游雅蘭個展-凝光映語|Yu Ya Lan’s solo exhibition – Words under the Reflection of Lights

Page 1



個游 展雅 蘭


目 錄

凝光映語—游雅蘭個展 文

4

游雅蘭

Contents

作 品

13

我對游雅蘭小姐作品的印象

78

三井田盛一郎

如果情感可以複印—游雅蘭的版畫創作 文

82

莊偉慈

簡 歷

90

圖 錄

99


Words under the Reflection of Lights— Yu Ya-Lan’s Solo Exhibition by

8

Yu Ya-Lan

Artworks

13

游雅蘭さんの作品 私はどのようにイメージを受け取るのか

80

by

三井田盛一郎

If Emotions Could Be Duplicated—Yu Ya-Lan’s Print Art by

86

Chuang Wei-Tzu

Biography

90

Catalog

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凝光映語— 游雅蘭個展

第一部分

《內在風景》 我希望每一幅作品,不僅是停格的片段,而是每個時刻的累積、延續而

游雅蘭

產生的風景,藉由相似景物喚起他者自身記憶,保留美好事物的光景。

一直以來,我所關注的是人與人之間無法用言語徹底溝通的情感與生活 片段,瞬息而過的影像或是日常存在的景物,加上時間變化而喚起的自 身情感。無論得到再多他人的經驗,仍舊無法從他人的轉述中體會相同 感受。這些在心裡難以言喻或散落在記憶中的小事,不斷地湧出,將它 們化為作品圖像,在創作過程中不斷發掘自己和人群、和環境交錯而產 生的記憶。

當我們注視環境、周遭事物與自身的關係,瞬息萬變的世界,藉由觀看 或只是一瞥,都會透過我們的眼而存留在腦海中,每個片段,我們發生 的任何事,大腦記錄下從枝微末節到重要事件的圖像,而被心牢牢記 住。我的圖像便是從日常生活的影像、文字書本和電影情景等捕捉來 源。我們習慣透過圖像或文字加強人與人之間彼此實際連結,將現實所 見與過去經驗和記憶連結,現實所見的事物與過往經驗和記憶共同組成 我們所認知的世界,記憶浮現來自我們內心深處,曾經在不同時間、空 間之中存在的痕跡,與身體所感受到的外在知覺共同組成真實世界。

尋找真實的美好風景 我認為的自然是趨近一個真實存在的空間,它表現了對現實世界(人為 空間)的不滿或脫逸的期望,進而在其中可以尋求美好可能的那個「自 然」。我認為的「自然」是在一個安逸的空間,能恣意地放下表層偽裝,


自述

我透過自己於版畫實踐去經歷與接近,以趨近理想中的「自然」樣貌。

畫面中有些曖昧不明的部分,如在霧中模糊若隱若現的氛圍,看到部分 主體在虛實之間如同我們在觀看事物的樣貌時無法清晰看到全貌。

我想要讓畫面有光,想要讓人有溫暖的感覺。 「光點」 我希望作品給人的第一眼印象如身臨劇場般,像是電影中某個段落正在 發生而成的情境。畫面上我使用黃色光點帶出時間,在這靜止的畫面中 時間忽逝暫留的影像,像是電影中影像在消失前會有亮光、強光轉入下 個場景,如流逝的光景。我以黃色或是挖白的點、區塊,讓畫面能有些 許的穿透性,觀者從作品表層能走近畫面空間中,自光點中得到畫面呼 吸的孔洞,再從這些歇息中回到畫面,如閱讀小說故事有轉折起伏。時 間,在我每一幅作品中,不僅是一個停格的片段,而是每個時刻的累積、 延續而產生的風景。

「人物」 畫面中出現的人物是被置放在這自然空間中,有時隱身於風景之下,無 人的場景也只是藏匿於風景中不被看到的一處,對我來說,畫面人物像 是自己的分身,在需要的場景中出現,而自然場域才是自我的替身。人 物形象有剪影的小人、近似人體樣態的人物,這些相異的人物型態皆是 不同時間狀態出現在適合他們的位置,大部分的人物是以疲軟、逃離、 欲隱匿的姿態被周遭自然植物圍繞。

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形式 我在構思作品前,會在木板上畫上簡略的線條,凝視版面及觸碰它,而 從觸碰的過程中,使自己專心在一個平靜狀態。我選擇木刻版的其中一 個原因,在刨削動作中,能進入完全的放空,重複性的動作讓我得到安 定,將緊繃的思緒隨木屑不斷削去而達到心靈上的放鬆。

每一塊木板帶有獨特的紋理,從自己過往的記憶與經驗中,截取視覺場 景與影像等元素,轉化其中蘊含的情感、或實質如水、空氣、人等所留 下的痕跡。雕刻刀如同我的畫筆,我在木板上刻劃肌理,與繪畫不同的 地方在於我所剔除的地方是上一層色彩存有的區塊。

《旅途》系列的作品,我將印製完的作品與刻製的木板一同展呈,一般 我們常見的是完成後的成果,木板本身顯示的是勞動的過程,有創作者 累加的時間的刻痕,加上一版複刻是無法回印的技法,隨著木板本身削 去越多,畫面色彩層次越加豐富,一減(削除)一增(疊印)的對應是 否產生不同的觀看方式?對我來說,這系列的展呈是有趣的嘗試。

第二部分

《鍾女士》

1.Gilles Deleuze 著,《法蘭西斯

照片顯現了一個片面的空間、一個瞬間,從曾經參與過的照片裡不斷

培根:感官感覺的邏輯》,陳蕉

溫習記憶中的影像,在現實生活中卻也給予了我們足夠的時間,重新

譯,苗栗:桂冠出版, 2002 ,頁

118 。

評估照片中發生過的真相。「我們所看到的、所感受到的,是照片。 照片的最大利基所在就是它對我們強行置入弄虛作假、不可思議的影 像「真相」(vérité)」1。


自述

《鍾女士》共有一百張,我揀選母親生前的照片,在描繪過程中,我一 遍又一遍地尋找關於我記憶中媽媽的輪廓樣貌。我刻意將媽媽之外的人 面孔塗黑,無論是我不曾參與過的或是過去曾經相處過的照片記錄,她 已和現實世界中的人分開。曾經是記錄某個開心或剎那的片刻拍攝的合 照,卻獨留母親的輪廓是清晰的,與眾人分離,像這些過去美好的記憶 也停留在時間河流的某個片刻。我以紙平版方式進行這一系列的作品, 紙平版的做法是以影印稿將圖像轉印於紙張上,每一張影印稿也只能進 行一次圖像的轉寫,其質感有種流逝、痕跡的紋理。從描繪到轉印的過 程,反覆地找尋有關母親的印象和記憶,進而尋覓真實存在的她。

以此系列作品作為對母親逝世一年的思念,像是她也參與了我這次的 展覽。

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Words under the Reflection of Lights – Yu Ya-Lan’s Solo Exhibition

by

Yu Ya-Lan

Part I

The Interior Scenery I hope that every piece of my artworks is not just a frozen moment to be captured but the vision emerging from the accumulated episodes. The scenes evoke viewers’ personal memories of something similar, maintaining the beauty of the circumstances. The human emotions and moments of life beyond any verbal communication have always been my artistic concern. These include the transient images, the permanent everyday life, and the most personal emotions evoked by the passing of time. There is no way to experience what others experience simply through retelling. The unutterable triviality scattered around the memories now springs up, being transformed into the images of the artwork. The art-making process thus allows us to continuously discover the memories produced by every encounter with the crowds and surroundings. When we gaze into our relationship with either the surroundings or the self, the transient world, in our gaze or glance, will be engraved on our minds through the eyes. Every episode of life is well documented by our brains and printed on our hearts, from the significant ones to the trivial details. The resource of my images originates from daily life, printed words, books, or movie scenes. It has become our habit to adopt images or words to strengthen and verify the interpersonal ties, connecting what we see with the past experiences and memories. The things we see in reality are combined with the past experiences and memories to form the world we acknowledge. Memories emerge from the depth of hearts, shaping the world of reality with the traces which have once existed in different times and spaces as well as the physical perceptions of the external surroundings.

To Look for the Real Beautiful Vision It is my belief that Nature is a space close to the authentic substance, which expresses one’s dissatisfaction with the real world (the artificial space) and the


Exhibition Statement

desire for a break-away to look for the “Nature” of beautiful possibility. I believe that “Nature” is a relaxing space allowing us to release ourselves by taking off all the disguises. I thus adopt print art to experience and to approach my idealistic concept of “Nature.” The subject vaguely reveals itself from the obscure and misty images, emerging between illusion and reality as if suggesting that we always fail to see the whole picture of the world in front of our eyes.

I want some light in my images, to make people feel warm.

“Spotlight” I expect my works to create some theatrical effect as they make their first impression, like a scene rendered in a movie. The yellow spotlight symbolizes time, while the transient moment in the still image is reminiscent of a movie scene disappearing into the light where the next scene emerges. A flowing montage indeed. I adopt yellow or white removed spots to make the images moderately penetrating, allowing viewers to take a step further from the surface to the space of the images. The spotlights become the breathing holes of the images, bringing back the viewers from their resting. The twists and turns make it like reading a novel. In every work of mine, time is not just a frozen moment to be captured but the vision emerging from the accumulated episodes.

“Figure” The figures in the images are placed in the natural space – sometimes hidden in the landscape. Meanwhile, the empty scene is often hidden in the least visible part of the landscape. For me, these figures are my clones which make their appearance only when it is necessary, and the natural scenes become my alternative self. The figures cover a great variety, including sketch-like silhouettes or human bodies, and appear in the most appropriate places in different time and conditions – mostly are

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surrounded by flora and in a languid, defeated, and evading gesture.

Form Before I have a clear idea about what to do, I sketch some lines on the plate, gazing it and touching it. The way I touch it allows me to quiet down and concentrate. It is also one of the reasons why I choose wood engraving, for that the repetitive carving movements serve as the best way to filter my thoughts and pacify my soul. The stress and stir are gone with the wood dust, until I reach the ultimate spiritual peace. Every piece of wood has its unique texture. The visual images and scenes are gleaned from my past experiences and memories, while the intrinsic emotions or substantial traces made by water, air, and humans are being transformed. With v-chisels I carve the lines to shape the subject. I deal with the shading colors so that every time the roller printing process helps reveal the previous printed colors and demonstrate the multiple shades. Journey series of works include both, the artwork itself and the engraved plate. Most of the time the viewer is able to see only the result – the artwork. Wooden plate mainly shows the process of how everything was done, including the carving techniques. The more slashes there are the more color layers are needed. Does the correspondence between one cut (slashing ) and one touch (overprinting) influence a different way of looking at it? For me, this series of works was interesting to work on.

Part II

Madame Chung Photographs demonstrate a slice of life, the frozen time and space. From the photographs – which document a moment where we used to be a part of it – we not only return to the images of our memories but are also given enough time in reality to reevaluate the truth captured by the photographs. “What we see, what we


Exhibition Statement

1.Gilles Deleuze, Francis Bacon : The Logic of Sensation , trans. Chen

Chiao (Miaoli: Laurel Publishing House, 2002), p. 118.

perceive, are photographs. The most significant thing about the photograph is that it forces upon us the "truth" of implausible and doctored images,� says Gilles Deleuze. 1 Madame Chung series include one hundred photos. I draw my mother’s faces based on her photos taken when she was alive. Every stroke has led me to look for her silhouette in my memory again and again. It is my intention that other people’s faces are made black, since no matter whether I was there in the photos or not, she has already left us, separated from those who are still living in reality. These photos capture the happy and transient moments of a group of people, but they are all blurred and obscure except for the contours of my mother. She cannot interact with the rest, just like how these beautiful memories are brought to a rest at certain moment in the river of time. This is a paper lithography series, which uses photocopies as plates to reprint images on paper, while each photocopy can only be used in one image-printing. It features a flowing quality with marks of transience. Starting with portraying and moving on to printing, during this process I constantly seek for impressions and memories that are related with my mother. Trying to remember her the way she was when she was still alive. This series is dedicated to my deceased mother to memorize the one-year anniversary of her death. It feels like she is also attending this exhibition.

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作 品

Artworks

13


迷幻森林 Mystic Forest

版畫 / 木刻油印凸版

91×120cm

Woodcut/ Relief print

2016


15


曠野三把火 Fire in the Wilderness

版畫 / 木刻油印凸版

91×120cm

Woodcut/ Relief print

2016


17


煙花 Fireworks

版畫 / 木刻油印凸版

120×90cm ×2

Woodcut/ Relief print

2015


19


我在夜裡找尋你的身影 I Am Looking for You in the Night

版畫 / 木刻油印凸版

120×90cm ×3

Woodcut/ Relief print

2016


21


絢麗冬景 A Gorgeous Winter Landscape

版畫 / 木刻油印凸版

120×90cm

Woodcut/ Relief print

2016


23


沿途的風景 The Scenery along the Way

版畫 / 木刻油印凸版

60×90cm

Woodcut/ Relief print

2016


25


在一片枯寂之地 In a Desolated Land

版畫 / 木刻油印凸版

60×90cm

Woodcut/ Relief print

2016


27


夏夜 Summer Night

版畫 / 木刻油印凸版

60×90cm

Woodcut/ Relief print

2016


29


Beyond This Moment

版畫 / 木刻油印凸版

60×90cm

Woodcut/ Relief print

2015


31


你看不見我的悲傷 You Can Not See My Sorrows

版畫 / 木刻油印凸版

82×61cm

Woodcut/ Relief print

2015


33


晨曦 Dawn

版畫 / 木刻油印凸版

50×78cm

Woodcut/ Relief print

2016


35


清晨漫步 An Early Morning Walk

版畫 / 木刻油印凸版

50×77cm

Woodcut/ Relief print

2016


37


預言 Prophecy

版畫 / 木刻油印凸版

45×60cm

Woodcut/ Relief print

2014


未竟之處 Unfinished Place

45×60cm

版畫 / 木刻油印凸版

2014

Woodcut/ Relief print

39


心願 A Desire

版畫 / 木刻油印凸版

45×60cm

Woodcut/ Relief print

2015


朝霧 Morning Mist

45×60cm

版畫 / 木刻油印凸版

2015

Woodcut/ Relief print

41


Where to Go

版畫 / 木刻油印凸版

33×49.5cm

Woodcut/ Relief print

2015


他處 The Other Place

30×32cm

版畫 / 木刻油印凸版

2016

Woodcut/ Relief print

43


今是與昨是 Today and Yesterday

版畫 / 木刻油印凸版

33×35cm

Woodcut/ Relief print

2015


大事件 A Great Happening

31.5×31.5cm

版畫 / 木刻油印凸版

2015

Woodcut/ Relief print

45


我覓光走 I Hunt for the Light

版畫 / 木刻油印凸版

45×45cm

Woodcut/ Relief print

2015


你隨風來 You Came with the Wind

45×45cm

版畫 / 木刻油印凸版

2015

Woodcut/ Relief print

47


早安!子夜 Good Morning! Midnight

版畫 / 木刻油印凸版

65×100cm

Woodcut/ Relief print

2014


自黑夜綻放 Blooming in the Dark

60×90cm

版畫 / 木刻油印凸版

2014

Woodcut/ Relief print

49


江之彼方 Behind the River

版畫 / 木刻油印凸版

48×70cm

Woodcut/ Relief print

2014


穿過薄霧 Crossing the Mist

45×52.5cm

版畫 / 木刻油印凸版

2014

Woodcut/ Relief print

51


旅途— 1 Journey−1

右:版畫

2016

木 / 刻油印凸版

22.4×30cm

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

左:作品原版

版畫 / 木刻油印凸版、木刻原板、不鏽鋼鏡面、金屬烤漆


53


旅途— 2 Journey−2

右:版畫

2016

木 / 刻油印凸版

22.4×29.9cm

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

左:作品原版

版畫 / 木刻油印凸版、木刻原板、不鏽鋼鏡面、金屬烤漆


55


旅途— 3 Journey−3

右:版畫

2016

木 / 刻油印凸版

22.5×30cm

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

左:作品原版

版畫 / 木刻油印凸版、木刻原板、不鏽鋼鏡面、金屬烤漆


57


旅途— 4 Journey−4

右:版畫

2016

木 / 刻油印凸版

22.5×30cm

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

左:作品原版

版畫 / 木刻油印凸版、木刻原板、不鏽鋼鏡面、金屬烤漆


59


旅途— 5 Journey−5

右:版畫

2016

木 / 刻油印凸版

22.3×29.5cm

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

左:作品原版

版畫 / 木刻油印凸版、木刻原板、不鏽鋼鏡面、金屬烤漆


61


旅途— 6 Journey−6

右:版畫

2016

木 / 刻油印凸版

22.5×30cm

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

左:作品原版

版畫 / 木刻油印凸版、木刻原板、不鏽鋼鏡面、金屬烤漆


63


旅途— 7 Journey−7

右:版畫

2016

木 / 刻油印凸版

22.4×29.9cm

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

左:作品原版

版畫 / 木刻油印凸版、木刻原板、不鏽鋼鏡面、金屬烤漆


65


旅途— 8 Journey−8

右:版畫

2016

木 / 刻油印凸版

22.5×29.9cm

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

左:作品原版

版畫 / 木刻油印凸版、木刻原板、不鏽鋼鏡面、金屬烤漆


67


旅途系列場景照

Journey Series Exhibition View

104 × 36 × 38cm


69


場景照

Exhibition View


71


鍾女士 Madame Chung

紙平版

25×18cm ×100

Lithograph on paper

2016


73



75


場景照

Exhibition View


77


我對游雅蘭小姐作品的印象

文 東京藝術大學副教授

畫家

版畫家

三井田盛一郎

與游雅蘭小姐應該有 5 年左右沒有見面了吧?是 2011 年的事了,我們聊

作品的印象,不只會顯示描繪方式、也會顯示出表述的樣貌,構圖的草

了地震,在台灣發生的大地震跟最近在日本發生的地震。當時我的小孩

稿布局也跟描繪方式脈脈相連。這樣的描繪方式若透過木版畫的雕刻製

剛出生,我們也聊了有關小孩名字之類的事。她非常仔細、細心、專注

版與印製,也會轉化成作品所呈現的面貌,但是,她的作品給人的印象

地協助我在台北藝術大學舉辦的工作坊。工作坊在炎熱的夏天舉行,於

應該不是以解讀過程為目的。木版畫或那些固有的技法會形成強烈的形

校內的各種地方進行拓本採集,並且製作成感光樹脂版。如果她的作品

式,創作者自身應該對這些事有所自覺。因此在作品的構圖與構成中處

是以記憶、時間、自然、所記錄的圖像為階層、元素而成的話,那麼我的

處可看見那種為了跳脫形式而產生的糾葛。若觀賞者對於作品感覺到複

記憶是否也在游雅蘭小姐的作品之中呢?又或許這個問題早已離題了!

雜性的話,這正是創作者冒險後的結果。

「不僅是停格的片段,而是每個時刻的累積、延續而產生的風景。」以

在畫面上所出現的不可思議的光線的表象、透過明確的布局,引領我們

及潛藏於風景裡的人物。我們在觀看作品的時候,是依循路徑的。倘若

進入光的視界。創作者是在創作的過程中加入各種的隱喻,透過木板存

是東洋畫作,我會進入深山隱居、一邊與大自然對話,一邊探尋浸身於

有的多樣自然風貌,將記憶或是層積的光景相應到層層疊印之中。創作

在人類藝術發展中的自我。這不僅限於視覺作品,戲劇或電影如出一

者藉由版印的形式,把記憶與感動轉換成畫面與印象所交織而成作品的

轍,存在著路徑。若無從得知的話,無法進入創作者的世界。但是像我

樣貌。

們現代的創作者,不得不再次思考這理所當然的路徑,然後開始再次構 築路徑。我們是從何處取得印象的呢?從中再現畫面表述的可能性呢?

作者將自身的感動描繪、表現在作品中。當然我那離題的思考迴路一樣 還在,但是表現在作品中的那份自身的感動,卻感動了我。那份感動會

觀賞者能理解並解讀的路徑,最好是簡單明瞭。游雅蘭小姐作品的布局

轉移到面對作品時的人的記憶中繼續下去。游雅蘭小姐的作品,有著輕

構造,應是從自身的層級開始的,以風景與人物如此傳統的創作命題與

柔的移轉的力量。

不可思議的光點表現,是從個人的經驗而來的。在她欲表達這個經驗、 記憶與感情的同時,也將作品的語言以版畫的方式傳達出來。


我對游雅蘭小姐作品的印象

79


游雅蘭さんの作品 私はどのようにイメージを受け取るのか 文 東京藝術大学准教授

画家

版画家

三井田盛一郎

游雅蘭さんとは、もう5年ほど会っていないのではないだろうか。2011

の絵画の仕組みは、個人的なレベルから始められているようだ。風景と人

年だったと思う。地震の話をした。台湾での大きな地震のこと、日本で起

物という極めて伝統的な絵画の題材と不可思議な光の表象は、個人的な経

きたばかりの地震。私は子供を授かって、その子の名前の話などをした。

験からやってくる。彼女はこの経験、記憶や感情の襞を語ろうとした時、

彼女は、丁寧に繊細に注意深く、私が台北芸大で行ったワークショップの

絵画の言葉を印刷の方法で伝える。

面倒をみてくれていた。暑い夏の日、大学の中のいろいろな場所で拓本を 採って、樹脂の写真版に移行させていくワークショップだった。彼女の作

絵画イメージは、描き方のみならず物語の仕組みも示し、構図上のモチー

品が記憶、時間、自然、記録された画像の階層、積層からなっているとす

フの配置は描き方とも連動している。この描くことが木版画の彫刻による

ると、私の記憶は游雅蘭さんの作品になるのだろうか。この問いは随分と

製版と印刷であるなら、そのプロセスは絵画のイメージそのものを変える

ナンセンスかもしれない。

だろう。しかし、彼女の作品イメージはプロセスの解読を目的とはしてい ないようだ。木版画やその固有の技法は、強い形式を作り出す。作家はこ

「ストップモーションの断片だけではなく、積み重ねた時間から生まれた

のことに自覚的だろう。そこから逃れるための葛藤は作品の構図構成随所

風景」そして、風景には人物が潜んでいる。私たちは絵画を読むために、

に見られる。鑑賞者が作品に複雑さを読み取るとすれば、この作家の冒険

決め事が必要だ。東洋の絵画であれば、私は深い山に分け入り隠遁し自然

の結果なのだ。画面に現れる不可思議な光の表象は、明解な位置を持って

と対話しながら、人間の芸術的な営みを反復する私を訪ね同化する。これ

現れているだろう。そこに私たちは踏み入ることができる。作家は作画の

は絵画だけに限らず、演劇や映画でも様々な決め事を感じ、知らなければ

プロセスに様々な隠喩を滑り込ませ、作品を読めるように仕上げてゆくの

表現された世界に入り込むことは困難だ。しかし私たち現代の表現者は、

だ。同じ表情を一つとして持たない版木は自然を表し、記憶や受けとった

この自明のルールを改めて思考せざるを得ない。そしてルールそのものの

光景の重なりは、積層される印刷と対応していく。作家の記憶と感動は、

再構築を始める。私たちは何処からイメージを写し取ってくるのか?物語

印刷という形式をとった絵画の方法、イメージに置き換えられて作品化す

が現れる可能性は?

るのだ。

鑑賞者が理解し解読するルールは、シンプルであるほど良い。游雅蘭さん

作家は自分の感動を作品に写し、表現する。当然ながら私のナンセンスな


游雅蘭さんの作品― 私はどのようにイメージを受け取るのか

問いはナンセンスなままだ。それでも作品に表現された個人の感動は、私 を感動させる。それは作品と対峙した者の記憶に写し撮られ、更新してい くだろう。游雅蘭さんの作品には、柔らかな移行の力がある。

81


如果情感可以複印— 游雅蘭的版畫創作 文 《藝術家》總編輯

莊偉慈

1 版畫作為一門藝術,受限於形式的關係,其創作過程與一般的繪畫是相

置放置在畫面中心,圖的下方以塊面組成的曲線暗示流動的河水,而雨

當不同的。繪畫大多訴諸於直覺,透過畫家身體與心智的勞動,將腦中

景的構成,依據游雅蘭的描述,是以「單版複刻先印一層黑色,採顛倒

的想像、心中的情感直接透過手與畫筆流露於紙上。但版畫並不是這樣

色序,接著才在版面上刻下表現雨點的細線。」與歌川廣重的作品相較,

的,如果細看版畫的創作過程,會發現它融合繪畫與雕塑的特質;除此

游雅蘭所構築的場景並非由細密的線條描繪驟雨的畫面,而是舒朗有致

之外,有些版畫也具有出版紀錄的性質,換句話說,其能被合理複製的

的直線,一道道地由上方往下劃過。如果說歌川廣重是透過又急又大的

特性,是帶有紀實意味在其中的。

雨勢來描繪平民百姓的生活情景,那麼在游雅蘭的小風景中,寫的則是 相對輕盈、如夢或電影一般的超現實場景。

游雅蘭的版畫是屬於「單版複刻」,作品需經由重覆刻板與上墨的程序 才能完成。在創作的前置作業,游雅蘭習慣先在筆記本上製作草稿,確

「對我來說,版畫的製作過程是特別不同的,我喜歡用雕刻刀慢慢地在

認所要繪畫的內容,才會進入刻板的工作。而在這個過程中,藝術家必

板上雕刻,享受將畫面喚出來的感覺。」游雅蘭說,自己是在大學時期

須一刀一刀,慢慢地將作品中的空間勾勒出來,有時候動作是輕微細膩

才開始接觸版畫,對她而言,木板有個特殊的質地,而刀子不斷與木板

的,而有時候是豪爽地刷出塊面。因此,這過程與其說是繪畫,更多時

接觸時,動作必須是機械且精準的。「這種重複性對我彷彿有種能靜心

候更像是雕塑,藝術家經由刀在木板上重複地來回巡梭,始能將圖像從

的作用,刻板子的時候總能抹除掉我心中的雜念與不安,將我帶到一個

平面中召喚出來。

平靜的時空。」由此來觀看游雅蘭的作品,便不能理解何以其中總是存 有安靜的質地與個性。

提到版畫,許多人會想到的也許是歌川廣重以及葛飾北齋的作品,兩位 大師在版畫中所展現出的線條力道以及富有戲劇性張力的表現,對於後

2

世的藝術家有著極大的影響,其中歌川廣重的〈大橋驟雨〉與〈龜戶梅

在游雅蘭的版畫作品中,並沒有一般版畫所給予觀者的印象:精準、銳

園〉兩件作品也曾被梵谷臨摹。游雅蘭在研究所時期的風景畫,《小風

利與清晰。相反地,她所創造出來的畫面多半在細節處有著刻意模糊曖

景系列》中第一件作品也受〈大橋驟雨〉的影響。這件作品將島嶼的位

昧的安排,而也正是在這些細微的地方,許多幽微的情緒得以透過顏色


如果情感可以複印—游雅蘭的版畫創作

傳遞。她的畫面在安靜、沉靜的氣氛中,時而甜蜜、時而輕盈,偶爾是

的藝術是在於創造出原本存有在物質中的形象,那麼游雅蘭的創作中,

清寂,或是更為沉重的情緒;不管是哪一種,觀者都能從畫面中找到

繪畫的形成不在畫筆,而是在刀與板的接觸之間,慢慢地浮現出來的,

相應的位置,安適地待在其中,感受一個看似在凡間,但實則超脫於

換句話說,是透過藝術家的雕刻刀而被喚醒。

塵世的小宇宙。就這一點而言,可以說游雅蘭的作品是充滿著象徵性 意味的。

當然,一個物件之所以能被稱之為藝術,在技巧之外,最重要的還是來 自於藝術家的美感經驗。無論是繪畫、雕塑或是版畫,雖然都要透過藝

在過去的文學和藝術史中,象徵主義曾佔有重要地位。象徵主義的詩人

術家的勞動才能獲得成果,但作品的完成其實有賴於「做」與「感知」

以「感通」(correspondence)為其主要的創作美學根據。所謂感通,是

兩者同時的結合。游雅蘭描述自己在刻板子的時候,是一個極度專注卻

以被視覺化的、富有色彩的聽覺現象為創作基礎。象徵主義的詩人認

也平靜的狀態,我們不難想像,在此創作過程中,無論最終的畫面是如

為,在自然界的形象與人的心靈之間存在複雜多變的交響關係,而色

何被生成,這些存在她身體中的經驗,確實具有美感特質;而這些抽象

彩、聲音、氣味、形態也與人的心靈之間隱含著某種程度的契合。也

的情感,透過藝術家的手與眼、甚至是身體的牽引而最終被具體化於板

就是說,透過創作,能夠將感受轉而呈現、作用於作品上,而藝術的感

上。儘管顏色的運用是來自於藝術家的直覺,但藝術創作是一種視域形

通則植基於審美心理學所謂的移情作用上,聽覺的感受能喚起視覺的感

成的過程,游雅蘭無論是在板上的雕刻,或是用色、上墨到壓印,這一

受,反之亦然。

連串的程序既是作品成形的工程,同時也意味著在動作與動作間的構 連,藝術家不斷地將自身的經驗、感知注入於作品中,最終而能將完整

在觀看游雅蘭的作品時,觀者常常能自然地就被其畫面中的氛圍所吸 引,即是受到「感通」作用的影響;有時候是湖面出現的波紋、有時候

的美感經驗產出。

則是螢火般的微光,每位觀者都會從中各自對應到自身的感受。談到創

3

作時,游雅蘭說,那些畫面雖然都是自己在生活中見過的,但總是在一

從〈The Night Starts Here〉、〈在霧中〉到今年的新作〈煙花〉、〈曠野

刀一劃的過程中,所有的元素慢慢生成而有了自己的模樣。如果說雕刻

三把火〉與〈Where to go〉,游雅蘭在處理風景題材上的手法,或是構

83


圖與用色,除了延續個人風格,也帶入了不同的情感表現。

畫面切割成 2:3 的比例,路徑底端的點點光線與模糊的色塊,讓觀者 不知道此路通往何處,卻隱隱感覺到後方空間的存在,這種帶有隱喻的

在整體構圖與場景設定,可看到在 2014 年以前游雅蘭的畫作聚焦在特

構圖同樣也暗示了私密而幽微的心理空間。而〈清晨漫步〉雖有人物的

定風景上,視野通常像是透過定焦鏡看到的攝影場景,整體的影像感較

出現,但透過樹幹與人在比例上的反差以及留白效果,同樣也指涉著難

一般的繪畫來得強。由於版畫製作特質的緣故,繪畫性的處理相對扁

以言說但卻又強烈的情感——一種被稱之為寂寞或疏離的情感。

平,但也因此彷彿能將真實的時間從畫面中抽離,保留住場景的溫度與 氛圍。在游雅蘭所創造的風景中,有相當大的比例像是寫生般地描繪野

在 2016 年的個展中,「鍾女士」系列是游雅蘭為母親而做。游雅蘭選

地,從湖水、河流、草叢到林地,有時營造出神祕曖昧的空間感、偶爾

用母親的照片,影像先經過手繪成圖畫後再以平版複印,儘管畫面帶著

韻律也輕盈如春天的腳步。在此階段的創作,可以看出藝術家如何將生

粗糙的質感,不訴諸技巧的展現,但具有手感的作法,彷彿將對母親深

活中的感觸——無論是來自於旅行、閱讀或是其他活動的感受——凝縮

刻的凝視與感情藉由轉印保存起來。在此,我們可以看到游雅蘭是如何

轉化過後藉由版畫創作一一展現。如同游雅蘭所言,電影或者觀看過的

透過版畫創作將藝術與生命緊密連繫,她含蓄卻也純真地將自己的情感

影像,或多或少都影響了她的構圖,也許正因為她習於隨手畫下看過的

用藝術複印一遍。

景觀和影像,使得她的風景畫像是被框定好的場景,經由藝術家的轉譯 後展現出更為純粹的景緻。

顯然,對游雅蘭而言,藝術創作之於她,最大的意義是得以將生活中各 式各樣的情感找到對的位置擺放。談到版畫裡使用的色調時,她曾透露

在近期的創作,游雅蘭作品中的情緒張力明顯與以往不同,部分作品的

用色多多少少都會反映出生活的情緒,如果創作可以作為生活的出口,

戲劇性變得更加強烈。如〈曠野三把火〉中,主題聚焦在前景的紅黃相

那麼藝術也許正是游雅蘭與這個世界連結的方式吧。

間的光線,與後方暗色山林形成強烈的對比,圖中並未暗示人跡的出 現,僅有中景三點火燄,此場景既神祕又熱烈,映照出一種渴望溫暖卻 又未必被察覺的心情。〈沿途的風景〉在構圖上則是透過路徑的安排將


如果情感可以複印—游雅蘭的版畫創作

85


If Emotions Could Be Duplicated— Yu Ya-Lan’s Print Art

by

Chuang Wei-Tzu Chief Editor of Artist Magazine

1. Print art, as an art form, has a very different art-making process from the general practice of painting. The latter is mostly intuitive. Through the interactive movements of hands and painting brushes, as the labor of body and mind, it reveals painters’ imagination and emotions on paper or canvas. Print art is nothing like this. If we carefully observe its art-making process, we will soon notice how it integrates the characteristics of painting and sculpture. Some are even regarded as documents for its duplicability, so the art form can be documentary as well. Yu Ya-Lan’s print art is categorized as “viscosity printing ,” a multi-color printmaking technique featuring repetitive use of a single plate and ink-coloring. In the preparation phase, Yu usually sketches the images in her notebook. Once she is sure about the images, she begins the carving process, during which the artist, stroke by stroke, slowly and carefully creates the scenes of the work. Some strokes are soft and gentle, almost imperceptible, while some are aggressive and straightforward made into generous blocks. It is more like sculpturing rather than painting. The artist moves the carving knives back and forth on the plate, evoking the scenes from the two-dimensional surface. When we talk about print art, the first thing which comes to mind may be the works by masters Utagawa Hiroshige and Katsushika Hokusai, who are known for their vigorous contours and dramatic intensity. Their works have greatly influenced the later generation of artists, including Van Gogh who copied Utagawa Hiroshige’s Sudden Shower and Plum Orchard at Kameido. The first piece in Yu’s landscape print series Little Scenes, created when she was still in graduate school, also shows

the influence of Sudden Shower. The artwork places the island in the center, above the block-unit curve lines, which suggest a flowing river. According to Yu, she “first printed the black ink and reversed the color sequence before she carved the rainlike thin lines.” Compared to Utagawa Hiroshige, the shower scene constructed by Yu is not the delicate dense threads but clear and straightforward lines carved from top to down. If Utagawa Hiroshige depicts common people’s daily life in a rush and fierce shower, then Yu’s Little Scenes feature a much more ethereal scene, as surrealistic as a dream or a movie. “For me, the art-making process of print art is unique and different; I am particularly fond of the slowness when I carve the plate with a knife and quite enjoy the way how the image is visualized,” says Yu. She further explains that her first encounter with print art was in college. She has always been fascinated by the unique texture of woodblock which requires a mechanic and precise gesture to exercise the carving knife on the plate. “Such a repetition seems to have a soothing effect to pacify myself, while all my disturbances and anxieties are driven away by carving the plate as if I were carried to a tranquil world,” says Yu. Her words perfectly interpret the serenity in her works.

2. In Yu’s print art, we seldom see the usual precision, sharpness, and clarity which is used to define the practice. On the contrary, the images she creates are mostly known for the deliberate obscurity and ambiguity especially in the details, where


If Emotions Could Be Duplicated —Yu Ya-Lan’s Print Art

the subtle emotions are visualized through colors. In her serene images, the artist reveals various emotions, including sweetness, lightness, solitude, or graveness. No matter what it is, viewers are allowed to find a corresponding position in the image to rest our gaze, perceiving a microcosmic world which seems to be mundane but in fact celestial. It is what makes Yu’s works symbolic as well. Symbolism has played a significant role throughout the history of art and literature. For symbolist poets, the aesthetic foundation of their artistic pursuit is “correspondence” – a method to visualize and color the sense of hearing. They believe that there is a complicated and variable symphonic relationship between Nature and human mind/spirit, while the latter also shares certain degree of correspondence with colors, sounds, scents, and forms. In other words, artmaking makes it possible to transform the emotions into artworks. The artistic correspondence is the result of “empathy” in the aspect of aesthetic psychology: the sense of hearing evokes visual perception, and vice versa. Under the influence of “correspondence,” viewers are easily intrigued by the atmosphere of Yu’s images when viewing her artworks. No matter whether it is the ripple in the lake or the shimmering fluorescent spark, each viewer can find their own corresponding feeling from the scenes. Yu further describes her artistic exploration that although the images come from what she has seen in real life, the stroke-by-stroke carving process allows these elements to develop their own images. If the art of sculpture is to create an image from the existing materials, we can say that the art of Yu is never visualized by paintbrushes but slowly emerges from the

knife-and-plate encounter. In other words, it is awaken by the artist’s carving knives. Indeed, the reason why an object is considered a work of art mostly comes from, apart from skills, the artist’s aesthetic experience. Any artwork, be it a painting, sculpture, or print, will never be created without artists’ labor, but the completion somehow depends on the integration of “making” and “corresponding.” Yu has once described herself being in a state of concentration and serenity when she works on the plate. Through her words, we can easily imagine that no matter how the final image is visualized during the artmaking process, these experiences carried within her body are definitely aesthetic. The abstract emotions are eventually made into the concrete images on the plates by the artist’s hands, eyes, or even the movement of her body. The use of color might be intuitive, but the art-making process is the formation of a vision. The whole process which begins with carving, coloring, inking, to printing is the gradual formation of an artwork, while it also accentuates the connection among various movements, with which the artist continuously infuses her personal experiences and perceptions into the works to produce an integrated aesthetic experience.

3. From The Night Starts Here and Wandering in the Mist to this year’s latest works Fireworks, Fire in the Wilderness, and Where to Go, Yu not only continues her artistic signature in these landscape works in terms of styles, compositions, and colors but also brings in a very different approach to deal with emotions.

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The overall composition and the establishment of scenes still show a trace of Yu’s previous style, mostly seen in the works before 2014, with its focus on specific landscape to create a photographic vision as if it were captured by prime lens. Compared to paintings in general, it achieves a much more intensified visuality. Because of the unique art-making process of print art, the painterliness of the medium, regardless of its flatness, seems to make it possible to remove actual time from the image to maintain the temperatures and atmosphere of the scenes. In the landscape created by Yu, a great portion of it is the life sketch-like depiction of the wilderness, such as lake, rivers, scrubland, or forests – some are mysterious and obscure spaces, while some pose themselves with spring-like lightness. In the artworks from this phase, we see how the artist transforms and crystalizes the thoughts of life – the feelings triggered by traveling, reading, or other activities – into prints. According to Yu, movies or the images from her real life experiences more or less influence the composition, probably as a result of her habit to sketch what she sees instantly. It makes her landscape prints a well-framed scene, interpreted by the artist to express the purest vision. Yu’s recent works obviously demonstrate a quite different emotional intensity from her previous ones. Some of them are much more dramatic. Take Fire in the Wilderness for example, the focus is red rays alternating with yellow rays in the foreground, creating a sharp contrast to the dark and obscure mountain/forest in the background. Without any trace of humans, the image features three sparks of fire in the center, mysterious but yet passionate, reflecting the almost imperceptible desire for warmth. As for the composition of The Scenery along the Way, the

paths cut the image into a 2:3 allotment. The shimmering lights and the vague color patches at the end of the paths implicitly suggest another space behind. The symbolic composition perfectly echoes the subtle, intimate psychological space. In An Early Morning Walk, in spite of the unusual presence of human beings, the proportional contrast between tree trunks and human bodies as well as the intentional blankness both lead to the strong emotions which can hardly be specified by words – something understood as “loneliness” or “alienation.” The 2016 solo exhibition features Madame Chung series, dedicated to the artist’s mother. Yu selected several photos of her deceased mother, drew the images based on the photos, and made printed copies with plates. The images seem rough and unpolished, but the manual labor which rejects the dominance of skill somehow transcribes and preserves the artist’s heart-reaching gaze and emotions toward her mother. Here, we see how Yu connects her life and artistic pursuit through print art. The works of art become the implicit copies of her pure and honest emotions. Apparently, the true meaning of art-making for Yu is to place the various everyday emotions in the right places. She has once shared with us about the use of colors in her print works, which, in her belief, is more or less the reflection of life experiences and emotions. If art-making opens us a window in our lives, perhaps art is the way Yu connects with the world.


If Emotions Could Be Duplicated —Yu Ya-Lan’s Print Art

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游雅蘭

游雅蘭 1987 年出生於台灣雲林, 2010 年及 2014 年分別畢業於國立台北 藝術大學美術學系及美術學院碩士班創作組。

Yu Ya-Lan 以版畫為主要的創作媒材,作品描述日常生活中無法用語言精確表達的 內心情感,她認為每段記憶會隨著時間而有所變化,誘發出的情緒感受

b.1987

也隨之不同,因此她選擇以一版複刻這種不可復返的方式,在木板特有 的肌理紋路上,以雕刻刀刻出疏密不一、流暢和諧的線條,而這些線條 也記錄下她的創作當下的情感變化,凝縮此刻的記憶。

2012 年入選台北國際藝術博覽會「Made in Taiwan 新人推薦特區」。作 品《閉上眼你所看見的都一切美好》、《Life Is Only on Earth, and Not for

Long》、《熠熠》獲國立台灣美術館典藏。


Yu Ya-Lan was born in 1987 in Yunlin, Taiwan. She obtained both a Bachelor’s and Master’s degree in Fine Arts from the Taipei National University of the Arts in 2010 and 2014, respectively. The artist uses printmaking as a creative medium to depict inner feelings she experiences everyday, but is unable to accurately express in words. She believes that memories and induced emotional feelings vary over time. She uses the woodcut technique because once a cut is made, it cannot be unmade. Unique patterns of lines on the woodblock, smooth and harmonious strokes carved out in different density record emotional changes and memories appearing during the moment of creation. Yu Ya-Lan was selected into the “Made in Taiwan – Young Artist Discovery” at Art Taipei art fair in 2012. Her works Close Your Eyes, You Will See, Life Is Only on Earth, and Not for Long and Brilliant have been collected by the National Taiwan Museum of Fine Arts.

91


學歷 2014 國立台北藝術大學美術學院碩士班創作組碩士,台北,台灣 2010 國立台北藝術大學美術學系學士,台北,台灣

個展 2016 「凝光映語-游雅蘭個展」,尊彩藝術中心,台北,台灣 2014 「無生之中-游雅蘭個展」,岩筆模,台北,台灣

「散落在記憶中的光點」,槩藝術,台北,台灣

2012 「缺空-游雅蘭個展」,典藏創意空間,台北,台灣

「親愛的莎勒泰瑞-游雅蘭版畫個展」,日光大道健康廚坊,台北,台灣

2010 「Close -游雅蘭個展」,鹹花生展場,台北,台灣

聯展 2015 「台日德韓國際青年版畫交流展」,國立臺南生活美學館,台南,台灣

「2015 高雄藝術博覽會」,城市商旅,高雄,台灣

「台灣美術新貌展-平面創作系列」,台中市港區藝術中心展覽室 A,台中,台灣

「閱讀藝術 II -夏祭聯展」,尊彩藝術中心,台北,台灣

「2015 台中藝術博覽會」,台中日月千禧酒店,台中,台灣

「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,高雄,台灣

「台灣美術散步道:1927-2014」,尊彩藝術中心,台北,台灣

「中華民國第十六屆國際版畫雙年展」,國立台灣美術館,台中,台灣


「2014 台中藝術博覽會」,台中日月千禧酒店,台中,台灣

「2014 台北當代國際藝術博覽會」,晶華酒店,台北,台灣

「真實在他方」,弔詭畫廊,高雄,台灣

「2014 台南藝術博覽會」,台南大億麗緻酒店,台南,台灣

「新北市美展」,新北市藝文中心,新北市,台灣

2013 「Doors Art Fair 藝術博覽會」,首爾,南韓

「2013 高雄藝術博覽會」,翰品酒店,高雄,台灣

「對味生活-版畫六人創作展」,福華沙龍,台北,台灣

「圓地打轉」,東海大學藝術中心,台中,台灣

「超版畫 II -美好事物的起源|五人版畫聯展」,槩藝術,台北,台灣

「2013 台北當代國際藝術博覽會」,台北喜來登大飯店,台北,台灣

「如影形隨」,尊彩藝術中心,台北,台灣

「繁星閃閃-代理藝術家聯展」,尊彩藝術中心,台北,台灣

「閱讀藝術」,尊彩藝術中心,台北,台灣

「台中市第十八屆大墩美展」,大墩文化中心,台中,台灣

2012 「北京版畫博覽交易會」,百雅軒 798 藝術中心,北京,中國

「2012 台北國際藝術博覽會 Made in Taiwan 新人推薦特區」,台北世界貿易中心,台北,台灣

「中華民國第十五屆國際版畫雙年展」,國立台灣美術館,台中,台灣

「期許超過八個季度:國立台北藝術大學美術學院美術創作碩士班 99 級畢業展覽」,

國立台北藝術大學,台北,台灣

「第十四屆 VDAY 曬衣繩行動-藝術家手創 T-shirt 慈善義賣」,台北,台灣

「小展覽-九人聯展」,國立台北藝術大學美術系南北畫廊,台北,台灣

「新北市美展」,新北市藝文中心,新北市,台灣

2011 「龍來過年-版畫特展」,國立傳統藝術中心,宜蘭,台灣

「行旅藝創-淡水漁人碼頭滬水一方開幕特展」,新北市,台灣

2010 「繁衍撞擊-台灣韓國國際版畫展」,國立台灣藝術大學,台北,台灣

「全國版畫展」,佛光緣美術館,宜蘭,台灣

93


「國立台北藝術大學 99 級新生入學展」,國立台北藝術大學,台北,台灣

「北縣美展」,台北縣藝文中心,台北市,台灣

2009 「國立台北藝術大學美術系 23 屆系展」,國立台北藝術大學,台北,台灣 2008 「薛丁格的箱子-畢業展」,國立台北藝術大學,台北,台灣 2006 「1+1+1+1 -四人聯展」,國立台北藝術大學美術系南北畫廊,台北,台灣

「溝通臨界點」,嘉義市鐵道藝術村四號倉庫,嘉義,台灣

獲獎 2016 「中華民國第十七屆國際版畫雙年展」,入選,台灣 2015 「台灣美術新貌展-平面創作系列」,入選,台灣 2014 「中華民國第十六屆國際版畫雙年展」,入選,台灣

「新北市美展」,全國組版畫類第三名,台灣

2013 「台中市第十八屆大墩美展」,版畫類第一名,台灣 2012 「2012 台北國際藝術博覽會 Made in Taiwan 新人推薦特區」,入選,台灣

「新北市美展」,全國組版畫類第一名,台灣

「中華民國第十五屆國際版畫雙年展」,入選,台灣

2010 「北縣美展」,全國組版畫類優選,台灣 2009 「國立台北藝術大學美術系 23 屆系展」,版畫類第三名,台灣

典藏 2015 《熠熠》,國立台灣美術館,台中,台灣 2012 《閉上眼你所看見的都一切美好》,國立台灣美術館,台中,台灣

《Life Is Only on Earth, and Not for Long》,國立台灣美術館,台中,台灣


EDUCATION 2014

MFA, School of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan

2010

BFA, Taipei National University of the Arts, Taipei, Taiwan

SOLO EXHIBITIONS 2016

“Words under the Reflection of Lights – Yu Ya-Lan’s Solo Exhibition”, Liang Gallery, Taipei, Taiwan

2014

“In Between Void – Yu Ya-Lan’s Solo Exhibition”, MBmore, Taipei, Taiwan

“The Light Amidst Memory,” Gai Art, Taipei, Taiwan

2012

“Yu Ya-Lan’s Solo Exhibition”, Art and Collection Inspiration Zone, Taipei, Taiwan

“Dear Mr. Solitary – Yu Ya-Lan’s Solo Exhibition of Prints”, Sonnentor Café, Taipei, Taiwan

2010

“Close – Yu Ya-Lan’s Solo Exhibition”, Salt Peanuts, Taipei, Taiwan

GROUP EXHIBITIONS 2015

“International Print Exhibition of Young Artists”, National Tainan Living Art Center, Tainan, Taiwan

“Art Kaohsiung 2015”, City Suites, Kaohsiung, Taiwan

“Exhibition of the Newly Emerging Artists in Taiwan – 2D Creation Series”, Taichung City Seaport Art Center Exhibition Room A,

Taichung, Taiwan

“Art in the Library II – Summer Festival Exhibition”, Liang Gallery, Taipei, Taiwan

“Art Taichung 2015”, Millennium Hotels, Taichung, Taiwan

“Art Tainan 2015”, Tayih Landis Hotel, Tainan, Taiwan

“Freshness of March”, Liang Gallery, Taipei, Taiwan

2014

“Art Kaohsiung 2014”, Chateau de Chine, Kaohsiung, Taiwan

95


“Walking by Taiwanese Art: 1927-2014”, Liang Gallery, Taipei, Taiwan

“International Biennial Print Exhibit: 2014 ROC”, National Taiwan Museum of Fine Arts, Taichung, Taiwan

“Art Taichung 2014”, Millennium Hotels, Taichung, Taiwan

“Young Art Taipei 2014”, Regent Taipei Hotel, Taipei, Taiwan

“Reality Is Somewhere Out There”, Crane Gallery, Kaohsiung, Taiwan

“Art Tainan 2014”, Tayih Landis Hotel, Tainan, Taiwan

“The Art Exhibition of New Taipei City”, New Taipei City Arts Center, New Taipei City, Taiwan

2013

“Doors Art Fair Seoul”, Seoul, Korea

“Art Kaohsiung 2013”, Chateau de Chine, Kaohsiung, Taiwan

“Prints Life – Prints Exhibtiion”, Howard Salon, Taipei, Taiwan

“The Circle Game“, Tunghai University Art Center, Taichung, Taiwan

“Trans-Prints,” Gai Art Gallery, Taipei, Taiwan

“Young Art Taipei 2013”, Sheraton Grande Taipei Hotel, Taipei, Taiwan

“The Following Shadow”, Liang Gallery, Taipei, Taiwan

“Spring Exhibition: Starry Night Sky", Liang Gallery, Taipei, Taiwan

“Art in the Library”, Liang Gallery, Taipei, Taiwan

“The 18th Da Dun Fine Arts Exhibition of Taichung City”, Dadun Cultural Center, Taichung, Taiwan

2012

“The 2012 Beijing Print Expo”, Baiyaxuan 798 Art Center, Beijing, China

“Art Taipei 2012: Made in Taiwan – Young Artist Discovery”, Taipei World Trade Center, Taipei, Taiwan

“International Biennial Print Exhibit: 2012 ROC”, National Taiwan Museum of Fine Arts, Taichung, Taiwan

“More Than Eight Quarters of Expectation: MFA Program New Graduate Student Exhibition”, Taipei National University of the Arts, Taipei, Taiwan

“The 14th VDAY Clothesline Project – Artists Handmade T-shirts for Charity Fair”, Taipei, Taiwan

“Petit Exhibition”, North-South Gallery of the Taipei National University of the Arts, Taipei, Taiwan

“The Art Exhibition of New Taipei City”, New Taipei City Arts Center, New Taipei City, Taiwan

2011

“Year of the Dragon – Exhibition of Prints”, National Center for Traditional Arts, Yilan, Taiwan

“Art Voyage – Tamsui Fisherman’s Wharf Hushui Side Art Space Opening Exhibition”, New Taipei City, Taiwan

2010

“Taiwan Korea International Print Exhibition”, National Taiwan University of Arts, Taipei, Taiwan


“National Printmaking Exhibition”, Fo-Guang-Yuan Art Gallery, Yilan, Taiwan

“Dismemberment – Exhibition for Freshman of MFA Program”, Taipei National University of the Arts, Taipei, Taiwan

“The Art Exhibition of Taipei County”, Taipei County Arts Center, New Taipei City, Taiwan

2009

“The 23rd Exhibition of the Department of Fine Arts of the Taipei National University of the Arts”, Taipei National University of the Arts, Taipei, Taiwan

2008

“Schrödinger's Box – Graduation Exhibition”, Taipei National University of the Arts, Taipei, Taiwan

2006

“1+1+1+1 – Four Artists Exhibition ”, North-South Gallery of the Taipei National University of the Arts, Taipei, Taiwan

“Contact Critical Point”, Art Site of Chiayi Railway Warehouse, Chiayi, Taiwan

AWARDS 2016

“International Biennial Print Exhibit: 2016 ROC”, Selected, Taiwan

2015

“Exhibition of the Newly Emerging Artists in Taiwan – 2D Creation Series”, Selected, Taiwan

2014

“International Biennial Print Exhibit: 2014 ROC”, Selected, Taiwan

“The Art Exhibition of New Taipei City”, Third Prize in the Prints Category, Taiwan

2013

“The 18th Da Dun Fine Arts Exhibition of Taichung City”, First Prize in the Prints Category, Taiwan

2012

“Art Taipei 2012: Made in Taiwan – Young Artist Discovery”, Selected, Taiwan

“The Art Exhibition of New Taipei City”, First Prize in the Prints Category, Taiwan

“International Biennial Print Exhibit: 2012 ROC”, Selected, Taiwan

2010

“The Art Exhibition of Taipei County”, Merit Award in the Prints Category, Taiwan

2009

“The 23rd Exhibition of the Department of Fine Arts of the Taipei National University of the Arts”, Third Prize in the Prints Category, Taiwan

COLLECTIONS 2015

Brilliant, National Taiwan Museum of Fine Arts, Taichung, Taiwan

2012

Close Your Eyes, You Will See, National Taiwan Museum of Fine Arts, Taichung, Taiwan

Life Is Only on Earth, and Not for Long, National Taiwan Museum of Fine Arts, Taichung, Taiwan

97



圖 錄

Catalog

99


15

17

18-19

煙花 迷幻森林

Fire in the Wilderness

Mystic Forest 版畫 / 木刻油印凸版 Woodcut/ Relief print

Fireworks

曠野三把火 91×120cm 2016

20-21

版畫 / 木刻油印凸版 Woodcut/ Relief print

版畫 / 木刻油印凸版 Woodcut/ Relief print

91×120cm 2016

23

25

沿途的風景

我在夜裡找尋你的身影

The Scenery along the Way

I Am Looking for You in the Night 版畫 / 木刻油印凸版 Woodcut/ Relief print

120×90cm ×3 2016

Woodcut/ Relief print

A Gorgeous Winter Landscape Woodcut/ Relief print

27

版畫 / 木刻油印凸版

絢麗冬景 版畫 / 木刻油印凸版

31

在一片枯寂之地

夏夜

In a Desolated Land

Summer Night

Woodcut/ Relief print

60×90cm 2016

60×90cm 2016

120×90cm 2016

29

版畫 / 木刻油印凸版

120×90cm ×2 2016

版畫 / 木刻油印凸版 Woodcut/ Relief print

Beyond This Moment 60×90cm 2016

版畫 / 木刻油印凸版 Woodcut/ Relief print

60×90cm 2015


33

35

Woodcut/ Relief print

晨曦

清晨漫步

Dawn

An Early Morning Walk

版畫 / 木刻油印凸版

你看不見我的悲傷

Woodcut/ Relief print

You Can Not See My Sorrows 版畫 / 木刻油印凸版

37

50×78cm 2016

39

未竟之處

Prophecy

Unfinished Place 45x60cm 2014

41

版畫 / 木刻油印凸版 Woodcut/ Relief print

心願 A Desire 45×60cm 2014

42

朝霧

Woodcut/ Relief print

版畫 / 木刻油印凸版 Woodcut/ Relief print

45×60cm 2015

43

Where to Go

Morning Mist 版畫 / 木刻油印凸版

50×77cm 2016

40

預言

Woodcut/ Relief print

Woodcut/ Relief print

82×61cm 2015

38

版畫 / 木刻油印凸版

版畫 / 木刻油印凸版

45×60cm 2015

版畫 / 木刻油印凸版 Woodcut/ Relief print

33×49.5cm 2015

他處 The Other Place 版畫 / 木刻油印凸版 Woodcut/ Relief print

30×32cm 2016


45

44

46

今是與昨是

大事件

我覓光走

Today and Yesterday

A Great Happening

I Hunt for the Light

版畫 / 木刻油印凸版 Woodcut/ Relief print

版畫 / 木刻油印凸版

33×35cm 2015

47

Woodcut/ Relief print

31.5×31.5cm 2015

48

Woodcut/ Relief print

版畫 / 木刻油印凸版

45×45cm 2015

自黑夜綻放

Woodcut/ Relief print

Blooming in the Dark 65×100cm 2014

51

版畫 / 木刻油印凸版 Woodcut/ Relief print

60×90cm 2014

52-53

江之彼方

旅途— 1

Behind the River Woodcut/ Relief print

45×45cm 2015

49

Good Morning! Midnight

50

版畫 / 木刻油印凸版

Woodcut/ Relief print

早安!子夜

你隨風來 You Came with the Wind 版畫 / 木刻油印凸版

版畫 / 木刻油印凸版

48×70cm 2014

穿過薄霧

Journey−1

Crossing the Mist 版畫 / 木刻油印凸版 Woodcut/ Relief print

45×52.5cm 2014

版畫 / 木刻油印凸版、木刻原板、 不鏽鋼鏡面、金屬烤漆 Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

22.4×30cm 2016


54-55

56-57

58-59

旅途— 2

旅途— 3

旅途— 4

Journey−2

Journey−3

Journey−4

版畫 / 木刻油印凸版、木刻原板、 22.5×30cm 2016 不鏽鋼鏡面、金屬烤漆

版畫 / 木刻油印凸版、木刻原板、 不鏽鋼鏡面、金屬烤漆

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

版畫 / 木刻油印凸版、木刻原板、 不鏽鋼鏡面、金屬烤漆

22.4×29.9cm 2016

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

60-61

62-63

64-65

旅途— 5

旅途— 6

旅途— 7

Journey−5

Journey−6

Journey−7

版畫 / 木刻油印凸版、木刻原板、 不鏽鋼鏡面、金屬烤漆

22.3×29.5cm 2016

版畫 / 木刻油印凸版、木刻原板、 不鏽鋼鏡面、金屬烤漆

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

66-67

22.5×30cm 2016

22.5×30cm 2016

版畫 / 木刻油印凸版、木刻原板、 不鏽鋼鏡面、金屬烤漆

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

22.4×29.9cm 2016

Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

72-77

歷年作品

旅途— 8 Journey−8 版畫 / 木刻油印凸版、木刻原板、 22.5×29.9cm 2016 不鏽鋼鏡面、金屬烤漆 Woodcut/ Relief print, wood panel, stainless steel mirror, metallic paint

鍾女士

在幽谷之地

Madame Chung 紙平版 Lithograph on paper

In the Valley 25×18cm×100 2016

版畫 / 木刻油印凸版 Woodcut/ Relief print

142×80cm 2014


Sleep No More

熠熠

版畫 / 木刻油印凸版

Brilliant 版畫 / 木刻油印凸版 Woodcut/ Relief print

80×142cm 2014

Woodcut/ Relief print

48×90cm 2014

未曾佇足停留的風景 Miss the Scenery 版畫 / 木刻油印凸版 Woodcut/ Relief print

晚霞餘暉

在雲上

Afterglow

On the Top of the Cloud 版畫 / 木刻油印凸版 Woodcut/ Relief print

45×52.5cm 2014

42×60cm 2014

版畫 / 木刻油印凸版

冬日

Woodcut/ Relief print

One Day in Winter 版畫 / 木刻油印凸版 Woodcut/ Relief print

22.5×30cm 2014

30×22.5cm 2014

小島 版畫 / 木刻油印凸版 Woodcut/ Relief print

你的身體化成星幻宇宙

天上的樹

The Island 10×13cm 2014

Your Body Turned Into a Magical Starry Universe

A Tree in the Sky 版畫 / 木刻油印凸版 Woodcut/ Relief print

15×15cm 2014

版畫 / 木刻油印凸版 Woodcut/ Relief print

15×15cm 2014


消散的風景

化成自然

夜之森

Dissipated Scenery

Embracing Nature

A Night in the Forest

版畫 / 木刻油印凸版 Woodcut/ Relief print

15×15cm 2014

版畫 / 木刻油印凸版 Woodcut/ Relief print

回憶於燃燒後逝去

野火

Memories of Burning to Death

Wildfire

版畫 / 木刻油印凸版 Woodcut/ Relief print

15×15cm 2014

版畫 / 木刻油印凸版 Woodcut/ Relief print

聚光燈下

Mist

Under the Spotlight

版畫 / 木刻油印凸版 Woodcut/ Relief print

45×45cm 2013

版畫 / 木刻油印凸版 Woodcut/ Relief print

15×15cm 2014

版畫 / 木刻油印凸版 Woodcut/ Relief print

15×15cm 2014

The Night Starts Here 版畫 / 木刻油印凸版 15×15cm 2014

Woodcut/ Relief print

70×135cm 2013

叢叢 Shrubbery 45×52.5cm 2013

版畫 / 木刻油印凸版 Woodcut/ Relief print

45×52.5cm 2013


I Cannot Live Forever, I Cannot Always Be

牽著樹散步 Take a Tree for a Walk 版畫 / 木刻油印凸版 Woodcut/ Relief print

41×59cm 2013

版畫 / 木刻油印凸版 Woodcut/ Relief print

45×60cm 2013

栩栩 Breeze 版畫 / 木刻油印凸版 Woodcut/ Relief print

45×60cm 2013

點點星霧 Foggy Stars

小船 Boat 版畫 / 木刻油印凸版 Woodcut/ Relief print

版畫 / 木刻油印凸版

食食花 30×40cm 2013

Woodcut/ Relief print

Eat! Eat! Flower! 版畫 / 木刻油印凸版 Woodcut/ Relief print

23×43cm 2013

45×52.5cm 2013

湖 夏日

春日

One Day in Summer

One Day In Spring

版畫 / 木刻油印凸版 Woodcut/ Relief print

30×20cm 2013

版畫 / 木刻油印凸版 Woodcut/ Relief print

Lake 版畫 / 木刻油印凸版 22.5×14.5cm 2013

Woodcut/ Relief print

25×30cm 2013


閉上眼你所看見的都一切美好 Close Your Eyes, You Will See 版畫 / 木刻油印凸版 Woodcut/ Relief print

60×135cm×2 2012

Life Is Only on Earth, and Not for Long 版畫 / 木刻油印凸版 Woodcut/ Relief print

70×91.5cm 2012

Lake 版畫 / 木刻油印凸版 Woodcut/ Relief print

135×60cm 2012

I Want a Bright Life 湖中帳篷

小風景系列

The Camp

Little Scenes series

版畫 / 木刻油印凸版 Woodcut/ Relief print

22×24cm 2012

The Moon 版畫 / 木刻油印凸版 Woodcut/ Relief print

版畫 / 木刻油印凸版 Woodcut/ Relief print

版畫 / 木刻油印凸版 Woodcut/ Relief print

23×25cm×12 2011

In the Blue Snow 15.5×22.5cm 2012

版畫 / 木刻油印凸版 Woodcut/ Relief print

16×23cm 2012

在霧中 15.5×22.5cm 2012

Wandering in the Mist 版畫 / 木刻油印凸版 Woodcut/ Relief print

16.5×22cm 2012


個游 展雅 蘭

發行人 Executive Director

余彥良 Yu Yen-Liang

總經理 Director

陳菁螢 Claudia Chen

出版者 Publisher

尊彩國際藝術有限公司 Liang Gallery Co., Ltd.

策劃設計 Editor

尊彩藝術中心 Liang Gallery

攝影 Photographer

黃嘉達、朱祈安、洪振峯 JD, Chu Chi-An, Anderson Hong

設計 Designer

劉銘維 Liu Ming-Wei

印刷 Printing

日動藝術印刷有限公司 Jih-Tung Art Printing Co., Ltd.

出版 Publishing Date

2016 年 6 月初版

ISBN

978-986-92798-3-3

First Edition, June, 2016


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