistic vocabulary, the landscape series Accomplishing a Forest makes us feel that the artist Una Ursprung has already walked into another “forest.” In fact, her earlier landscapes are more or less influenced by Neo-expressionism and Transavantgarde, while its representational shapes, imaginary scenery, and symbolic images all reflect the pleasure of painting. However, as a Taiwanese artist growing up in the early 2000s, Ursprung never limits herself with the convention of German Expressionism or the Italian social and art history, and such an artistic expression thus allows her a greater freedom, especially the technique of automatism which makes her works even more unrestrained.
We often believe that art, to avoid the risk of being self-referential, should either point at the history or criticize the society. However, Ursprung’s artworks create a robust and extensive resonance among us. Even though it adopts the Neo-expressionist vocabulary, it represents Neo-expressionism without referring to the related social movements. In other words, we could say that the artist has intentionally chosen the form of Neo-expressionism as a way to return to the essence of painting. Like a performance embodying the shared language and collective emotions of a whole generation, her artistic vocabulary, and visual style seem to point at the heart of the subject. The 1970s in Taiwan was known for its economic boom as well as the political turbulence. The conflicts during that period thus encouraged the Taiwanese localization movement and led to the popularity of
the campus folk songs. The protests and the consequential lifting of Martial Law in the 1980s shattered the social stratification, thus bringing hope to the public. When the party of the 1990s, where Wild Lilly Student Movement and other transitional justice campaigns became the spotlight of the show, came to an end, Taiwan in the twentieth-century had nothing to celebrate but the nostalgia for economic growth in the past. The labor-contracted employment greatly applied in the Neo-liberalist industries transferred the last bit of financial gain, if there was any, to the workers employed by oversea factories. Consequently, Taiwan’s economic growth was stalling and the whole society gradually lost the dynamics. The entire generation seemed to live an abundant life, but it was a life without a future to hope for. A brave one like Ursprung who dared to dream thus decided to depart and to search for her party.
The Feast Her first stop was Paris. Paris at that time was no longer a feast as it used to be in the time of Ernest Hemingway (1899-1961) and Henry Miller (1891-1980). Here, the stage setting had not been removed yet, but the party was over. The splendid glory of yesterday seemed to fade away, as it became an intersection where the dancers lingered without the heart to say goodbye, joined by the late comers attracted by the fame in the past. They stood aside, forming a circle like flâneurs who temporarily stopped by. Without fireworks, champagne or a
10
Accomplishing a Forest
sound of music, except for the reverberations which had not died out yet. What remained here was the self-satisfying fantasy attached to space itself through an illusionary nostalgia and the intentionality to connect the misconnected time and space – and it was in Paris where she nourished. Later, she went to Brittany, from Quimper and Finistère, and returned to Taiwan before she made another trip to Switzerland. Her frequent travel not merely enriched her artistic expressions but also revealed the unique essence of an artist. After leaving Paris, she decided to move to Finistère and started to name herself “La flâneuse du Finistère.” The name Finistère, a department in Brittany, means “the end of the earth.” By naming herself “the flâneur at the end of the earth,” the artist subconsciously reveals her desire to travel to the end of the world. It brings us to a discussion that, according to many scholars of cultural studies, the real Nature has no longer existed in a world of enlightenment if we take this world as a text, just like the fact that idea of “the faraway land” no longer exists in this globalized world. The artist, driven by a complex described by Sigmund Freud (1856-1939) as “das Unheimliche” (the uncanny), has always been looking for “the faraway land” which is unfortunately forever absent. More interestingly, the subject when we talk about “das Unheimliche” is not merely the subject of “alienation” in Sigmund Freud’s Modernism since, in this world we live in, the whole world is alienated, including every system or operation it has. Therefore, no matter it is from Taipei to Paris, from Paris to Quimper, or even again to Finistère, the departure will not be completed unless we arrive at
11
the end of somewhere – a symbol of “the faraway land.” Ursprung visualizes the journey into a poetic ethnography. Her reason for departure is not to make a checklist of tourist attractions, but personally observe and experience the life of the faraway land until she becomes one of the locals. Meanwhile, she maintains the motivation, like how Charles Baudelaire’s (1821-1867) voyage is to escape from the boredom of the city or Arthur Rimbaud’s (18541891) hallucinatory and anesthetic Le Bateau Ivre, an expression blending the forms of Romanticism and Symbolism, with a bit of Paul Gauguin’s (1848-1903) and Paul Verlaine’s (1844-1896) metaphors, and the layback rhythm in Claude Debussy’s (1862-1918) music. Ursprung transforms the Neo-expressionist foundation into intuition, while the bouquet is intentionally flavored with a rich Symbolist vocabulary, accentuated by a poetic language as seen in Rimbaud’s immersive colors and syncopations.
Forest The forest has been a recurring theme throughout Ursprung’s artistic practice. We can speculate that for her the forest is probably a metaphor of the feast. “Since the beginning of my artistic career, I have focused on depicting landscapes, especially forests and trees. Throughout every stage of my creative development, the forests reflected my life experiences at the time,” says Ursprung. However,
1. Arthur Rimbaud, “Le Bateau Ivre, ” 1871.
we can divide her exploration of the forest into different stages: from Taipei to Paris, Brittany, and her return to Taiwan after graduation. Her forest in both Brittany and Taiwan is more like an object, or “the Other” as of how we understand it. According to Ursprung, “during these two periods, I expressed my ideas through fantasies.” When she came to Switzerland, she seemed to walk into a forest and in some way shared the subject’s position with the forest. She explains that “I wish the landscape from this particular period would appear neutral, with fewer symbols, references, or metaphors.” Unlike the artist overwhelmed by emotions when she departed from Taiwan with beginner’s honesty and courage in search for her dream, she in this stage became mature, she returned to the origin, to life, to painting, and to the real forest. The artist further tells us that “the life in Switzerland is serene, free from the overwhelming emotions. I have some spare feelings to blend in with the life surrounding me by following the laws of Nature and returning to the innocence. I believe that Nature defines our interpersonal relationship, and the philosophy of ‘doing nothing’ (translator’s note: an important Taoist teaching also known as ‘nonaction’ or ‘non-doing,’ which promotes that we should behave in a completely natural way without forcing thing to happen) is my ideal lifestyle, and it is also why I choose to paint landscapes.” Under such a condition, she enjoys a greater freedom to deal with her media and techniques to study the spatial and visual experiences in her painting.
Meanwhile, she adopts abstract lines in a more direct way to represent the sense of air produced by the dual spaces. The vocabulary of her paintings thus becomes more authentic and closer to the essence of Nature.
Spray Paint Her artistic style is full of experimental vocabulary. When she is walking into the forest, she “sees what people believe they saw” (et j'ai vu quelquefois ce que l'homme a cru voir) 1 , and such a feeling is expressed with her spray paint. “Spray-painted abstract lines and color blocks resemble secretive texts hovering over the surface of the oil painting, freezing a fleeting moment of floating bugs, leaves, light, and dust in a forest,” says Ursprung. The use of spray paint creates multiple meanings. In addition to its aesthetic conflict, the text-like symbols in the image visualize the spiritual depths of the landscape, especially the subtle delicacy and intrig uing evocation that the artist has experienced. Meanwhile, to spray paint a finalized landscape painting allows us to identify the artist’s gestures and body movements. A simple action of spray painting, free and fast, immediately transforms the spirit of the landscape, which is completed in a slow, timeconsuming , stroke-by-stroke process. The artist creates the schizophrenia-like scenery intervening between the two completely different images, while the hidden message is thus unburied. According to Ursprung, to spray paint is not to destroy, but to
12
Accomplishing a Forest
complete, since it spotlights the brushwork and juxtaposes the artists’ multiple selves to complete the landscape. Either covered or revealed, the spray-painted image unfurls the internalized automatist techniques. The visual message of the landscape has never collapsed during the spray-paint process. Instead, from outward to inward, it allows the brushwork which embodies the physical and subconscious message hidden deeply inside the surface as it also transforms and reconstructs a new visual message. The forest in the previous landscape paintings used to be quiet, but the artist has a restless heart. The presumably serene forest is the forest in the faraway land. The artist is perhaps traveling on a train, or in a visually faraway land which only exists at this particular moment, and then she catches a glimpse of a forest. The presumably serene forest thus provides an exit for the restless viewers. She needs the faraway land, the idea of the Other, to be her comfort. From the image, we see the artist’s uncanniness, as well as the various syndromes of Malaise derived from it, or we can say, a sense of melancholic helplessness resulted from civilization as how Freud puts it. It is because what she sees and what she paints is nothing more than the fragments of the forest. However, in this case, the landscape in the oil painting and the spraypainted forest intensify and translate the visual tension of the images. We seem to follow the artist to walk into the real forest, a forest invisible to the others. The artist enters the forest, blends in with it,
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and sees the real forest which is energetic, active, and dynamic. The forest is no longer the reverse of civilization or the escape from one’s anxiety, but a natural essence. The spontaneity that the artist has been repressing is thus energized. The artworks return to the essence, to the origin, and to the self. “Forms” can no longer prison them nor cover the essence. There will be no paradoxical analysis to presume the inner layers of the works, except for the honesty to render the Nature and the self through the forest. The brushwork elaborates. It begins with the oil-paint strokes, followed by the spray paint, while the both form a duet. To narrate and to describe, the spray paint uncovers the invisible message of the forest. The once fragmented forest is ultimately completed here. It is a journey which begins with the techniques, through the knowledge of the concepts, the search for an ideal place for the self, to the completion of a whole forest. As a viewer, no matter it is spiritual or about the image itself, you need to read and to listen. Following the artist, you will find yourself in that luxurious forest.
一 座 森 林 的 完 成
圖 版
ARTWORKS A C C O M P L I S H I N G A
F O R E S T
無題 34 Untitled 34 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 170×130cm / 2017
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無題 27 Untitled 27 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 130×170cm / 2017
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無題 30 Untitled 30 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 130×170cm / 2017
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無題 28 Untitled 28 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 170×130cm×2 / 2017
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無題 35 Untitled 35 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 130×170cm / 2017
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無題 37 Untitled 37 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 130×170cm / 2017
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無題 36 Untitled 36 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 130×170cm / 2017
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無題 29 Untitled 29 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 170×130cm / 2017
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無題 31 Untitled 31 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 130×170cm / 2017
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無題 33 Untitled 33 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 170×130cm / 2017
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無題 32 Untitled 32 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 170×130cm / 2017
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無題 23 Untitled 23 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 100×130cm / 2017
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無題 25 Untitled 25 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 130×100cm / 2017
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無題 26 Untitled 26 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 130×100cm / 2017
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無題 20 Untitled 20 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 100×130cm / 2017
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無題 21 Untitled 21 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 100×130cm / 2017
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無題 22 Untitled 22 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 100×130cm / 2017
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無題 19 Untitled 19 油彩、畫布 Oil on canvas 130×100cm / 2017
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無題 24 Untitled 24 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 100×130cm / 2017
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無題 16 Untitled 16 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 50×40cm / 2017
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無題 11 Untitled 11 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 50×40cm / 2017
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無題 13 Untitled 13 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 50×40cm / 2017
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無題 10 Untitled 10 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 50×40cm / 2017
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無題 Untitled 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 40×50cm / 2017
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無題 18 Untitled 18 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 40×50cm / 2017
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無題 14 Untitled 14 油彩、畫布 Oil on canvas 40×50cm / 2017
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無題 17 Untitled 17 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 40×50cm / 2017
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無題 12 Untitled 12 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 40×50cm / 2017
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無題 8 Untitled 8 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 40×50cm / 2017
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無題 15 Untitled 15 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 40×50cm / 2017
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無題 9 Untitled 9 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 50×40cm / 2017
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無題 7 Untitled 7 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 50×40cm / 2017
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無題 3 Untitled 3 油彩、畫布 Oil on canvas 40×30cm / 2016
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無題 6 Untitled 6 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 170×130cm / 2016
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無題 4 Untitled 4 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 40×50cm / 2016
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無題 1 Untitled 1 油彩、畫布 Oil on canvas 30×40cm / 2016
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無題 2 Untitled 2 油彩、畫布 Oil on canvas 30×40cm / 2016
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無題 5 Untitled 5 油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 40×50cm / 2016
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一座森林的完成
文
許常郁
一直以來我專注的繪畫主題是風景，尤其是森林與樹，每個階段的森林都呼應著我當時的生活體驗。
早期我在法國布列塔尼留學時，時常描繪平靜、神秘的森林。畢業後回台灣生活，創作的風景與森林大多是表現緬懷過去的日子和對未來生活的想像。 在這兩個階段的創作表現方式，都是以幻想的方式表現居多。2016 年，我定居瑞士鄉下，這裡的生活非常的寧靜，沒有太多劇烈的情緒起伏干擾，我 更融入周遭的環境中，循著自然規律過著純樸日子，逐漸過著田園生活。在瑞士的風景繪畫作品，所畫的森林沒有指涉特定地點的自然森林，有些是 我曾於住家周遭散步過的，有些則是對一般森林的記憶或既定印象，我希望這時期的風景接近中性，沒有太多的象徵、指涉或隱喻。
我在這時期的創作慾望來自於同時想繪畫具象的風景和抽象的線條，並以媒材和技法來探索繪畫的空間與視覺體驗。於是，我將這兩種繪畫方式結合 一起。首先，我用油畫與畫筆，以具象繪畫的技法處裡風景的空間感。之後，我用更直接的抽象線條方式呈現兩種空間產生的空氣感。關於抽象線條 的表現方式，一開始我嘗試只用油畫與畫筆。之後在一次的好奇心驅使下，我嘗試了噴漆。噴漆是一個現代的媒材，它與傳統媒材油畫有非常大的區分， 油畫和噴漆的結合，有著強烈的反差感，造成了視覺差距的效果。抽象的噴漆線條、色塊或看似文字的密語感覺像是漂浮在油畫前面，彷彿森林裡漂 浮在空氣中的蟲子、葉子、光線或灰塵定格在畫面上。
在整個創作過程中，我最感興趣的是在我已經畫好的風景畫上，再進行噴漆繪畫的這個行為。這個行為可以直接看到我的手勢和我身體的動作，比如 畫圈的手勢、短線條的手勢或長線條的動作。這些動作快速且自由，能瞬間改變我原本一筆一筆緩慢畫好的風景所建構出的森林氛圍，像是另一個人 介入了我原本的畫，呈現了不同的個性、不同的慾望、不同的空間。我著迷於這樣的結果，因此我會這樣認為：最後在以油畫繪出的森林風景上，使 用噴漆噴繪抽象線條的行為，對我來說不是一個破壞繪畫的動作，而是一個完成風景的動作。
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一座森林的完成
ACCOMPLISHING A FOREST
Written by
Una URSPRUNG
Since the beginning of my artistic career, I have focused on depicting landscapes, especially forests and trees. Throughout every stage of my creative development, the forests reflected my life experiences at the time. In the early stages of my career, I studied in Brittany, France and I painted mostly peaceful mystic forests. After graduation, I returned to Taiwan where I started painting sceneries and forests nostalgic of the past and imaginative of the future. During these two periods, I expressed my ideas through fantasies. Since 2016 I have been residing in the Swiss countryside where life is very quiet. Here, I rarely encounter any distractions and mood swings, and I have even more motivation to adapt to my living environment. I live a simple life by following the course of nature, which gradually leads me to a pastoral lifestyle. The sceneries I have painted in Switzerland do not refer to any particular locations. Some of these forests are near my house, and some of them derive from my memories or impressions of forests seen before. I wish the scenery from this particular period would appear neutral, with fewer symbols, references, or metaphors. This time, my creative desire arises from a simultaneous drawing of figurative scenery and abstract lines. I also focus on media and techniques to explore the space and visual sense of painting. Hence, I combine these two types of painting. First, I paint in oil with brushes. Figurative painting techniques allow me to manage the space of scenery. Afterward, I apply more direct abstract lines to create an atmosphere generated by two spaces. In terms of the abstract lines, at the very beginning I painted only in oil with a brush, yet driven by curiosity, I tried spray-paint. Spray paint is a modern medium, which ranges quite differently from traditional mediums such as oil paint. The combination of spray paint and oil paint draws a vivid contrast, creating a diverging visual effect. Spray-painted abstract lines and color blocks resemble secretive texts hovering over the surface of the oil painting, freezing a fleeting moment of floating bugs, leaves, light, and dust in a forest. Out of the entire creation process, I am most interested in spray-painting the landscape paintings I have already accomplished. Doing so allows me to directly see my hand motions and my body actions, for instance, I would be able to see my hands tracing a circle, drawing short lines, or creating long lines. These motions are fast yet free, for they have the ability to immediately change the atmosphere I have originally fostered with my careful strokes. It almost feels like another person stepped into my painting and displayed a different set of personality, desires, and space. I am intrigued by this result because I do not recognize this set of changes as destructive, but a necessary step for a complete piece of art.
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Accomplishing a Forest 森林， 詩意迴盪之所在 也是寫給 U 的一封短信
文
張禮豪
從目前的居所信步而行，橫越平常車子不多的馬路，不出
藝 評暨獨立策展人
幾分鐘就會抵達一條小徑，再沿著斜坡繼續向上，視野頓 時開闊起來。眼前的景色左右不均地劃成兩半，左邊是一 片平緩的廣袤草原，點綴一群又一群散落四處、不時低頭 吃草的牛羊。隨著牠們移動，脖子上音高有別的銅鈴就會 不停叮叮噹噹，極為悅耳；右邊地勢略高，座落著一幢接
著一幢年代有些久遠、卻與地景妥貼相容的美麗矮屋，裡 頭偶爾傳出孩童玩笑嬉鬧的聲響，在在流洩出大多數人心 之所嚮的幸福。
「自然是一座神殿，那兒的活柱
不時發出一些含糊不清的話語；
家屋的詩意延伸
人們行經該處，穿越象徵的森林
森林則露出親切的目光投以注視。
站在路中間極目望去，蜿蜒的小徑很快就到達盡頭，盡頭 處只見一整座森林自平地陡然升起，彷彿是個一無所屬的
彷彿遠處傳來的悠長回音
獨立時空。這片森林極深，如果只是站在外面指點比劃，
混揉成為幽暗深邃的整體，
映入眼簾的不過是一團讓人心生疑惑、甚至些許恐懼的黝
像黑夜，又如光明般廣袤無垠，
黑，即使在晴空萬里的情況下依然如此。此時，唯有跟隨
芳香、色彩與聲響都彼此呼應。」
心的指引，輕鬆自在地去檢視、觀察這具體而微且自給自 足的宇宙，或者說去聆聽、撫摸生命更為深層的柔軟質地 時，才會發現，內裡的風景與外緣的風景完全不同。單獨
─────波特萊爾《共感》
一人走進，在眼睛尚未習慣周遭的事物之前，風已經搶先 一步使整座森林活轉過來。搖曳生姿的枝枒擺動沙沙作響、 穿越葉隙的跳躍光線與一整群鳥兒飛過空中的投影，總會 在某個巧合的時分，相互交疊成奇特難解的意象，待妳連 同墜落地上的枯葉、松針，一併撿拾回家。
不知道從什麼時候開始，妳總習慣在一個地方落腳之後， 就獨自一人往最近的森林裡走去，一如某種必要的神秘儀 式。從妳來的亞熱帶島國北方，到向以浪漫著稱的花都巴 黎， 再 到 海 拔 接 近 一 千 公 尺、 人 口 僅 有 區 區 幾 千 的 瑞 士
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森林，詩意迴盪之所在
小鎮也不例外。這並非如同日本探險家鹿野忠雄（Tadao
物上慣見，且經常被污名化的噴漆，在已然堆疊多次的圖
Kano，1906-1945）跨海而來，窮半生之力踏查台灣山林，
層上頭信手噴濺，讓畫面頓時拉開成兩個看似相悖的時空
不畏艱難地翻越重山峻嶺去辨識、採集、紀錄眼中所能得
向度。如是將自己與所受過的繪畫訓練徹底剝離的創作手
見的每一棵樹木、每一株植物，乃至於難以盡數的蝴蝶、
段，非但消弭了兩種媒材看似強烈的衝突與矛盾，也熨合
昆蟲與各種鳥類和生活在高山間的原住民等，蒐羅了從生
了從外在世界到返歸私密情感的心境變化。在有意無意之
物學、人類學以迄民族誌等各種學術領域的珍貴田調資料；
中，妳找到了難以言說與陳述的個人本質依歸，而意義上
也不像是波特萊爾（Charles Baudelaire，1821-1867）筆下縱
（或許更接近是一個謎團）的曖昧與變形也就此應運而生。
然富有想像卻始終孤獨，只能走進人群之中去尋找無限歡
同時，也頗有幾分像上個世紀日本戰後具體派（Gutai）向
愉的漫遊者（Flâneur）。對妳而言，森林就像是一個介於
世人所宣告之箴言──「具體藝術並不嘗試改變材料的本
城市與山野、家屋與他方，既封閉又開放的奇特時空。它
質，也不扭曲他們的特性，而是希望創作者與材料一起昇
有時比起城市更為雜亂，卻又始終依循著自有的邏輯四時
華！」致敬的味道。
運行。縱然無能辨識存在於森林中的種種，一旦置身其中， 卻同時具備了探索未知異地與歸返家屋這兩者看似衝突、
對觀者而言，閱讀妳這次數十件的新作，固然不難一眼看
卻又再自然不過的行動特質。如是反覆由陌生境地走向充
出仍帶有些許幽微的指涉，暗示出遍布於不同季節時分、
滿奧秘卻深感熟悉的空間，讓自己得以開啟想像，並且深
不同海拔高度的迥異植被林相，卻未必要與習以為常的視
掘存在本質與意義的過程，遂成為妳最為著迷不已的命題。
覺形象聯繫起來。相反地，面對那些近乎解放的噴漆留痕， 縱然難以索解，也應當藉由反覆的閱讀，去辨認出似曾相 識的氣息，以及那微微包覆著一切的光線晃動，進而深深
嶄新的創作棲居
耽溺其中，看能否藉此喚起生命中曾經具體可感的確切時 至此，森林不再是幽禁著邁諾陶洛斯（Minotauros）的迷宮，
刻。最終在既有唱和、又見拉扯的恍惚中流連知返，去拾
而是家屋（Maison）的詩意延伸，成為妳創作路上得以暫
起屬於自己的意象之鑰，從畫面所建構的時空裡，逐漸回
且安頓心靈的又一處嶄新棲居，即使內部仍存在著妳並不
到夢般迷醉的幻象氛圍，盡情享受如斑斕彩蝶從眼前飛過，
熟悉的擺設；遊走其間，空氣中似乎隨時都隱藏著未知的
又或者如流星自遙遠的夜空墜落等不同層次、此起彼落的
驚喜，等著妳一頭撞上。當然妳也清楚知道，純粹去勾勒、
詩意迴盪（Retentissement）。直到步出群樹的環抱，再次
描繪，進而講述它的形象終究只會落入模擬或再現外在自
於全然的白日照拂下站定，這一座森林才算真正完成。
然的古典陷阱當中。何況，這絕非妳創作的真正意圖所在。 不諱言地說，繪畫此一歷史悠久的藝術類別如今更可貴的 是為了讓更多人從知性上去思考究竟藝術為何，尤其是哲 學上的思考。簡言之，繪畫在推演前進的過程中，同時也 是對於繪畫本質的探究。為此，妳索性大膽使用在城市建
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Poetry Resonates FOREST, WHERE THE POETRY RESONATES (AND A SHORT LETTER TO U)
Written by
CHANG Li-Hao
Art critic, independent curator
Nature is a temple where living pillars Let escape sometimes confused words; Man traverses it through forests of symbols That observe him with familiar glances.
Like long echoes that intermingle from afar In a dark and profound unity, Vast like the night and like the light, The perfumes, the colors, and the sounds respond.
─ Correspondences by Charles Baudelaire
Walking out of the residence and crossing the usually traffic-less street, a while later you arrive at a trail, where you continue walking uphill to enjoy the panorama. The view is asymmetrically divided into two sections. The left is a sweep of grassland, flat and wide, scattered with herds of sheep or buffalos grazing. As they move around, the neck bells clink at various pitches to play a pleasant melody. The right half, slightly higher than the rest, is occupied by lines of beautiful lowrise houses which perfectly blend in with the landscape. You may hear the joyful sounds coming from inside the houses of happy children playing around. It is a metaphor of the happiness all of us are longing for.
The Poetic Extension of Maison
If we stand in the middle of the road to look into the distance, we will see the end of the wandering path, where a forest rises at the border of the field as if it did not exist here but in another universe. The forest is very deep, almost a confusing and terrifying darkness (even under the sunny sky) for those standing outside and gesturing to figure out the directions. Here, the only thing we can do is to follow our hearts and to explore it with comfort and ease as we examine the self-sufficient microcosm. Or, perhaps it is only when we try to touch and listen to the inner softness of life can we realize that the view inside is so different from what we have seen outside. As one walks in alone, before the eyes get used to the surroundings, the wind has already brought the whole forest to life. At some particular moment, the rustling of the dancing branches, the light penetrating the canopy of the forest, and the shadows of a flock of birds flying across the sky unexpectedly structure a picture of enigmatic signs, waiting for you to pick it up and bring it home together with the dried leaves and pine needles on the ground. It began some time ago when you settled down at one place, and you often walked to the nearest forest alone. It was like a mysterious but yet necessary ritual. From the northern part of the tropical island where you came from, to Paris, a city known for its art and romance, and again to a small mountain town in Switzerland at an altitude of
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Forest, Where the Poetry Resonates
1000 meters above sea level with a population of merely thousands of people, the ritual was always the same. It was nothing like the adventure of Tadao Kano (1906-1945) who came all the way from Japan, crossed the sea, and spent his whole life taking field trips from one forest to another all over Taiwan. Here, he fearlessly climbed the impossible mountain cliffs to collect samples and data of various trees, plants, butterflies, insects, birds, and even the native livings in the mountains for future identification and documentation. His field research thus became a valuable academic database in the area of biology, anthropology, and ethnography. It was not the flâneur in Charles Baudelaire's (1821-1867) poems who was imaginative but always lonely that he could only walk into the crowd to search for the infinite pleasure. For you, a forest is an odd place in time and space that is between a city and wild mountains, one’s home and the faraway land, and the enclosed world and an open space. Sometimes, she is messier than a city, but at the same time, she has her own rules to follow, like the laws of Nature. Although it is impossible to identify everything we see in a forest, our presence in it embodies the conflicting but yet instinctive behaviors of exploring the unknown land and returning to one’s home. The repetitive journey from a strange place to a mysterious but also familiar one allows us to open up imagination and to dig into the essence of our existence, while it has ultimately become the most fascinating theme for you.
A New Home for Art-making Therefore, the forest is no longer the labyrinth to prison of Minotaur but a poetic extension of maison, a new home where you can take a break from the journey to rest your artistic soul. Even the inside is still occupied by furnishings you are not familiar with, and every time you walk around, you feel like you are about to hit against a hidden surprise floating in the air as it waits for you. Indeed, you know that visualizing its image by narrating, outlining, or depicting will trap you with the convention to imitate nature or to reproduce the external appearance. It is not the intention of your art-making. Honestly speaking, nowadays an artistic practice like painting with such a long history is even more valuable than ever because it encourages an
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intellectual, and even philosophical, thinking about what art is. To summarize, the progress of painting is to explore its essence. Therefore, you create a daring expression in your works through the use of graffiti – a typical urban scene on buildings which unfortunately does not have a good reputation. The random spray-paint on the multi-layered images immediately expands the scope of the works, creating two contradictory dimensions in time and space. By alienating yourself from your artistic training, you balance the violent conflict between the two media and pacify the spiritual transition from the outside world to the personal feelings inside. No matter it is intentional or not, you have found a home the implicit personality belongs to, and the ambiguous and distorted significance (perhaps more like a myth) thus emerges. Meanwhile, it is also like a tribute to the manifesto by Gutai, a post-war artistic group in Japan, that “Gutai art neither alters the material nor distorts it; instead, it allows the artist and the materials to reach the height of the spirit.” For viewers, it may be too difficult to spot the subtle references in your new works. In these paintings, you seem to imply the diverse vegetation in different seasons or at different altitudes, but you do not connect them with the familiar visual images. Instead, you allow us to identify the mysterious fragrance and the shivering light which subtly embraces everything, creating an immersive feeling as it tries to evoke the particular moment that we have once physically experienced. In the end, we linger in the trance of the call-and-response resonance, pulling and rejecting until we pick up the key of the image belonging to ourselves. In the structured universe of the image, we return to the dream-like hallucination to thoroughly enjoy the nuanced and perfectly paced retentissement where a splendid butterfly flies away from right in front of the eyes, or the shooting star penetrates the quiet night as it falls in the distance. The forest will be completed until we walk out of the embraces of the trees and stand firm again under the pure sunshine.
歷年作品 2014
2016
PAST WORKS
無題 I Untitled I
無題 II Untitled II
油彩、畫布 Oil on canvas 30×40cm / 2016
油彩、畫布 Oil on canvas 30×40cm / 2016
無題 III Untitled III
無題 IV Untitled IV
油彩、畫布 Oil on canvas 27×35cm / 2016
油彩、畫布 Oil on canvas 40×50cm / 2016
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無題 V Untitled V
無題 VI Untitled VI
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 56×56cm / 2016
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 56×56cm / 2016
無題 VII Untitled VII
小森林系列 I Small Forest Series I
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas 30×40cm / 2016
油彩、畫布 Oil on canvas 40×40cm / 2016
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小森林系列 II Small Forest Series II
小森林系列 III SMALL FOREST SERIES III
油彩、畫布 Oil on canvas 40×40cm / 2016
油彩、畫布 Oil on canvas 40×40cm / 2016
夜行 A Walk in the Night
相遇 An Encounter
油彩、畫布 Oil on canvas 40×40cm / 2015
油彩、畫布 Oil on canvas 40×40cm / 2015
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三色光的舞 Dancing Colors 油彩、畫布 Oil on canvas 145.3×224cm / 2016
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森林的光 -1 Lights in the Forest-1 油彩、畫布 Oil on canvas 194×130cm / 2016
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森林的光 -2 Lights in the Forest-2 油彩、畫布 Oil on canvas 130×194cm / 2016
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森林的光 -3 Lights in the Forest-3 油彩、畫布 Oil on canvas 112×145.7cm / 2016
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森林裏的星 A Star in the Forest 油彩、畫布 Oil on canvas 100×100cm / 2016
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遠眺的自由 OVERLOOKING FREEDOM 油彩、畫布 Oil on canvas 130×130cm / 2015
88
無盡的牽絆 Infinite Catching 油彩、畫布 Oil on canvas 155×155cm×2 / 2015
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等待著未知的擁抱 Waiting to Embrace the Unknown 油彩、畫布 Oil on canvas 130×194cm / 2015
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凝視著縫隙直上清澈的天空 Looking up Into the Clear Sky 油彩、畫布 Oil on canvas 194×130cm / 2015
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想望的迴圈 The Loop of Longing 油彩、畫布 Oil on canvas 130×130cm / 2015
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交織命運 Intertwined Destiny 油彩、畫布 Oil on canvas 112×145.7cm / 2015
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夜幕下的交談 Conversation in the Night 油彩、畫布 Oil on canvas 100×100cm / 2015
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思絡映境 Thought Reflecting the Place 油彩、畫布 Oil on canvas 100×100cm / 2015
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從遠處沉思默想 Contemplation From Afar 油彩、畫布 Oil on canvas 100×100cm / 2015
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繞過那個圓就能到達彼岸 One Can Reach the Other Side by Bypassing the Obstacles of Life 油彩、畫布 Oil on canvas 155×155cm / 2014
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請試著再往前直走
天空
Try to Go Forward
Sky
油彩、畫布 Oil on canvas 100×100cm / 2015
油彩、畫布 Oil on canvas 100×100cm / 2015
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光亮的方向
找到了那面鏡子
Shiny Path
Found That Mirror
油彩、畫布 Oil on canvas 100×100cm / 2015
油彩、畫布 Oil on canvas 100×100cm / 2015
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彩帶尋走 Looking for the Ribbon 油彩、畫布 Oil on canvas 100×100cm / 2014
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迷失後的重生 Reawakening 油彩、畫布 Oil on canvas 100×100cm / 2014
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Does the Light Guide Us or Blind Us? 油彩、畫布 Oil on canvas 100×100cm / 2014
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心 Heart 油彩、畫布 Oil on canvas 100×100cm / 2014
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一 座 森 林 的 完 成
簡 歷
BIOGRAPHY A C C O M P L I S H I N G A
F O R E S T
許常郁 UNA URSPRUNG b.1985
許常郁 1985 生於台北，2007 年國立台北藝術大學畢業，2011 年歐洲布列塔 尼坎培爾高等藝術學院畢業，取得法國國家高等藝術表現文憑，並獲頒國家 評委會最高榮譽，現居住及創作於瑞士。作品曾於台北、倫敦、巴黎展出。
許常郁專注的繪畫主題是風景，尤其是森林與樹，每個階段的森林都呼應著 她當時的生活體驗。從法國、台灣到瑞士，藝術家經常式的移居豐富了她的 創作形式，善用媒材和技法來探索繪畫的空間與視覺體驗。2016 年起定居 瑞士鄉下，突破以往的繪畫方式，抽象線條的表現結合了油畫和噴漆，呈現 強烈的反差感，噴漆的行為快速且自由，能瞬間改變原本一筆一筆緩慢畫好 的風景所建構出的森林氛圍。風景畫的視覺訊息在噴漆過程中並未崩解，只 是由外顯轉向內蘊，讓乘載身體與潛意識訊息的筆觸由內藏漂浮向表層，也 轉化與重建新的視覺訊息，彷彿跟著藝術家進入了真正的森林，看到了真正 充滿動能與熱鬧活力的森林，這個森林已經不是哪個文明的反面或焦慮的出 口，而是自然的一種本質。
Born in Taipei in 1985, Una Ursprung (née Hsu Chang-Yu) graduated from the Taipei National University of the Arts in 2007, and Ecole Européenne Supérieure d’Art de Bretagne site Quimper in France in 2011 (from which she received Diplôme National Supérieur d'Expression Plastique, the highest honor awarded by the National Arts Councils and Culture Agencies). Currently, she lives and works in Switzerland. Her works have been exhibited in Taipei, London, and Paris. Ursprung’s focal theme lies in landscapes, particularly forests and trees. Every forest from different stages echoes her life experiences at the time. From France, Taiwan, to Switzerland, her constant migration brought new scopes to her creative expressions. She utilizes a variety of mediums and techniques to explore the space and visual experiences of painting. Since 2016, Ursprung has been residing in Swiss countryside where she developed new methods of painting. She employs abstract lines to create a vivid contrast through the combination of oil painting and spray painting. The liberating and quick nature of spray paint immediately alter the careful and slow strokes of the original landscape constructed within the atmosphere of the forest. However, the visual message conveyed through the landscape does not collapse with the spray painting process but is rather expressed from the inner instead of the outer intentions. Moreover, brushstrokes that carry the body and subliminal messages float across the surface, transforming and reconstructing the visual message. Her paintings bring their audience into a realistic forest, following the artist. Ursprung fosters a vibrant forest that returns to the essence of nature, lacking the negativity and anxiety of modern civilization.
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學歷 2011 歐洲布列塔尼高等藝術學院坎培爾分校碩士，坎培爾，法國 （獲頒法國國家高等藝術表現文憑，國家評委會最高榮譽）
2007 國立台北藝術大學美術系學士，台北，台灣
個展 2017 「一座森林的完成」，尊彩藝術中心，台北，台灣 2014 「恢復 未來的旅程」，尊彩藝術中心，台北，台灣 2011 「世界盡頭的漫遊者」，畫庫，台北，台灣 2007 「湖」，國立台北藝術大學南北畫廊，台北，台灣
聯展 2017 「杜塞道夫藝術博覽會」， Areal Böhler ，杜塞道夫，德國 「 2017 福爾摩沙藝術博覽會」，松山文化創意園區、誠品行旅，台北，台灣
2016 「 Art16 London 」，奧林匹亞展會中心，倫敦，英國 「地方—朱銘美術館典藏特展」，朱銘美術館，新北市，台灣
2015 「 2015 高雄藝術博覽會」，駁二藝術特區，高雄，台灣 「 2015 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「閱讀藝術 II —夏祭聯展」，尊彩藝術中心，台北，台灣 「 2015 台南藝術博覽會」，台南大億麗緻酒店，台南，台灣 「三月三日天氣新」，尊彩藝術中心，台北，台灣
2014 「 2014 高雄藝術博覽會」，翰品酒店、駁二藝術特區，高雄，台灣 「台灣美術散步道： 1927-2014 」，尊彩藝術中心，台北，台灣 「 2014 台中藝術博覽會」，台中日月千禧酒店，台中，台灣 「 Wondrous Artistry & Diamond Mastery 」， De Beers 珠寶藝術作品展，台北，台灣
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「 2014 台北當代國際藝術博覽會」，晶華酒店，台北，台灣 「親親我的寶貝－愛的禮物」，尊彩藝術中心，台北，台灣 「天人五衰」，關渡美術館，台北，台灣
2013 「 2013 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「如影形隨」，尊彩藝術中心，台北，台灣 「繁星閃閃－藝術家聯展」，尊彩藝術中心，台北，台灣 「 2013 高雄藝術博覽會」，翰品酒店、駁二藝術特區，高雄，台灣
2012 「 2012 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「飛行熱氣球－台灣當代藝術展 」，尊彩藝術中心，台北，台灣 「 2012 台北國際當代藝術博覽會」，喜來登大飯店，台北，台灣 「喜形於色」，尊彩藝術中心，台北，台灣 「第五十七屆紅山當代藝術沙龍展」，巴黎，法國 「 A Paris Apparus 」，小方磚畫廊，巴黎，法國
2011 「 Nucleus 」， Belltable Arts Centre ，利默里克，愛爾蘭 「菁典當代」，一畫廊，台北，台灣 「夏日風情」，一票人票畫空間，台北，台灣 「 Miscellaneous 」，歐洲布列塔尼高等藝術學院，坎培爾，法國
2010 「另一個局面」，歐洲布列塔尼高等藝術學院，坎培爾，法國 「 AD HOC 」， Kerfeunteun 教堂，坎培爾，法國
獲 獎 2012 「第五十七屆紅山當代藝術沙龍展」，入選，巴黎，法國
典 藏 2016 《請留住你的夢，拭去的靈光即將再現》，藝術銀行，台中，台灣
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EDUCATION 2011 MFA, Ecole Européenne Supérieure d’Art de Bretagne, Quimper, France (Graduated with a DNSEP with honors from the EESAB in Quimper) 2007 BFA, Department of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan
SOLO EXHIBITIONS 2017 “Accomplishing a Forest”, Liang Gallery, Taipei, Taiwan 2014 “Journeys to Recover Your Future”, Liang Gallery, Taipei, Taiwan 2011 “La flâneuse du Finistère”, Piaopiao Gallery, Taipei, Taiwan 2007 “Lake”, Taipei National University of the Arts, Taipei, Taiwan
GROUP EXHIBITIONS 2017 “Art Düsseldorf 2017”, Areal Böhler, Düsseldorf, Germany
“ArtFormosa 2017”, Songshan Cultural and Creative Park, Eslite Hotel, Taipei, Taiwan
2016 “Art16 London”, Olympia Grand, London, UK
“A Place of One’s Own”, Juming Museum, New Taipei City, Taiwan
2015 “Art Kaohsiung 2015”, The Pier-2 Art Center, Kaohsiung, Taiwan
“Art Taipei 2015”, Taipei World Trade Center, Taipei, Taiwan
“Art in the Library II – Summer Festival Exhibition”, Liang Gallery, Taipei, Taiwan
“Art Tainan 2015”, Tayih Landis Hotel, Tainan, Taiwan
“Freshness of March”, Liang Gallery, Taipei, Taiwan
2014 “Art Kaohsiung 2014”, Chateau de Chine, The Pier-2 Art Center, Kaohsiung, Taiwan
“Walking by Taiwanese Art: 1927-2014”, Liang Gallery, Taipei, Taiwan
“Art Taichung 2014”, Millennium Hotels, Taichung, Taiwan
“Wondrous Artistry & Diamond Mastery”, De Beers Diamond and Artistry Exhibition, Taipei, Taiwan
“Young Art Taipei 2014”, Regent, Taipei, Taiwan
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“Kiss Kiss My Baby”, Liang Gallery, Taipei, Taiwan
“The Decay of the Angel”, Kuandu Museum of Fine Arts, Taipei, Taiwan
2013 “Art Taipei 2013”, Taipei World Trade Center, Taipei, Taiwan
“The Following Shadow”, Liang Gallery, Taipei, Taiwan
“Spring Exhibition Starry Night Sky”, Liang Gallery, Taipei, Taiwan
“Art Kaohsiung 2013”, Chateau de Chine, The Pier-2 Art Center, Kaohsiung, Taiwan
2012 “Art Taipei 2012”, Taipei World Trade Center, Taipei, Taiwan
“Exploring with a Balloon – Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan
“Young Art Taipei 2012”, Sheraton Grande Taipei Hotel, Taipei, Taiwan
“The Delightful Color of Spring”, Liang Gallery, Taipei, Taiwan
“The 57th Le Salon de Montrouge”, Paris, France
“A Paris Apparus”, Galerie Les Petits Carreaux, Paris, France
2011 “Nucleus”, Belltable Arts Centre, Limerick, Ireland
“Contemporary Classics: A Joint Exhibition of Ten Young Artists”, A Gallery, Taipei, Taiwan
“Les paysages en été”, Piaopiao Gallery, Taipei, Taiwan
“Miscellaneous”, EESAB, Quimper, France
2010 “Une autre situation”, EESAB, Quimper, France
“AD HOC”, Church of Kerfeunteun, Quimper, France
AWARDS 2012 “The 57th Le Salon de Montrouge”, Selected, Paris, France
COLLECTIONS 2016 The Aura Will Be Reinstated, Taiwan Art Bank, Taichung, Taiwan
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P.17 無題 34 Untitled 34
P.19
P.21
無題 27 Untitled 27
無題 30 Untitled 30
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 130×170cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 130×170cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 170×130cm / 2017
P.22-23
P.25
P.27
無題 35 Untitled 35
無題 37 Untitled 37
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 130×170cm / 2017
無題 28 Untitled 28
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 130×170cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 170×130cm×2 / 2017
P.29
P.33
無題 36 Untitled 36
無題 31 Untitled 31
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 130×170cm / 2017
P.31
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 130×170cm / 2017
無題 29 Untitled 29
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 170×130cm / 2017
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P.39 無題 23 Untitled 23
P.35
P.37
無題 33 Untitled 33
無題 32 Untitled 32
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 170×130cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 100×130cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 170×130cm / 2017
P.45 P.41
P.43
無題 25 Untitled 25
無題 26 Untitled 26
P.46
P.47
無題 21 Untitled 21
無題 22 Untitled 22
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 130×100cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 100×130cm / 2017
無題 20 Untitled 20
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 100×130cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 130×100cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 100×130cm / 2017
P.49 無題 19 Untitled 19
油彩、畫布 Oil on canvas 130×100cm / 2017
113
P.51
P.52
P.53
無題 24 Untitled 24
無題 16 Untitled 16
無題 11 Untitled 11
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 50×40cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 100×130cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 50×40cm / 2017
P.56
P.57
無題 Untitled
無題 18 Untitled 18
P.54
P.55
無題 13 Untitled 13
無題 10 Untitled 10
P.58
P.59
P.60
P.61
無題 14 Untitled 14
無題 17 Untitled 17
無題 12 Untitled 12
無題 8 Untitled 8
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 50×40cm / 2017
油彩、畫布 Oil on canvas 40×50cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 50×40cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 40×50cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 40×50cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 40×50cm / 2017
114
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 40×50cm / 2017
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 40×50cm / 2017
P.62 無題 15 Untitled 15
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 40×50cm / 2017
P.63
P.64
無題 9 Untitled 9
無題 7 Untitled 7
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 50×40cm / 2017
P.68 無題 4 Untitled 4
P.67
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 40×50cm / 2016
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 50×40cm / 2017
P.65 無題 3 Untitled 3
油彩、畫布 Oil on canvas 40×30cm / 2016
P.69
P.70
無題 1 Untitled 1
無題 2 Untitled 2
P.80
P.80
無題 1 Untitled 1
無題 II Untitled II
油彩、畫布 Oil on canvas 30×40cm / 2016
油彩、畫布 Oil on canvas 30×40cm / 2016
無題 6 Untitled 6
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 170×130cm / 2016
歷年作品 2014
P.71
2016
PAST WORKS
無題 5 Untitled 5
油彩、畫布 Oil on canvas 30×40cm / 2016
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 40×50cm / 2016
115
油彩、畫布 Oil on canvas 30×40cm / 2016
P.80
P.80
無題 III Untitled III
無題 IV Untitled IV
油彩、畫布 Oil on canvas 27×35cm / 2016
油彩、畫布 Oil on canvas 40×50cm / 2016
P.81
P.81
無題 V Untitled V
無題 VI Untitled VI
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 56×56cm / 2016
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 56×56cm / 2016
P.81
P.82
P.82
小森林系列 I SMALL FOREST SERIES I
小森林系列 II Small Forest Series II
小森林系列 III SMALL FOREST SERIES III
P.81 無題 VII Untitled VII
油彩、壓克力噴漆、畫布 Oil and acrylic spray on canvas / 30×40cm / 2016
油彩、畫布 Oil on canvas 40×40cm / 2016
P.82
P.82
夜行 A Walk in the Night
相遇 An Encounter
油彩、畫布 Oil on canvas 40×40cm / 2015
油彩、畫布 Oil on canvas 40×40cm / 2015
油彩、畫布 Oil on canvas 40×40cm / 2016
P.83 三色光的舞 Dancing Colors
油彩、畫布 Oil on canvas 145.3×224cm / 2016
116
油彩、畫布 Oil on canvas 40×40cm / 2016
P.84 森林的光 -1 Lights in the Forest-1
P.85
P.86
森林的光 -2 Lights in the Forest-2
森林的光 -3 Lights in the Forest-3
油彩、畫布 Oil on canvas 130×194cm / 2016
油彩、畫布 Oil on canvas 112×145.7cm / 2016
油彩、畫布 Oil on canvas 194×130cm / 2016
P.90
P.87 森林裏的星 A Star in the Forest
油彩、畫布 Oil on canvas 100×100cm / 2016
等待著未知的擁抱 Waiting to Embrace the Unknown
P.88 遠眺的自由 OVERLOOKING FREEDOM
油彩、畫布 Oil on canvas 130×194cm / 2015
油彩、畫布 Oil on canvas 130×130cm / 2015
P.91
P.89
凝視著縫隙直上清澈的天空 Looking up Into the Clear Sky
無盡的牽絆 Infinite Catching
油彩、畫布 Oil on canvas 194×130cm / 2015
油彩、畫布 Oil on canvas 155×155cm×2 / 2015
117
P.92
P.93
P.94
交織命運 Intertwined Destiny
夜幕下的交談 Conversation in the Night
想望的迴圈 The Loop of Longing
油彩、畫布 Oil on canvas 112×145.7cm / 2015
P.95
P.96
思絡映境 Thought Reflecting the Place
從遠處沉思默想 Contemplation From Afar
油彩、畫布 Oil on canvas 100×100cm / 2015
油彩、畫布 Oil on canvas 130×130cm / 2015
油彩、畫布 Oil on canvas 100×100cm / 2015
油彩、畫布 Oil on canvas 100×100cm / 2015
P.97 繞過那個圓就能到達彼岸 One Can Reach the Other Side by Bypassing the Obstacles of Life 油彩、畫布 Oil on canvas 155×155cm / 2014
P.98
P.98
請試著再往前直走 Try to Go Forward
天空 Sky
油彩、畫布 Oil on canvas 100×100cm / 2015
油彩、畫布 Oil on canvas 100×100cm / 2015
118
P.99
P.99
P.100
光亮的方向 Shiny Path
找到了那面鏡子 Found That Mirror
彩帶尋走 Looking for the Ribbon
P.101
P.102
P.103
迷失後的重生 Reawakening
Does the Light Guide Us or Blind Us?
心 Heart
油彩、畫布 Oil on canvas 100×100cm / 2015
油彩、畫布 Oil on canvas 100×100cm / 2014
油彩、畫布 Oil on canvas 100×100cm / 2015
油彩、畫布 Oil on canvas 100×100cm / 2014
119
油彩、畫布 Oil on canvas 100×100cm / 2014
油彩、畫布 Oil on canvas 100×100cm / 2014
Executive Director
發行人
Director
總經理
Publisher
出版者
Editor
策劃編輯
Translation
翻 譯
展場執行
Display Executive
Lighting
燈光設計
YU Yen-Liang
余彥良
Claudia CHEN
陳菁螢
Liang Gallery Co., Ltd.
尊彩國際藝術有限公司
CHEN Ying-Peng
陳映芃
Siraya PAI, Laura LYGAITYTE
白斐嵐、李樂蓉
洪鼎鈞
HONG Ding-Jiun
HO Chung-Chang
何仲昌
KC
劉光智
978-986-94070-5-2
影
ISBN
First Edition, August, 2017
Photographer
LIU Ming-Wei
2017 年 8 月 初 版
劉銘維
出 版 Publishing Date
攝
Designer
日動藝術印刷有限公司 Jih-Tung Art Printing Co., Ltd.
設 計
印 刷 Printing