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YU YEN-LIANG
文
余彥良
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A R T W O R K S
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LONELY ASTRONAUT: YEN CHING-CHIEH’S VOYAGES ACROSS THE UNIVERSE SHEN BO-CHEN
BY
Lonely Astronaut：嚴靖傑的宇宙浮游 文
自
沈伯丞
述
P A G E .
S T A T E M E N T
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未來漂流 文
錄
P A G E .
DRIFTING IN THE FUTURE BY
圖
YEN CHING-CHIEH
嚴靖傑
C A T A L O G
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嚮往飛行，或許是對周遭的環境 想尋求改變，乘著自己喜愛的飛 行器，飛向充滿歡喜的人生，有 誰會不愛？
我經常在嚴靖傑的畫作中，探尋
嚴 靖 傑 的 畫 面 裡， 希 望 永 遠 都
最後，才真正擁抱了勝利。當你
希望飛翔在天地之間，一切似乎
「最後的微笑」，誰能獲得這個
戴上太空面罩，當你坐上強大的 物體能量準備飛向天際時，你一 定會有一抹笑，那象徵你能通往 浩瀚無垠的宇宙新天地 ; 但這並
不是因此高人一等，而是在所有 的生物當中，陽光雨露均霑沒有 偏廢之下，你獲得了幸運與更多 的祝福，能否到達理想的境地只 有隨緣。幾年或幾十年後，這些 余彥良
尊彩藝術中心 董事長
光年，消磨了曾經伴隨你的那些 閃亮名稱，早都不見蹤影，取代 的是新的方向與更大的希望。
4
在， 讓 我 們 安 定 著 航 行， 懷 著
大有可為，全然充滿著勇敢前進 的動力。有人說：「沒有微笑的
人生是一片無力的空白」，然而 仔細想來，有誰的一生能時時順 遂？航向太空，航向未知，是一
種夢想，也或許是一種逃避，但
你必須時常懷有這個夢想和這份
振作奮發的心智，挑戰世間裡一 切 的 艱 難。 當 宇 宙 大 象 來 接 應
你，當銀河鯨魚來擁抱你時，過
了這一關，自然幻化出你心中最 理想蓬勃向上的新氣象。
PREFACE
In Yen Ching-Chieh’s paintings, I often try to find the "final smile." Whoever finds it i n t h e e n d t r u ly e m b r a c e s victory. Once you wear a space mask, and sit on a powerful object while preparing to fly to horizon, you will certainly have a smile on your face. This symbolizes how you can travel into the vast and unexplored universe. However, this does not make you superior. Among a l l t h e c re a t u re s , a n d a n e v e n ly d i s t r i b u t e d le v e l o f sunshine, rain, and fog, you gain fortune and even more blessings. Whether you reach a n i d e a l re a l m d e p e n d s o n a chance. Years or decades later, those dazzling names that accompanied you during those glorious years have all long since disappeared. They have been replaced by a new direction and a greater sense of hope.
I always look forward to flying, perhaps as a way to seek changes to my surrounding environment, riding on my favorite aircraft and flying towards a joyful life. Who would not love to do that?
YU YEN-LIANG President of Liang Gallery
5
In Yen’s paintings, there is a sense of hope that enables us to settle down for the flight between heaven and earth. All seems promising filled with a momentum of courageous progress. Someone once said: " A l i fe w i t h o u t s m i le s i s a powerless blank." However, who can live a life that is always filled with success? Tr a v e l i n g t o s p a c e o r t h e unknown is a type of dream or escape. However, you must frequently cherish this dream with an excited mindset, while taking on the challenges the world has to offer. Yet, once the universe comes to receive you, and the galaxy whales come to embrace you, a new sense of vigor and vitality will naturally form in your heart after you overcome that stage.
Lonely Astronaut: 嚴靖傑的宇宙浮游 文
在台灣，相關當代藝術的各類作品表現中，「科幻」
實踐大學 媒體傳達設計學系 專任助理教授
裡更是欠缺相關歷史和脈絡的完整研究與探討，而
沈伯丞
是一個始終難以圓滿的遺憾。它絕非主流，而學院 關於繪畫，「科幻」在台灣更是繪畫次元裡最邊緣 的孤寂星系。或許正因為「科幻」位於繪畫次元裡 的最邊緣處，也因此嘗試描繪「科幻」世界的嚴靖 傑，作品在看似繁複的構成中，總是淡淡地顯露著
前言
幾許孤寂的落寞和低溫。
在深而沈的冷色系中，嚴靖傑的畫筆細細地描繪著
人類生於地球，卻並不意味
那均溫只有 2.72548 K（攝氏零下 270 度左右）的
著必須終老於斯
浩瀚宇宙裡，關於生物和人類的想像。通過畫筆，
星際效應
嚴靖傑回應了現代「科幻」傳統中，最重要的問題，
畫面上，一格一格的車窗猶如老
那關於「生命起源」、「生命意義」以及「生命未
舊的底片，那紅、黃底色烘托出
來命運」的探問。
某種過往、陳舊和記憶的膠卷氣 味，窗裡的人、事、物看似歡聚
卻又隱隱含著某種道別的感覺， 影格和車窗的對喻關係，勾勒出 了創作者對於「時間」符號的顯 白和直接。在高度學院技巧的畫 面構成和符號運用模式中，真正 勾人心弦的或許不是那知識化藝
術符碼的精細操作，甚至不是那 刻意做舊的質感所引出的某種幽
思，而是那窗外莫名所由的漂浮 水 母、 蒸 氣 龐 克 風 的 飛 行 器， 1
乃至於那乘坐著某種太空飛行器
的飛行員，弔詭而不合時宜地出 現在列車中，並伴隨著更多的漂 浮生物和猶如星光斑點般的痕
跡……這是身為學生的嚴靖傑最 後的作品，卻也是創作者嚴靖傑 最初的嘗試。
生命那些曾經相遇的人、事、物，隨
1.
個不合時宜的宇航員則準備著脫離列
科幻題材，顯著特徵為故事都設定於
著影格般的列車前行不再復返，而那 車的行進軌道，和漂浮於窗外的不明 生物、星體乃至於時間的殘痕，開始
一段自己的探奇歷程。從某個角度上 看，車窗外的圖像無聲且幽微地預告 了 嚴 靖 傑， 其 創 作 終 將 走 向 一 個 幽
深、低溫而浩瀚的想像領域裡。那搭
乘著不知名太空船的宇航員，猶如創 作 者 的 自 畫 像 般， 儘 管 神 情 看 似 憂
慮，儘管眉間深鎖，然而那眼神卻朝
著無垠望去，嚴靖傑將眼光望向了宇 宙和未來，特別是那屬於「科幻」的 宇宙和未來……
6
蒸汽龐克（Steampunk）是一種流
行於 20 世紀 80 年代至 90 年代初的
一個蒸氣科技達到巔峰的虛擬世界。 蒸汽龐克多以維多利亞時代為背景， 將蒸汽的力量無限擴大化，虛擬出一 個蒸汽力量至上的時代。這類故事對 距今已較遙遠的工業革命時代的科技 進行了極大的誇張，創建出一個與當 今科技文明或未來科技文明不同的、 依賴於簡單動力裝置的機械科技世
界。儒勒 ‧ 凡爾納（Jules Gabriel
Verne）的小說《海底兩萬哩》和《環 遊世界八十天》就是蒸汽龐克的代表 性作品。
來
流 T H E
D R I F T I N G
I N F U T U R E
意 義 以 及 命 運 的 探 問， 不 僅 是 科 幻
未
漂
值 得 注 意 的 是， 關 於 生 命 的 起 源、 敘 事 的 探 問，1897 年， 高 更 (Paul Gauguin, 1848-1903) 在 其 作 品《 我
們從哪裡來？我們是誰？我們往哪裡
去？》便如是深刻地探問過，或許是 巧 合 亦 或 許 是 時 代 的 趨 勢， 當 高 更
以畫筆探索、描繪出關於生命大哉問 時，H．G． 威 爾 斯 (Herbert George
一、裂解的時間晶格
Wells, 1866-1946) 剛剛奠定了「現代 科幻」以探索生命其「起源」、「意
義」以及「未來命運」的核心敘事架
人類無意識的深處縈繞著對一個合理的邏輯宇宙的渴求。然而
構。而嚴靖傑的創作實踐，無形中，
真實的宇宙卻始終超出了邏輯一步。
巧合地接上了這百多年前的創作軼
法蘭克．赫伯特（Frank Herbert, 1920-1986）
事，並以畫筆接續了這充滿著奇想和 哲思的創作脈絡。猶如列車裡那寂寞
自古至今，人類始終嘗試著在有限的認知範圍裡，嘗試詮釋天際和宇
幻奇想的宇宙中。
而藝術表現也總是亦步亦趨的呈現著，人類那總是演繹變化的宇宙詮
的太空人，嚴靖傑隨著畫筆浮游於科
宙的種種，從遠古的神話開始，宇宙、銀河給予了人類無限的想像，
釋。從某個角度上看，「科幻」是遠古神話的現代變形，而描繪「科幻」 的場景或許正恰恰延續了人類嘗試描繪「宇宙」的創作傳統。
仔細凝望嚴靖傑的作品，可以發現其總是在高度寫實技巧的畫面上， 留下了細微而莫名的抽象殘痕，無論是早期的車窗旁，抑或當前的星
際中，殘痕始終有意地擾動著那凝然的畫面空間。這看似怪誕的殘痕， 卻給予了畫面一個歧異的詮釋可能，又或者更「科幻」地說，這些殘 痕劃開了既有畫面空間的物理限制，給予了觀者一個跳脫畫面寫實時
空的裂口，這些為了讓繪畫「不只是具象」的殘痕，細微卻又深刻地 讓嚴靖傑的「科幻」時空有了理由，於是具象畫面上的殘痕，轉而成 為了某種連結畫面空間和觀者內在自由想像空間的節點。
7
一如電影《星際效應》中位於土 星附近黑洞的時空扭曲，構成了 航向外銀河系的捷徑般，殘痕讓 嚴靖傑的作品在細膩描繪的具象
圖像空間，有了一個猶如時空結 晶的裂解處，從而得以讓觀者延 伸 其 個 人 的 詮 釋 與 想 像。 通 過
「殘痕」，嚴靖傑的作品有了一
個逸出「具象繪畫」空間的自由
2.
擬態（Mimicry）在演化生物學裡，指的是一個物種在進化過程中，獲
得與另一種成功物種相似的特徵，以混淆另一方（如掠食者）的認知， 進而遠離或靠近擬態物種。
想像性，而恰恰是這個刻意的殘 痕，讓作品在寫實技巧的描繪中 讓出了「繪畫」在觀者視界裡的 自由詮釋空間。
其內在的科學哲學核心即是以演化論為基礎的生物學和物理學定律作為科
二、錯位的適應和演化
為了生命演化的敘事劇場。從這個角度上回望嚴靖傑的作品，那麼可以說
「動物」作為具象的描繪主體，
是嚴靖傑作品中一個高度鮮明的
特質，無論是巨大的哺乳類諸如
幻時空的基本設定架構。在這個架構下，物理定律主宰的時空連續體，成 從《人生角鬥士 - 蛙蛙摩登》等特化演化的兩棲類開始，嚴靖傑那演化論 和物理學結構下的「科幻」敘事便已然成為了其繪畫的獨特理由。
鯨 魚、 大 象 抑 或 特 化 肢 體 和 部
在這一系列中，兩棲類開始在身體上裝配各種工業的零件和產品，這看似
合體構成的貓科動物，「動物」
膠環的畸形烏龜的生命現狀，這些因人類工業文明而產生的錯位適應，展
件的兩棲類青蛙，乃至於生物集 的特異演化和幻想性的生物適應
特徵，在在地構成了創作者作品 中，一個始終鮮明的畫面主體。
從「科幻」發展的角度上看，H． G．威爾斯所建構起的現代科幻，
擬人的描繪，回應著當下那些以人工廢棄物作殼的寄居蟹，或者套上了塑 延了創作者對於生命演化的奇特想像，諸如漂流系列中那些有著塑膠外皮
質感的海豚，這《新型態生命》的想像一方面承續了創作者早些時候，那 特異演化的兩棲類的錯位演化想像，一方面更為細膩、精準地描摹了生物 在工業環境中的擬態2演化。
如果說青蛙和「新型態生命」呈顯了嚴靖傑對於工業環境的特異演化的想
像，那麼對於大型哺乳類的異想，則充分地體現了蒸氣龐克的未來復古氣 質。嚴靖傑對於鯨魚的著迷源自於服兵役時一次難忘的現場經驗，於遙遠
海洋上的龐然身影，震懾了孤寂而渺小的哨兵，那一刻的莫名感動滋養了，
8
來
流
作品《寶島背脊》中那深具巴洛克式動態
I N
破浪騰雲而出的偉岸氣勢，下方那微小的
T H E
燈塔以及岸邊那不顯眼的人物身影，創作 者一方面側寫了自身的經驗和感動，另一
F U T U R E
方面也同時投射了《莊子·逍遙遊第一》
D R I F T I N G
的海神構圖中，躍然於畫面中央天際的巨
鯨，背上負載著玉山伴隨著鯊魚、海豚，
未
漂
嚴靖傑對於大型哺乳類的迷戀和想像。在
中：「北冥有魚，其名曰鯤。鯤之大，
不知其幾千里也。化而為鳥，其名為 鵬。鵬之背，不知其幾千里也；怒而 飛，其翼若垂天之雲……」描繪鯨魚的
浩瀚氣勢。遇見鯨魚的震撼以及對於其龐
然尺度的迷戀，讓嚴靖傑其後又描繪了一
3.
儒勒．加布里耶．凡爾納（法語：Jules Gabriel Verne，1828
年 2 月 8 日－ 1905 年 3 月 24 日），或譯儒勒．凡爾納，法國 小說家、劇作家、詩人現代科幻小說的重要開創者之一。
張氣勢更為磅礡的《世界背脊》，在這件作品中象徵亞洲的巨鯨背上 甚至背負了「喜馬拉雅山」。有趣的是，在《世界背脊》中，除了騰
雲而上的兩隻巨鯨外，其他的動物全都在熱汽球的協助下，跳脫了地
心引力的束縛，這個猶如「環遊世界八十日」的熱鬧場景，讓創作者 的作品多了幾分「蒸氣龐克」的未來復古氣質。而這種「蒸氣龐克」 的復古科幻氣質，同樣的可以見諸於其漂流系列作品《生命太空站 -
水族館》；作品中那漂浮於猶如星際又彷彿深海的水母，在其透明柔 軟介質身體中包覆著一座古老的旋轉木馬，在深藍色背景中幽靜地散
發著和煦的柔光，而作品《生命太空站 - 光塔》中，旋轉木馬在太空
飛行器的承載下漂浮幽深的太空裡，頂上那一圈猶如神話般的象頭和
以繩索牽引的太空人，讓畫面在復古的視覺符號中，吐露著未來的異
想氣質。這兩件高度「蒸氣龐克」的作品，不禁讓人聯想起當代儒勒． 凡爾納3 博物館中的「海洋世界旋轉木馬」以及機械巨象。一如凡爾
納曾說過的：「凡人能想像到的事物，必定有人能將它實現。」， 科幻給予了人類繼續創造的理由和驅力。
9
4.
硬科幻作品的核心思想是對科學精神的尊重和推崇。在手法上， 硬科幻以追求科學（可能的）的細節或準確為特性，著眼於自然 科學和技術的發展
以卡爾．薩根的話來形容嚴靖傑
在漂流系列的《生命聚合體》作 品群組，或許是一個十分貼切的 引言。在這些作品中，每一隻頭
戴太空頭盔的貓科動物，全都是 各類細微生物體的集體構成，這
如果說，「復古」給予了嚴靖傑作品獨特的科幻氣質，那麼「海洋」
個「聚合體」的生命，其巨大的
便折射了創作者對於宇宙的想像，一如凡爾納所言：「 光線投射在
可 以 在 頭 盔 裡 容 納 一 個 海 洋、
寧靜的海底，彷彿是透過光譜被曲折分析的光線一般，色彩紛
森林，而其外則是一個更為遼闊
呈美不勝收。」，深海給予了創作者奇異的宇宙視野，作品《星空
的宇宙。嚴靖傑對於「生命聚合
翱翔》看似幻化為星塵閃耀的鯨魚，同樣可以是被深海發光微生物包
體」的想像，以一種更為生命型
圍的悠遊巨鯨，黝暗空間中的光點給予了觀者跳脫自身的空間，從而
態的描繪方式，回應了卡爾．薩
產生了漂浮於無垠的想像，而或許正是想像自身的延異性，讓創作者
根那生命即是「星塵聚合物」的
描繪了作品《月光》裡，那結合了行星或月球表面質感的身軀。通過
說法，同時也以更為生動的方式
將深海的空間折射成宇宙的圖像，嚴靖傑的科幻或許更為貼近於凡爾
體 現 了 卡 爾．薩 根：「 生 物 之
納那：「描述地球『並』同時理解美麗風格的高尚」的科幻美學。
美 不 在 於 原 子 進 入 其 中， 而
錯位的演化和生物適應，讓嚴靖傑在「科幻」的脈絡上展延了對生物
久 的 未 來 以 後， 人 類 離 開 了
在於原子聚合的形式。」「許
變異的想像，而復古氣質的蒸氣龐克，讓嚴靖傑那古典的繪畫技法和
「科幻」這高度前衛的未來想像，有了相輝映的契合，漂浮於畫面上
地球而行星上的生物則開始
關於人類離開地球後的生命史詩。有別於冷調的「硬科幻」4，嚴靖傑
人 類 回 望 故 鄉 時， 故 鄉 如 今
那湛藍色幽深的穹蒼裡，生物和機械以一種古典的詩意，緩緩地述說著
了 自 身 奇 異 的 演 化 歷 程， 當 是什麼模樣？」這個想像，開
畫筆下的「未來」更著眼於思索，關於人類離去之後「生命」的景況。
三、
啟了嚴靖傑的「科幻」世界，在
這個深具鄉愁的未來紀事中。作
品《漂流系列：宇宙海洋觀測站》
生命即宇宙
我們的 DNA 所包含的氮，構成牙齒的鈣，血液中的鐵，蘋果派 裡的碳，全來自於恆星塌陷的結果，恆星就是構成我們的素材。 卡爾．薩根 (Carl Edward Sagan, 1934-1996) 《宇宙》
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躺在深海裡的遺跡引人深思關於文明的 種種。
認識自身的方法 」，那麼科幻藝術則是
人類自身投入宇宙之中的蟲洞，在嚴靖傑 作品的殘痕裡，藝術家邀請觀者躍入想像 的未來復古中，那個「生命即宇宙」的科 幻視界中。
WORLD’S BACKBONE 世界背脊
油彩、畫布 Oil on canvas ｜ 112×194 cm ｜ 2012
F U T U R E
為 自 身 的 世 界 創 造 意 義。 」， 那 靜 靜
明的可能未來。如果說：「 人類是宇宙
T H E
的勇氣以及答案回應的深刻，我們將
浮於太空裡的孤寂感，邀請觀者凝望著文
I N
事情我們可以去努力。通過敢於探問
畫面上中那始終的渺小人類身影，以及漂
D R I F T I N G
渴望我們的行星是重要的，那麼有些
來
持續著的探問著關於宇宙和生命的種種，
樂園」地寓言故事，在那揮不去的幽思中，
未
桑。 一 如 卡 爾．薩 根 所 言：「 如 果 我 們
遺跡無聲地見證著曾經的文明，如今的滄
流
嚴靖傑的「科幻」是一則關於未來的「失
漂
宛若未來世界裡的亞特蘭提斯，深海中的
LONELY ASTRONAUT: YEN CHING-CHIEH’S VOYAGES ACROSS THE UNIVERSE BY
SHEN BO-CHEN Assistant Professor at the Department of Communications Design, Shih Chien University
Introduction "Mankind was born on Earth. It was never meant to die here." Interstellar In the artworks, the cells of train windows are like old negatives. The red and yellow background brings out a certain kind of past, stale, and the smell of film from memories. The people, things, and items in the windows seem happy together but with a hint of separation. The metaphor of film frames and car windows outlines the creator’s blunt and direct treatment of the symbols of time. In a picture composed with highly academic skills and employing symbols, what exactly is touching may not be the delicate operation of turning knowledge into aesthetic symbols or the intentionally old textures that arouse a kind of
nostalgia, but the drifting jellyfish outside the window that makes no sense, the steampunk 1 flying device or even the pilot in some kind of space shuttle anachronistically appearing on the train, accompanied by more drifting creatures and marks like the lights of stars… This is Yen Ching-Chieh’s last work as a student, and it is the first attempt of Yen as a creator. Those people, things, and items one has encountered in life are like the train of film frames, moving forward and never going back. The anachronic astronaut is about to leave the train’s orbit to join the unknown creatures drifting outside the window, the stars, and even the residue of time, as well as to start an exploration of his own. Looking from a certain angle, the image outside the train window silently and slightly predicts that Yen’s creation will eventually enter an imaginary realm that is deep, cold, and vast. The astronaut taking an unknown spaceship is like the creator’s self-portrait: despite the seemingly melancholic expression, despite the knotted brows, the eyes stare into infinity. Yen looks into the universe and the future, especially the universe and the future that belong to science fiction.
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In Taiwan, among contemporary artworks of various genres, science fiction is a regret that is difficult to address. It is far from the mainstream, and the academy lacks comprehensive research or discussion on its related history and context. Sci-fi in Taiwan’s painting dimension is the loneliest and most marginal galaxy. Perhaps it is because of sci-fi’s marginal position in the painting dimension that Yen, who tries to depict the sci-fi world, composes works that, within their complicated frameworks, always lightly reveal a sense of solitude, loneliness, and chilliness. Among the deep and calm cool colors, Yen’s paintbrush depicts a detailed portrait of the imagination of creatures and mankind in a vast universe whose average temperature is only 2.72548 Kelvin, or approximately –270° Celsius. Through his brushes, Yen responds to the most important questions in the modern sci-fi tradition, regarding the origin of life, the meaning of life, and the future of life.
1. Steampunk is a science fiction genre popular from around the 1980s to the early 1990s. Its defining characteristic is that those stories are set in a fictional world where steam technology has reached its peak. Steampunk often is set in the Victorian period. They exaggerate the steam power and fictionalize an era when steam power is the best. These stories exaggerate to the extreme the technologies from the now remote Industrial Revolution period and create a mechanical technological world that relies on simple power facilities, which is very different from the contemporary or future technological civilizations. Jules Verne’s novels 20,000 Leagues Under the Sea and Around the World in 80 Days are representative works of steampunk.
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What is worth noticing is that the inquiry into the origin, meaning, and fate of life is not restricted to science fiction narration. In 1897, Paul Gauguin, in his work Where Do We Come From? What Are We? Where Are We Going?, raised these deep questions. It might be coincidence or the trend of that period that, when Gauguin explored with his brushes the depiction of these great questions about life, H. G. Wells had just established the core narrative structure of contemporary science fiction, which explores the origin, meaning, and future fate of life. In Yen’s creation, unwittingly, he incidentally catches up with this creation anecdote from over a hundred years ago, and he uses his paintbrushes to continue this creative trend full of fantasy and philosophical thinking. Just like the lonely astronaut on that train, Yen drifts in this science fiction fantasy with his brushes.
1. The Time Lattice That Cracked "Deep in the human unconscious is a pervasive need for a logical universe that makes sense. But the real universe is always one step beyond logic." Frank Herbert Since ancient times, humans have always been trying to interpret the phenomena in the sky and the universe with their limited scope of knowledge. Since ancient mythology, the universe and the Milky Way have given humans an unlimited scope for imagination, and humans’ artistic development has closely followed to give the ever-evolving interpretation of the universe. One can say that sci-fi is the modern transformation of the ancient mythologies, and to portray sci-fi scenes is perhaps exactly a continuation of humans’ conventional attempt to depict the universe. Through scrutiny of Yen’s works, one can discover that in his pictures, skillfully composed with high realism, the residue of subtle and inexplicable abstraction can always be found. Be it by the train window in his earlier work or in the universe among the stars he now
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portrays, the residue has been intentionally disturbing the fixed picture space. This seemingly grotesque residue gives the picture a singular possibility for interpretation. Or, to state it in sci-fi terms, these residues cut open the physical constraints on the existing picture space, giving the viewer a crack to jump out of the realistic time and space. This residue makes the painting not only concrete; it subtly yet impressively gives reasons for Yen’s sci-fi time and space, so the residue on the concrete picture is transformed into a node that connects the picture’s space and the viewer’s inner space, where the viewer is free to imagine.
Just as in the movie Interstellar, the time-space distortion of a blackhole near Saturn becomes a shortcut for sailing out of the Milky Way, so the residue in Yen’s work, with a detailed depiction of a concrete picture space, is like a cracking of a time-space crystal, from where the viewer may extend their personal interpretation and imagination. Through the residue, Yen’s work obtains the ability of free imagination emerging from his concrete painting, and exactly because of this intentional residue, a space is allowed in his realistic works for the viewer to interpret the painting freely.
2. The Mismatched Adaptation and Evolution One clear characteristic of Yen’s works is the use of animals as a concrete subject for depiction. From huge mammals such as whales and elephants or amphibians such as frogs that have specialized limbs and body parts, or Felidae composed of many creatures, the unique evolution of animals and fantasized adaptations of creatures again and again are the distinct subject in the image of the creator’s works. From the perspectives of scifi development, the modern science fiction constructed by Wells has a scientific and philosophical core, a sci-fi time-space fundamental construct on the basis of evolution-based biology and of physical laws. Under this construct, the time-space continuum dominated by physical laws becomes a narrative theater where lives evolve. Reviewing Yen’s works from this perspective, it can be understood that starting with Gladiator of Life – Frog Modern, that kind of amphibian’s specialization evolution, Yen’s scifi narration, under the structures of evolution and physics, has become a unique reason for his painting.
2. Mimicry. In evolutionary biology, mimicry means that during the evolution process, a species acquires characteristic similar to those of another successful species so as to confused the understanding of other parties, such as predators, and thereby staying away or staying closer to the mimicked species.
In this series, amphibians have started to equip their bodies with various industrial components and products. These seemingly personified depictions respond to the current states of life, such as hermit crabs using disposed objects from the human world as their shells or turtles deformed by plastic rings. These mismatched adaptations due to human’s industrialized civilization expands the creator’s eccentric imagination on life’s evolution. For example, his Drifting Series contains dolphins with plastic-textured skins. This imagination of A New Form of Life both continues the creator’s early mismatched evolution imagination of amphibians with specialized evolution and, with greater detail and accuracy, portrays creatures’ mimicry 2 evolution in the industrial environment. If frogs and A New Form of Life present Yen’s creative ideas on specialization evolution happening in an industrial environment, then his fantasies of large mammals fully represent a future retro style of steampunk. Yen’s fascination about whales originated from an unforgettable experience he had when he was serving in the military. The gigantic image of a body on the remote ocean stunned the lonely and insignificant sentinel. That unnamed
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T H E
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s i z e m a d e Ye n l a t e r p a i n t another work in a manner even vaster and more magnificent: World’s Backbone. In this work, the gigantic whale that symbolizes Asia carries the Himalayas on its back. What is interesting is that, in World’s Backbone, in addition to the two gigantic whales that are soaring above the clouds, other animals have all escaped gravity with the help of hot air balloons. This festive scene, as if from Around the World in 80 Days, gives the creator’s work a sense of steampunk’s future retro style. The same steampunk retro sci-fi sentiment can also be seen in other works in the Drifting Series. In the work Life Space Station – Aquarium, a jellyfish drifts in a sphere, like both the universe and the deep sea. Its translucent and soft body as a medium contains an ancient carousel,
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moving moment nourishes Yen’s fascination and imagination of large mammals. In his work Back of Formosa, from the baroque, dynamic sea god composition, a gigantic whale in the center of the painting leaps upward, reaching toward the sky. It carries Jade Mountain on its back, and it is followed by sharks and dolphins. From this grandiose manner of the whale contrasting the minute lighthouse at the bottom of the painting and the insignificant figure, the creator on one hand describes his personal experience and what moved him, and on the other hand, paying homage to a passage in the first chapter of A Happy E xcursion by Zhuangzi, "In the north ocean, there was a fish named Kun. Kun was very big. I do not know for how many thousand miles its body stretched. It turned into a bird named Peng. Peng’s back was very wide. I do not know for how many thousand miles it expanded. Once it decided to fly, and its wings were like clouds in the sky…" to depict the whale’s imposing manner. The shock of meeting whales and the fascination with their gigantic
3. Jules Gabriel Verne (1828.02.08 – 1905.03.24) is a French novelist, playwright, poet, and an important founder of modern science fiction.
which, in the deep blue background, quietly emits gentle light. In Life Space Station – Tower of Light, a carousel is carried by a spacecraft, in the quiet space. In the retro visual symbols in the picture, the circle of seemingly mythical elephant heads and astronauts te t h e re d b y ca b le s reveal a futuristic exotic sentiment. These two highly steampunk works bring to mind the contemporary works Carousel in the Sea World and a mechanic gigantic elephant in the Jules Verne3 Museum. Just as Jules Verne said, "Anything one man can imagine, other men can make real," science fiction gives humans the reason and driving force to continue creating.
If retroelements give Yen’s work a unique science fiction style, then the ocean refracts the creator’s imagination for the universe. Just as Verne said, "The light projects to the bottom of the calm sea, as if a light beam goes through a prism, being dispersed into magnificent colors," so the deep ocean gives the creator a singular vision of the universe. His work Soaring in the Starry Sky looks both like a whale transformed into shiny stardust and like a soaring giant whale encompassed by glowing microorganisms in the deep sea. The light dots in the dark space enable the viewer to escape from their own space and create an imagination of drifting in the infinite. Perhaps it is imagining one’s difference that led to the creator to portray the work A Moonlight, which contains a body with textures combining the surfaces of stars and the moon. Through refracting the space in the deep sea into pictures of the universe, Yen’s science fiction may be closer to the science fiction aesthetics Verne states, that "depicts the Earth and at the same time understands the nobleness of a beautiful style."
4. The core ideal of hard science fiction is respect and reverence for the spirit of science. In its tactics, hard science fiction is known for pursuing (possible) scientific details and accuracy and its focus on the development of natural sciences and technology.
3. Life Is Universe "The nitrogen in our DNA, the calcium in our teeth, the iron in our blood, the carbon in our apple pies were made in the interiors of collapsing stars. We are made of starstuff." Carl Sagan, Cosmos
Mismatched evolutions and creature adaptations enable Yen to extend from the context of sci-fi to the imagination of creature mutation. Steampunk with its retro style gives Yen the chance to combine classical painting techniques and sci-fi, which is full of avant-garde imagination toward the future, to let the two echo and bring out the best of each other. The blue, quiet sky drifting in the picture are creatures and machines that, with classic poetry, slowly relate the life epic of the time after humans leave the Earth. In contrast to the cold-tone hard sci-fi4 , the future portrayed by Yen focuses more on the thoughts of how life would be after humans are gone.
It may be quite appropriate to quote Carl Sagan to describe Yen’s Polymers of Life group works in the Drifting Series. In these works, every Felidae with a space helmet is a combination of various kinds of microbial bodies. This "polymer" life is big enough to contain an ocean and a forest inside a helmet, and outside the helmet, it’s an even broader universe. Yen’s imagination of the Polymers of Life is a depiction of life forms that echoes Sagan’s idea that life is made of "starstuff." In the meantime, he uses a more vivid way to comprehend Sagan, "The beauty of a living thing is not the atoms that go into it, but the way those atoms are put together." In the far future, humans leave Earth, and the creatures on this planet start their own singular evolutionary process. When humans look back to their homeworld, what will it look like? This imagination opens up Yen’s sci-fi world. In this future documentary full of nostalgia, the work Cosmic Ocean Observatory is like the Atlantis in the future world. Relics in the deep ocean silently witness the civilization that once was, and now, is all gone. As Sagan says, "If we long for our planet to be important, there is something we can do about it. We make our world significant by the courage of our questions and by the depth of our answers." The relics silently lying in the deep ocean evoke deep thoughts on all aspects of civilization.
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T H E F U T U R E
油彩、畫布 Oil on canvas ｜ 80×100 cm ｜ 2012
D R I F T I N G
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寶島背脊
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BACK OF FORMOSA
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Yen’s sci-fi is a fable of the future’s Paradise Lost. In his ever-present nostalgia, he keeps exploring the universe and life. The human figures that are always small in his pictures and the sense of loneliness from drifting in space invite the viewer to look at possible futures for civilization. If "We are a way for the cosmos to know itself," then science fiction art is humans jumping into the wormholes in the universe. In the residue of Yen’s works, the artist invites the viewer to jump into the imagined retro-future, the science fiction world where "life is the universe."
未來漂流 文
嚴靖傑
本展主軸延續了我近年發展的
「漂流系列」，將展出近年創作
的總和，以幻想、超現實的畫面
描述遙遠的未來，提出對人類文 明發展以及環境變遷的反思。
我所建構出將來的龐大世界裡， 這時的地球已經不適合人類居
住，他們早已離開地球去尋找下 一個居所、不斷地在宇宙之中漂 流、探索著。而我這次的創作，
就 是 幻 想 如 何 從 未 來 的 角 度，
回盼數年後地球演變的景象，藉 由遺留在地球上的眾多生物為主 角，為尋求生存的機會，紛紛進
化成適合的體態及樣貌以適應各
式險峻的地形環境，有些動物開 始發展出高智能，並使用人類遺 留下來的科技來武裝自己，和其 他生物競爭生存棲息地。生存的 本能使弱小的生命聚合成新的巨 大 形 像， 成 為 新 型 態 的 智 能 生
物。最後，一些新生命留在了地
球，也有一些則像當初人類的祖
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先一樣，前進太空踏上尋找更好 的世界的旅程。
我彷彿造物主般的從旁觀察這個 世 界 體 系 的 一 舉 一 動， 以 詼 諧
的、充滿各式符號的畫面，讓人
類科技發展及環境變化互相影響
的議題，用充滿科技感的動物形 象營造出一種特別的象徵系統， 詮釋自我內心構築的未來世界。
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Taking on a god-like role, I observe every individual detail o f t h i s w o r l d s y st e m . W i t h whimsical pictures filled with s y m b o l i c i m a g e r y, I c re a t e a unique system of symbols that combines animal imagery with a sense of technology, while invoking the relationship between human technological development and environmental change. In this way, I provide my own interpretation of the world of the future.
T H E
I construct an expansive world of the future, in which Earth has already become unsuitable for human life. Humankind has already left the earth to find its new home, continuously drifting throughout and exploring the universe. In the works, I image the evolution of Earth over a number of years from the perspective of the future. To survive, the creatures remaining on Earth have evolved physical features and appearances to adapt to all kinds of dangerous e n v i ro n m e n t s . E ve n t h e i r intelligence has advanced to levels that allow them to make use of human technology left behind. As a result, they wear
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and use human equipment in their competition for survival w i t h o t h e r c re a t u re s . T h e instinct of survival makes the weak ones to gather into the new massive formations – a new type of intelligent beings. Some of the new forms of life stay on the earth, and some, just like the ancestors of humankind, have set off on a journey into space to find a better world.
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DRIFTING IN THE FUTURE
As a continuation of the recent Drifting series, this exhibition showcases my works over the last few years. Using illusionary and surreal imagery, I depict a distant future, while reflecting on the development of human civilization and changes of the environment.
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DRIFTING SERIES: COSMIC OCEAN OBSERVATORY 漂流系列：宇宙海洋觀測站 油彩、畫布
Oil on canvas 166×245 cm 2017
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DRIFTING SERIES: HOVERING WITH THE LIGHTS
漂流系列：帶一些光飛翔 油彩、畫布
Oil on canvas 965.×161.5 cm 2017
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DRIFTING SERIES: POLYMERS OF LIFE 1 漂流系列：生命聚合體 1 油彩、畫布
Oil on canvas 120×200 cm 2017
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DRIFTING SERIES: POLYMERS OF LIFE 2 漂流系列：生命聚合體 2 油彩、畫布
Oil on canvas 112×145.5 cm 2017
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DRIFTING SERIES: POLYMERS OF LIFE 3 漂流系列：生命聚合體 3 油彩、畫布
Oil on canvas 158×165 cm 2017
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DRIFTING SERIES: POLYMERS OF LIFE 4 漂流系列：生命聚合體 4 油彩、畫布
Oil on canvas 120×200 cm 2017
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DRIFTING SERIES: POLYMERS OF LIFE 5 漂流系列：生命聚合體 5 油彩、畫布
Oil on canvas 112×145.5 cm 2017
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DRIFTING SERIES: LOOKING STRAIGHT AHEAD
漂流系列：直視前方 油彩、畫布
Oil on canvas 50×120 cm 2017
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DRIFTING SERIES: SOARING IN THE STARRY SKY 1
漂流系列：星空翱翔 1 油彩、畫布
Oil on canvas 50×120 cm 2017
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DRIFTING SERIES: SOARING IN THE STARRY SKY 2
漂流系列：星空翱翔 2 油彩、畫布
Oil on canvas 50×120 cm 2017
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DRIFTING SERIES: A NEW FORM OF LIFE 1
漂流系列：新型態生命 1 油彩、畫布
Oil on canvas 50×120 cm 2017
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DRIFTING SERIES: A NEW FORM OF LIFE 2
漂流系列：新型態生命 2 油彩、畫布
Oil on canvas 50×120 cm 2017
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DRIFTING SERIES: THE REVELATION OF SNOW
漂流系列：一場雪的啟示 油彩、畫布
Oil on canvas 50×120 cm 2017
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DRIFTING SERIES: A MOONLIGHT 漂流系列：月光 油彩、畫布
Oil on canvas 120×200 cm×2 2016
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DRIFTING SERIES: LIFE SPACE STATION – AQUARIUM
漂流系列：生命太空站－水族館 油彩、畫布
Oil on canvas 120×167 cm 2016
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DRIFTING SERIES: LIFE SPACE STATION – SPACE TRAVEL 漂流系列：生命太空站－太空悠游 油彩、畫布
Oil on canvas 100×120 cm 2016
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JOURNEY IN A DRIFTING UNIVERSE 漂流宇宙的搜尋旅程 油彩、畫布
Oil on canvas 166.2×245.1 cm 2015
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THE ISLAND OF LIFE 生命島嶼 油彩、畫布
Oil on canvas 223.1×166.1 cm 2015
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LIFE SPACE STATION – TOWER OF LIGHT 生命太空站 ─ 光塔 油彩、畫布
Oil on canvas 112×145.5 cm 2015
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LIFE SPACE STATION 001 生命太空站 001 油彩、畫布
Oil on canvas 89.4×130.1 cm 2015
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EVEN IF IT RAINS, WE STILL HAVE TO GO FORWARD 即使下雨，我們也要向前走 油彩、畫布
Oil on canvas 166×245 cm 2014
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LET'S GO FORWARD TOGETHER 我們一起向前走吧 油彩、畫布
Oil on canvas 166×245 cm 2014
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LIFE GLADIATOR – MODERN FROG 人生角鬥士－蛙蛙摩登 油彩、畫布
Oil on canvas 55×73 cm 2014
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LIFE GLADIATOR – ASSAULTING FROG 人生角鬥士－蛙蛙突擊 油彩、畫布
Oil on canvas 50×72.5 cm 2013
LIFE GLADIATOR – TASTING FROG 人生角鬥士－蛙蛙品嚐 油彩、畫布
Oil on canvas 50×72.5 cm 2013
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B I O G R A P H Y
嚴靖傑 YEN Ching-Chieh B . 1 9 8 3
1983 年出生於台北，2006 年畢業於國立台灣藝術大
學美術學系，2010 年畢業於國立台灣師範大學美術
系西畫創作組研究所。作品以細膩洗練的繪畫技法 營造出逼真的視覺效果，近年著重於描繪自然與科 技之間微妙的平衡關係，以超脫現實的構圖呈現未 來世界，並用充滿科技感的動物形象建構出一種特 別的象徵系統，詮釋藝術家內心構築的現實世界。 2008 年獲選青年藝術家遊學計畫、2010 年作品《生 命之旅》獲國立台灣美術館典藏。
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D R I F T I N G
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Yen Ching-Chieh was born in 1983 in Taipei. He obtained his BFA from the Department of Fine Arts at the National Taiwan University of Arts in 2006, and MFA in Western Painting from National Taiwan Normal University in 2010. The artist’s exquisite painting technique allows him to display succinct visual effects that are very realistic. In recent years, he has been focused on depicting the delicate balance between nature and technology in order to illustrate reality and present the future world. Combining images of technology and animals, Yen builds a special symbolic system, and an interpretation of the real world as seen by the artist. Yen was awarded according to the Young Artists Study Abroad Plan in 2008. His work Journey of Life was collected by the National Taiwan Museum of Fine Arts in 2010.
學 歷
2010 2006
國立台灣師範大學美術研究所西畫創作組碩士，台北，台灣 國立台灣藝術大學美術學系學士，台北，台灣
個 展
2017 2010
「未來漂流」，尊彩藝術中心，台北，台灣 「生命之泳」，晴山藝術中心，台北，台灣
聯 展
2015
「2015 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「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 2013
「高雄藝術博覽會」，駁二藝術特區，高雄，台灣 「春遊油彩」，國立台灣藝術教育館，台北，台灣
「台南藝術博覽會」，台南大億麗緻酒店，台南，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 「台北國際當代藝術博覽會」，台北喜來登大飯店，台北，台灣
2011
「台灣寫實新銳－手感」，晴山藝術中心，台北，台灣
「2011 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「台北國際當代藝術博覽會」，王朝大酒店，台北，台灣 2010
「2010 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「台北國際當代藝術博覽會」，王朝大酒店，台北，台灣
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國立台灣師範大學畫廊，台北，台灣
「台灣當代水彩大展」，國立中正紀念堂，台北，台灣
獲 獎
2012 2011 2009 2008
「全國美展油畫」，金牌獎，台灣 國軍文藝金像獎，金牌獎，台灣
「大墩美展」，第一名，台灣
全國青年寫生比賽，第一名，台灣 光華盃寫生比賽，第一名，台灣
青年藝術家遊學計畫，獲獎，台灣
2007 2006 2005
「桃源美展」，第一名，台灣 「新莊美展」，第一名，台灣 「全省美展」，第二名，台灣
典 藏
2010
《生命之旅》，國立台灣美術館，台灣 《寶島背脊》，玉山銀行，台灣
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F U T U R E
「業：當代繪畫的輪迴」國立台灣師範大學美術系研究所西畫博碩士班創作展，
D R I F T I N G
I N
2008
「2009 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣
未
漂
2009
E D U C A T I O N
2010
MFA in Western Painting, National Taiwan Normal University, Taipei, Taiwan
2006
BFA, Department of Fine Arts, National Taiwan University of Arts, Taipei, Taiwan
S O L O
E X H I B I T I O N S
2017
"Drifting in the Future", Liang Gallery, Taipei, Taiwan
2010
"Dive Into Life", Imavision Gallery, Taipei, Taiwan
G R O U P
2015
E X H I B I T I O N S
"Art Taipei 2015", Taipei World Trade Center, Taipei, Taiwan "Art Tainan", Tayih Landis Hotel, Tainan, Taiwan "Freshness of March", Liang Gallery, Taipei, Taiwan
2014
"Art Kaohsiung", The Pier-2 Art Center, Kaohsiung, Taiwan
2013
"Oil Paintings Exhibition", National Taiwan Arts Education Center, Taipei, Taiwan "Art Tainan", Tayih Landis Hotel, Tainan, Taiwan
2012
"Art Taipei 2012", Taipei World Trade Center, Taipei, Taiwan "Young Art Taipei", Sheraton Grande Taipei Hotel, Taipei, Taiwan
2011
"Forever Young", Imavision Gallery, Taipei, Taiwan "Art Taipei 2011", Taipei World Trade Center, Taipei, Taiwan "Young Art Taipei", Sunworld Dynasty Hotel, Taipei, Taiwan
2010
"Art Taipei 2010", Taipei World Trade Center, Taipei, Taiwan "Young Art Taipei", Sunworld Dynasty Hotel, Taipei, Taiwan
2009
"Art Taipei", Taipei World Trade Center, Taipei, Taiwan
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Taipei, Taiwan "Taiwanese Contemporary Watercolor Paintings", National Chiang Kai-Shek Memorial Hall, Taipei, Taiwan
A W A R D S
2012
Gold Medal, "National Art Exhibition of the Republic of China – Oil Painting", Taiwan
2011
Gold Medal, Armed Forces Golden Statues Awards for Literature, Taiwan
2009
First Prize, "Da Dun Fine Arts Exhibition", Taiwan
2008
First Prize, National Youth Sketching Contest, Taiwan First Prize, Guang Hwa Cup Sketching Contest, Taiwan Awarded, Young Artists Study Abroad Plan, Taiwan
2007
First Prize, "Taoyuan Fine Arts Exhibition", Taiwan
2006
First Prize, "Sin Jhuang Arts Exhibition", Taiwan
2005
Second Prize, "Taiwan Provincial Fine Arts Exhibition", Taiwan
C O L L E C T I O N S
2010
Journey of Life, National Taiwan Museum of Fine Arts, Taiwan Back of Formosa, E.Sun Bank, Taiwan
89
F U T U R E
Department of National Taiwan Normal University, Gallery of National Taiwan Normal University,
D R I F T I N G
I N
"Karma: The Samsara of Contemporary Painting" Exhibition of Master Students from the Fine Arts
未
漂
2008
D
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圖
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錄
C A T A L O G
P A G E .
46 22
P A G E .
P A G E .
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28
DRIFTING SERIES: POLYMERS OF LIFE 1
DRIFTING SERIES: COSMIC OCEAN OBSERVATORY
DRIFTING SERIES: HOVERING WITH THE LIGHTS
油彩、畫布 Oil on canvas
166×245 cm ｜ 2017
油彩、畫布 Oil on canvas
96.5×161.5 cm ｜ 2017
油彩、畫布 Oil on canvas 120×200 cm ｜ 2017
P A G E .
P A G E .
P A G E .
漂流系列：宇宙海洋觀測站
30
漂流系列：帶一些光飛翔
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漂流系列：生命聚合體 1
34
DRIFTING SERIES: POLYMERS OF LIFE 2
DRIFTING SERIES: POLYMERS OF LIFE 3
DRIFTING SERIES: POLYMERS OF LIFE 4
油彩、畫布 Oil on canvas 112×145.5 cm ｜ 2017
油彩、畫布 Oil on canvas 158×165 cm ｜ 2017
油彩、畫布 Oil on canvas 120×200 cm ｜ 2017
P A G E .
P A G E .
P A G E .
漂流系列：生命聚合體 2
36
DRIFTING SERIES: POLYMERS OF LIFE 5 漂流系列：生命聚合體 5 油彩、畫布 Oil on canvas
112×145.5 cm ｜ 2017
漂流系列：生命聚合體 3
38
漂流系列：生命聚合體 4
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DRIFTING SERIES: LOOKING STRAIGHT AHEAD
DRIFTING SERIES: SOARING IN THE STARRY SKY 1
油彩、畫布 Oil on canvas 50×120 cm ｜ 2017
油彩、畫布 Oil on canvas 50×120 cm ｜ 2017
漂流系列：直視前方
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漂流系列：星空翱翔 1
P A G E .
42
P A G E .
P A G E .
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46
DRIFTING SERIES: SOARING IN THE STARRY SKY 2
DRIFTING SERIES: A NEW FORM OF LIFE 1
DRIFTING SERIES: A NEW FORM OF LIFE 2
油彩、畫布 Oil on canvas 50×120 cm ｜ 2017
油彩、畫布 Oil on canvas 50×120 cm ｜ 2017
油彩、畫布 Oil on canvas 50×120 cm ｜ 2017
P A G E .
P A G E .
P A G E .
漂流系列：星空翱翔 2
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DRIFTING SERIES: THE REVELATION OF SNOW 漂流系列：一場雪的啟示
漂流系列：新型態生命 1
50
DRIFTING SERIES: A MOONLIGHT 漂流系列：月光
油彩、畫布 Oil on canvas
漂流系列：新型態生命 2
54
D R I F T I N G S E R I E S : L I F E S PA C E STATION – AQUARIUM 漂流系列：生命太空站－水族館
油彩、畫布 Oil on canvas 50×120 cm ｜ 2017
120×200 cm×2 ｜ 2016
油彩、畫布 Oil on canvas 120×167 cm ｜ 2016
P A G E .
P A G E .
P A G E .
56
D R I F T I N G S E R I E S : L I F E S PA C E STATION – SPACE TRAVEL 漂流系列：生命太空站－太空悠游 油彩、畫布 Oil on canvas
100×120 cm ｜ 2016
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JOURNEY IN A DRIFTING UNIVERSE
THE ISLAND OF LIFE
油彩、畫布 Oil on canvas 166.2×245.1 cm ｜ 2015
油彩、畫布 Oil on canvas 223.1×166.1 cm ｜ 2015
漂流宇宙的搜尋旅程
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生命島嶼
P A G E .
64
LIFE SPACE STATION – TOWER OF LIGHT 生命太空站 ─ 光塔
油彩、畫布 Oil on canvas 112×145.5 cm ｜ 2015
P A G E .
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P A G E .
P A G E .
66
LIFE SPACE STATION 001 生命太空站 001
油彩、畫布 Oil on canvas
89.4×130.1 cm ｜ 2015
P A G E .
EVEN IF IT RAINS, WE STILL HAVE TO GO FORWARD 即使下雨，我們也要向前走
油彩、畫布 Oil on canvas 166×245 cm ｜ 2014
P A G E .
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LET'S GO FORWARD TOGETHER
LIFE GLADIATOR – MODERN FROG
LIFE GLADIATOR – ASSAULTING FROG
油彩、畫布 Oil on canvas 166×245 cm ｜ 2014
油彩、畫布 Oil on canvas 55×73 cm ｜ 2014
油彩、畫布 Oil on canvas 50×72.5 cm ｜ 2013
我們一起向前走吧
P A G E .
人生角鬥士－蛙蛙摩登
78
LIFE GLADIATOR – TASTING FROG 人生角鬥士－蛙蛙品嚐
油彩、畫布 Oil on canvas 50×72.5 cm ｜ 2013
94
人生角鬥士－蛙蛙突擊
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發 行 人
E X E C U T I V E
余彥良
YU YEN-LIANG
總 經 理
D I R E C T O R
出 版 者
D I S P L A Y
E X E C U T I V E
HONG DING-JIUN 洪鼎鈞 燈 光 設 計
D I R E C T O R
CLAUDIA CHEN
展 場 執 行
L I G H T I N G
陳菁螢
HO CHUNG-CHANG 何仲昌 攝
P U B L I S H E R
影
P H O T O G R A P H E R
尊彩國際藝術有限公司
KC. JD
LIANG GALLERY CO., LTD.
策 劃 編 輯
E D I T O R
DAISY SHIOU 翻
譯
設
計
劉光智、黃嘉達
D E S I G N E R
修天容
LIU MING-WEI
劉銘維
T R A N S L A T I O N
LAURA LYGAITYTE 李樂蓉
IS B N
978-986-94070-8-3
印 刷印 刷
PRINTING
日動藝術印刷有限公司
JIH-TUNG ART PRINTING CO., LTD.
出 版
PUBLISHING DATE
2017 年 11 月初版
FIRST EDITION, NOVEMBER, 2017