林中路・當代藝術展｜The Road Not Taken

目錄 Contents

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4

序言 ： 迎向安卓藝術 3.0 的新時代

李政勇 Preface : Moving Towards the New Era of Mind Set Art Center 3.0

林中多歧路，殊途卻同歸

李政勇 The Roads Diverge in the Woods, but All Lead to the Same Destination

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上篇 Chapter 1

48

下篇 Chapter 2

80

Andre Lee

藝術家簡歷

Artists’ Biographies

維特．貝拉諾

Victor BA L A N O N

陳曉朋

Sh iau-Peng C H E N

鍾舜文

C HU N G Shun-Wen

瑪莉娜．克魯斯

Marina C RU Z

派翠西亞．伊斯 塔 柯

Patricia Pere z EUS TAQ U I O

歐娜．凡卡絲

Oana FA RC A S

鍾江澤

J H O N G Jiang -Z e

李明則

L E E Ming -tse

林銓居

L I N Chuan- Chu

林煒翔

L I N Wei-Hsiang

劉文瑄

Mia Wen-Hsuan L IU

安娜．瑪瑞亞． 米 庫

Ana Maria M I CU

大卷伸嗣

Sh inji O H M A K I

卡塔林．皮特里 瑟

Cătă l in P ET R I Ş O R

漢娜．佩蒂強

Hanna P ET T Y J O H N

石晉華

S H I Jin-Hua

謝鴻均

Juin S H I E H

蘇旺伸

S U Wong -shen

黨若洪

TA N G Jo -Hung

鄔一名

W U Yim ing

于一蘭

Y E E I-Lann

于吉

Y U Ji

Andre Lee

序言 迎向安卓藝術 3.0 的新時代 李政勇

「林中路」作為安卓藝術遷移新址的首檔開幕展，既反映過去六年來我 們對於藝術的熱情和理想，也投射安卓團隊與藝術家和收藏家們共同用 積極冒險的態度和穩健步伐不斷向前的探索路程。 從 2010 年 4 月安卓在內湖行善路成立藝術顧問的業務，至今已屆六年， 在內湖的一年半裡，安卓以專屬藏家服務的藝術顧問型態運營，和承接 一些外界委託的策展專案，走過安卓 1.0 的時代；2011 年 10 月安卓藝 術很幸運地進駐新生 16 概念場所，並以石晉華的個展「走過一年」揭 開我們在新生 16 空間裡將近 4 年半的經營，雖說創立之初的藝術顧問 服務仍在，但隨著空間營運的需要，安卓藝術的畫廊角色日趨加重，並 於 2015 年 11 月正式獲選參加名列國際重要藝術博覽會的 Artissima，為 安卓 2.0 的時代交出了我們自己和國際上所認可的成績單；而新生 16 的 告別閉幕展「採硫日記 上卷」，尤其在台北半世紀以來的最低溫中溫暖 了觀者的心靈，也為安卓的第二階段畫下完美的句點。

2016 年新春，安卓正式遷入和平東路的空間，迎接屬於安卓藝術 3.0 的 新時代。在安卓經營的前兩個階段，從空間的提供到運營，我們非常感 謝許多人的相助，才讓我們一路走來能在理想的冒險中穩住步伐。而接 續的日子，我們知道唯有透過團隊和更多外界力量的連結整合，更努力 地把我們旗下的藝術家推廣到國際上，也把更多的國際收藏家和專業策 展資源帶進來，方能藉由空間的擴展和交流真正地打造出一個罕見的當 代藝術專業平台，開啟我們的另一個新時代。這個新階段，安卓藝術的 全體團隊也將更為任重道遠。 六年來，我經常回顧安卓走過的路程，也常常反思究竟我們的存在是否 為台灣當代藝術產業帶來新的意義或不同的價值？倘若不是期望打造一 座烏托邦式的藝術平台，我不可能選擇創業的路，如是我也不會經歷這 一路走來的險峻和美麗迷人的風景。而我相信，即使時間倒轉，我的選 擇仍然不變，就像此次喬遷開幕展「林中路」裡的藝術家們，一路走來 對創作的堅持不懈，只是為了實踐個人心靈深處對於藝術和美好的最初 想望……

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Preface

Moving Towards the New Era of Mind Set Art Center 3.0 Andre Lee

As the opening exhibition of Mind Set Art Center’s new space, “The Road Not Taken” reflects our passion for and ideals of art in the past six years. It also maps out an exploratory course collectively formed by the operational team, artists and collectors with our adventurous attitude and steadfast progress.

It has been six years since Mind Set Art Center established its art consulting office on Xingshan Road, Nehu District, Taipei in April, 2010. During the one and a half years in Nehu, the organization operated as an art consulting agency offering services catered to specific collectors while undertaking commissions for curatorial projects of exhibitions. This was the time of Mind Set Art Center 1.0. In October, 2011, MSAC was fortunate to move into Xinsheng 16 Conception Space, and started our four and a half years there with Shi Jin Hua’s Solo Exhibition, “Passing through a Year”. Despite continuing the art consulting service as it began with, Mind Set Art Center took up the role of a gallery due to the need of operating the space. In November, 2015, Mind Set Art Center was officially selected to participate in Artissima, one of the most prominent international art fairs, marking an important recognition from the international art scene for its 2.0 stage. The farewell exhibition at Xinsheng 16, “Dairy of Sulfur Mining – Pataauw” by Yu Ji, had filled our audience’s heart with warmth during the coldest days in Taipei in the past fifty years, and served as the perfect ending for the second stage of Mind Set Art Center.

In the spring of 2016, Mind Set Art Center officially moved into the new space on Heping East Road, Taipei, and welcomed the arrival of its 3.0. For the first and second stages of the organization operation, we are tremendously grateful for many people’s assistance in terms of the provision of space and our operation, which has helped us to stand firm during the adventure of seeking our ideals. In the following days, we know the only way to really create a unique and professional platform of contemporary art through the expansion of space and exchange is for our team to connect and collaborate with others, to make more effort in promoting our artists internationally, and to bring in more international collectors and professional curatorial resources. Thus, we will begin a new era, which the entire team will go the distance and fulfill the responsibilities.

I often looked back on the journey that Mind Set Art Center has taken and reflected whether our existence has offered fresh meaning or different value to the industry of contemporary art in Taiwan in the past six years. I would not have chosen the road of starting my own business and known the precipitous risks and enchanting landscape along the road if I had not maken up my mind to create an utopian art platform. I firmly believe that I would make the same decision again if I were given a second chance. This echoes the paths taken by the artists participating in “The Road Not Taken”, whose persistence in artistic creation is solely for realizing the original longing for art and beauty in the very recess of their minds.

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林中多歧路，殊途卻同歸 李政勇

林中有路，蔓生的路徑多半突然斷絕在杳無人跡之處。 它們被稱為林中路。 雖屬同林，卻各行其是。看來幾乎無法區分，但只是看來如此而已。 伐木工人和森林守護者知曉這些路徑， 他們知道何謂在林中路上的涵義。

－馬丁．海德格 * －

* Martin Heidegger, the epigram of Off the Beaten Track, translated and edited

by Julian Young and Kenneth Haynes, Cambridge University Press, 2001.

上個世紀，海德格（Martin Heidegger）在《林中路》

衣的局部，將布料上的線頭、褶皺、剪裁邊緣、磨損

（Holzwege）一書裡探問藝術作品的本源，如今，我

與接縫等細節發展出精彩的形式對話，而色彩與構圖

們身處當代藝術的密林，希望以亞洲的觀點開創屬於

融會衣物布料上的豐富表情，更在畫面上召喚出一種

未來的文化視野。一如藝術創作行走於林中掩映的小

記憶的靈光和物件背後曾經存在的種種故事。

徑，既孤獨崎嶇又充滿未知的可能，安卓藝術喬遷新 空間後的開幕首展以「林中路」為題，邀請 22 位來

以衣物作為題材描繪的還有身上同時流著菲律賓與美

自台灣、中國、日本、菲律賓、馬來西亞及羅馬尼亞

國血液的漢娜．佩蒂強（Hanna Pettyjohn），出生於

的藝術家，分為上下兩篇的形式呈現繪畫、影像、立

菲律賓的她，在成年後首次踏上父親的故鄉—美國德

體、裝置和觀念藝術等多元類型的創作，展覽藝術家

州，之後經常往來並固定生活於兩地；離鄉與返家、

雖具有不同的文化背景和各自獨特的藝術語彙，但展

親友與土地，於是成為其創作的主旋律。佩蒂強的藝

出作品仍能從「土地與家族的感念」、「日常之詩」、

術側重於一種人和物之間的遷徙與離散，她的繪畫透

「生命的註解」與「觀念的重量」等四個分類，一窺

過豐富的筆觸拼貼，人物、布料、泥土與植物各自展

不同藝術家們在創作道路上相近的藝術追尋。

現不同的肌理質感，既構成對比鮮明的視覺圖像，也 暗喻當代世界的多元交融。

土地與家族的感念 自然、生命與藝術之間的關聯，也體現在于吉和大卷 充滿著對於土地和家族感念的作品《河流》，是藝術

伸嗣（Shinji Ohmaki）這兩位藝術家的立體創作中。

家林銓居承繼其父親過世後遺留的田地，並在這片土

于吉的作品在尊重生命的前提下，把自然物質帶進創

地上從事農活的過程與紀錄中，集結行為攝影、考掘

作，展覽作品《綠毛怪》是藝術家在異國旅程中撿拾

出土、書法經書和稻穀所組成的複合創作。這件揉合

回來的石頭，再於石頭上種植經過顏料染色的毛髮，

農家子弟和文人特質的作品，是林銓居從家族的土地

然後隨著時間因素長成一個個面容形像各異，介於石

和記憶中挖掘出的一條時光通道，在他耕種與翻土的

頭與生物間的綠毛怪。這種似有若無的掌控，讓藝術

過程中所意外發現的「瓷器碎片」，則如烙印在家族

隨著時間的生命自然生長，成為于吉創作裡的重要一

底層裡的生命印記，拼組匯流成一道貫穿於父子兩代

環。而從小成長於花布街的大卷伸嗣，在他以創作追

間的記憶之河。

憶兒時情景的同時，也深刻省思了當代社會對於少數 存在的忽略。《迴響：水晶計畫》（Echoes-crystallization）

同樣以創作梳理個人與家族關係的還有女性藝術家瑪

以藝術家慣用的修正液、礦物色粉為材料，搭配日本

莉娜．克魯斯（Marina Cruz），克魯斯的近作以「物」

傳統的手工和紙，用月亮的造形提煉出簡約形式中散

的存在角度，發展出一種飽含情感、記憶與獨特美學

發純淨光輝的美學意像，引領觀者凝視其上正逐漸消

形式的具像抽象畫。《紅色水平紋上的白線》（White

逝中的生命與時間。

Lines on Red Horizontals）以細緻的筆觸描繪橘紅色舊

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日常之詩

銳的心思，對居家周圍進行日常點滴的採集，她一系 列日常蔬果的膠彩畫，表達人與自然之間的親密對

深受常民文化影響的李明則，以生氣盎然的彩筆描繪

話。而獨居八里觀音山旁的林煒翔，也以執著而徐緩

出《會寫書法的靜物》，看似率性實則結構繁複而細

的步調描繪風景，並藉由這種對風景的描繪與觀看，

膩。畫中盛開的盆花枝葉繁茂、奼紫嫣紅，綻放豐盛

表現關於物與我、視像與心靈之間的哲思與心緒。林

的生命力；而背景的線條處理，既像枝幹投影又像書

煒翔耗時近兩年完成的《晃遊（十二）》，描繪煙雨

法筆墨，為植栽的體裁和形象創造出一股奇幻的魔

濛濛中的綠意山林，藉稀釋極薄的油彩一層層的擦染

力。圍繞花盆的鳥獸花蝶、茶具花器，除與盆栽形成

下，在豐富色調中建構出一方氤氳流動的美麗風景。

超現實的對比外，也透露藝術家所仰賴的民間文化養 分及其生活的點滴。作品在色彩繽紛中同樣透出奇幻

生命的註解

氣息的還有鍾江澤的《花神》，鍾江澤以濃烈的色彩 描繪一方被鮮豔植物環繞的豐饒境地，彷彿夢幻騎士

藝術家的創作也經常是其生命與當下所處社會的反

般的人物形象安坐其間，形體和線條在空間中相互

映，蘇旺伸 1998 年的畫作《起風了》以簡潔的獸、

重疊與撞擊，刻意壓縮的淺平空間既混淆了我們的視

偶對應，搭配情感豐富的筆觸與強烈光影層層疊出的

點，又呈現一座眾聲喧嘩且多元交疊的當代樂園。

氛圍營造，在台灣解嚴後的快速變動中，回應且暗喻 了社會的現實百態，極具戲劇張力又發人省思。而謝

上海藝術家鄔一名的創作，一直都從生活裡的經驗與

鴻均的立體作品《起皺的記憶》則用日常素描手稿為

觀察取材，進而建構出當代的文人觀點。他的水墨畫

起點，經過再次加工與轉換而成；這些紙張上的圖像

作《迷彩世界 3》，以翠綠、黃褐、鐵灰色塊與留白

與線條是藝術家創作的原始靈光，詳盡地承載著創作

交織出一片律動十足、光影婆娑的景像，顏料的滴流

者的思路運轉，而金屬線纏繞成的豐碩腿形構造，更

增添畫面的隨機元素，看似抽象的風格下，隱約可辨

於視覺中強化身體勞動感和匍匐前進的哲學觀，在時

出兩棵上海常見的梧桐樹，其綠葉與陽光互相輝映，

間和記憶的層疊積累中，形構出謝鴻均的藝術輪廓與

灑滿整個空間，映照出當代都會裡的林中意像。類似

生命註解。

的文人情調在藝術家黨若洪的繪畫亦可見到，《多山 的風景》彷彿黨若洪的胸中丘壑，牽引著觀眾追隨藝

派翠西亞．伊斯塔柯（(Patricia Perez Eustaquio）的《鑄

術家橫越過一山又一嶺的風景與意象。

造形體（黑塵）I》（Casting Figures (Black Dust), I）， 以黑白灰的色調與融合花瓣的肌理描繪，重新詮釋了

鍾舜文和林煒翔這兩位在生活和藝術中皆與大自然具

藝術家在工作室長期繪畫過程中所堆疊留下的顏料

有深刻聯繫的藝術家，作品經常以自然景物為題，並

塊，將創作過程的紀錄轉換成繪畫的對象，再透過形

在一種緩慢的過程中將膠彩或油畫顏料細緻疊染成迷

體的切割與構圖安排，用濕黏且充滿流動的筆觸將美

人的景緻。安居於美濃的鍾舜文，藉細膩的畫筆和敏

麗與頹敗、存在與消逝的一體兩面並呈，為生命流逝

的亙古感懷留下動人的軌跡。而來自羅馬尼亞的藝術

合於光影中，浮光掠影般的流轉成纖柔、輕盈與波動

家安娜．瑪瑞亞．米庫（Ana Maria Micu），也一直

的詩意景象。

以藝術家的肖像和工作室為主要的創作對象，她擷取 生活中的圖像予以淬煉、拼貼，從藝術家對於自我的

總是著迷於探索不可見的意念和剖析隱藏於表象之下

凝視中，開啟人和自然的深度對話，把繪畫中對生命

的現實秩序的卡塔林．皮特里瑟（Cătălin Petrişor），

和精神性帶來具有啟發的開放性思考與註解。

作品雜揉了科學的理性與詩歌的浪漫，著重人與自然 世界的對話。在他以繪畫、錄像及物件構成的新作

觀念的重量

《消融於他方》（Dissolved Into Another Field），以皮 氏風格再一次帶領我們進入真實與幻象並存的世界，

生命的度量，一直是石晉華的核心關注，他透過佛教

揭示萬物間彼此交錯的思維和連結，也觸發所謂的真

經典的研讀以及哲學式的思索，不斷推敲存在的意

實或生命的哲學思考，而疑惑、探索與思考，也將引

義。1994 年延續至今的「走筆」系列，藝術家將一

領我們遇見不一樣的人生風景。

支支筆的生命轉化為觀念與行為藝術的內容，隱喻時 間的流逝與生命的輪迴，以及每一個生命進行的當下

殊途同歸的林中路

能夠透過為世界存留的不同痕跡。新作《走筆 #157》， 石晉華嘗試以管裝油畫顏料為筆，畫出藝術家生活和

正如維特．貝拉諾（Victor Balanon）為本展覽「林中

工作的巷弄景像，行走出有別於往的畫面情緒和人生

路」創作的圖畫《無題（翼蜥）》（Untitled (Basilisk)），

哲理。

光線從一座茂密的森林間穿透而下，地面和遠方閃爍 出耀眼而迷人的白。這道光是藝術創作者的靈光，也

同樣著重觀念性表達的還有陳曉朋與劉文瑄。陳曉朋

是安卓藝術在空間營運上的燈塔，引領我們持續地往

的作品反映其創作生涯的行旅軌跡以及心理上的思考

前邁進，在這片藝術的聖林中繼續遇見動人的景緻與

路徑，她經常立足於一個抽離的角度，以慧黠的心思

領受精神的啟迪。

剖析藝術創作的本質，以及藝術家與藝術機制之間的 交互關係，《版畫的重量》以簡明清晰的語彙，用文 字和圖像精準地道出藝術的知性和感性本質，為觀念 藝術開啟一個更為本質的討論和具有重量感的思考內 涵。劉文瑄的藝術思考則更多聚焦於媒材、空間和視 覺經驗，《靈魂選擇她自己的伴侶》這組立體作品， 以紙為基底在正反兩面染上不同的顏色，再藉由紙張 的捲曲與螢光顏料在光線照射下所形成的光影交錯， 折射出幽微曖昧的色光變化，將線條、色彩和空間統

9

The Roads Diverge in the Woods, but All Lead to the Same Destination Andre Lee

In the wood there are paths, mostly overgrown, that come to an abrupt stop where the wood is untrodden.

They are called Holzwege.

Each goes its separate way, though within the same forest.

It often appears as if one is identical to another. But it only appears so.

Woodcutters and forest keepers know these paths.

They know what it means to be on a Holzweg.

ďź? Martin Heidegger* ďź?

* Martin Heidegger, the epigram of Off the Beaten Track, translated and edited

by Julian Young and Kenneth Haynes, Cambridge University Press, 2001.

Last century, Martin Heidegger explored the origin of artworks in

tals, the artist delineated details of a piece of old red dress, creating

Holzwege. Today, we find ourselves in the woods of contemporary

an amazing dialogue between the loose thread, wrinkles, untrimmed

art, hoping to create a cultural vision of the future from an Asian

edges, tears, and seams. The colors and composition integrated with

perspective. Art making is like walking on a narrow, overgrown path

the rich expressions on the fabric evoked an aura of memory and the

in the woods that is lonely, rugged and full of unknown possibilities.

stories behind this object.

Mind Set Art Center has celebrated its new space with the exhibition, The Road Not Taken, which showcased 22 artists from Taiwan,

Being a Filipino-American with a transnational narrative, Hanna Pet-

China, Japan, the Philippines, Malaysia, and Romania. In two

tyjohn also used clothing as a theme in her work. Born in the Phil-

successive chapters, the exhibition included diverse artworks ranging

ippines, Pettyjohn first visited her father's hometown, Texas, USA,

from painting, photography, three-dimensional work, installation to

after she became an adult, and since then often travelled between and

conceptual art. Although the participating artists have diverse cul-

lived in the two countries. Leaving and returning home as well as rel-

tural backgrounds and their own individual artistic approaches, we

atives, friends and lands have all become the subjects of her art. Her

could still get a glimpse of their similar artistic pursuits through four

work addresses the migration and diaspora of people and objects.

categories, which are "The Remembrance of Land and Family," "The

With affluent brushstrokes, her paintings reveal different texture

Poetry in Everyday Life," "The Comments on Life," and "The Weight

of people, fabric, soil, and plants, forming vivid visual contrast that

of Concept."

symbolizes the diversity and integration in contemporary society.

The Remembrance of Land and Family

The connection between nature, life and art is also embodied within both Yu Ji's and Shinji Ohmaki's three-dimensional works. Under

The River is filled with Lin Chuan-Chu's gratitude toward and

the premise of respecting life, Yu has introduced natural materials

remembrance of land and family. The work is a mixed creation of

into art making. Green Hair Monster was created with rocks found

photography, unearthed relics, calligraphic scripture, and rice husks

during the artist's various journeys and collected hair dyed in green.

documenting the farm work on a piece of land the artist inherited

As time passed, they have grown into Green Hair Monsters that have

from his deceased father. Integrating characteristics of a farmer's

various looks, and have become neither rocks nor living creatures.

child and the literati, Lin dug a tunnel of time through the family

Such a nearly undiscernible manipulation that allows art to naturally

memory and land. The porcelain fragments he accidentally discov-

grow with time has become the most crucial aspect in Yu's work.

ered unearthed the soil during cultivation were like the imprints of

Shinji Omaki grew up on a street full of fabric shops. While he was

life inscribed in the family history. Lin used them to construct a river

remembering his childhood times, he also deeply reflected upon how

of memory that has flowed through the generations of the father and

contemporary society has tended to ignore the minor existences.

son.

Echoes-crystallization was constituted of correction liquid and mineral powdered pigment often used by the artist on traditional Japanese

Marina Cruz's work also revisited and sorted out individual and fam-

hand-made paper. The work's minimalistic form of a full-moon gave

ily relationships. Developed from a perspective of the "object," Cruz's

an aesthetic impression of purity and radiance, guiding the audience

recent work is a figurative abstract painting filled with affection and

to gaze upon life or time that was gradually fading away.

memory in an unique aesthetic form. In White Lines on Red Horizon-

11

The Poetry in Everyday Life

are closely connected to nature. They often take natural creatures or landscape as their creative theme for their paintings created delicately

Deeply influenced by the civic culture, Lee Ming-tse’s lively Still Life

with Eastern gouache and oil respectively. Living in Meinung, Chung

That Writes Calligraphy has an air of impromptu yet the composi-

usually gathers inspiration from the daily life around her home with

tion is intricate and detailed. The lush, blooming potted flowers in

elaborate delineation and a sensitive mind. Her Eastern gouache

the painting were brimming with life in a vast array of colors while

paintings of ordinary vegetable and fruit conveyed an intimate dia-

the lines in the background resembled shadows of the tree branches

logue between human being and the nature. Living alone at the foot

as well as calligraphic ink strokes, creating a fantastic power for the

of Guanyin Mountain in Bali Township, Lin depicts landscape with

plant. The surrounding birds, animals, flowers, butterflies, tea set and

a slow but steadfast pace, and expresses his thoughts and feelings

vases formed a surreal contrast with the potted plant and revealed

about the relationships between the object and the self as well as the

clues about the artist's life and the cultural nutrients he has relied on.

sight and the mind through his landscape painting. The artist spent

Jhong Jiang-Ze's Floral Spirit emitted a similar sense of fantasy with

nearly two years to complete Stroll (12), which portrayed the green-

kaleidoscopic colors as the artist used strong, vivid colors to portray

ery of mountains and woods in misty rain. By thinning the oil paint

a realm of abundance with multicolored plants. Sitting amongst the

to an extreme extent and painting layers after layers, Lin was able to

flowers and leaves was a figure that resembled a knight of dream.

create a frame of beautiful landscape with atmospheric fluidity in

By overlapping and colliding the forms and lines in the space and

rich color tones.

confounding the audience's point of sight through the intentionally compressed space, the work unveiled a boisterous and diversified

The Comments on Life

contemporary garden.

Artistic creation often reflects an artist's life and the present society.

Shanghai-based artist Wu Yiming has always used the experience and

Su Wong-shen's painting, Wind Rises, created in 1998, portrayed a

observation in life to construct his contemporary literati perspective.

pair of beast and puppet figure enshrouded in an atmosphere created

His ink painting, Camouflage 3, fabricates a rhythmic, shimmering

with enriched and emotionally charged brushstrokes and an intense

image with jade green, cinnamon, iron gray and blanks showing the

contrast of light and shadow. In the rapidly changing Taiwanese

white of Xuan paper. The fluidity of paint increased the spontaneous-

society after the lifting of martial law, the work hinted at different

ness of the image. From the abstract image, one could implicitly de-

aspects of the social reality in a dramatic and inspiring way. Juin

tect two common London plane trees commonly seen in Shanghai.

Hsieh's installation, Crumpled Memory, was derived from her routine

Sunlight shined through the green foliage and filled the entire space,

drawing studies with further process and conversion. The images

creating an image of a wood in contemporary urban area. A similar

and lines on the paper outlined the artist's initial inspirations for her

literati sentiment could also be found in Tang Jo-Hung's painting,

artistic practice, manifesting the thought process of its creator. The

Many Mountains seemed to embody the broad-mindedness of the

shape of a fleshy leg structured with metal wires enhanced the sense

artist, leading the audience to traverse the scenic landscape in the

of physical labor and the philosophical view of the artist's humble

image with the artist.

crawl in life and art, forming her artistic contour and comment on life in the layers of time and memory.

The life and art of artists Chung Shun-Wen and Lin Wei-Hsiang,

Patricia Perez Eustaquio's Casting Figures (Black Dust), I portrayed

and perceptive essence of art, initiating a more fundamental discus-

the texture of floral petals in black and white. The work was a reinter-

sion and more substantial thinking for conceptual art. Liu's work, on

pretation of the residual paint clots left in the artist's studio after long

the other hand, focuses more on media, space and visual experience.

periods of work. The artist transformed the creative process into the

The three-dimensional work, The soul selects her own society, was made

subject of her painting. Through the division of forms and intricate

from papers dyed two different colors on each sides. Through curling

composition, she juxtaposed beauty and decay as well as existence

the papers and the shimmering reflection of of neon paint under the

and disappearance through moist and flowing brushstrokes, captur-

light, the work reveals subtle and ambiguous changes in colors and

ing moving, sentimental traces about the waning of life. Romanian

light, converging lines, colors, and space within an interplay of light

artist Ana Maria Micu has always focused on self portrait and studio.

and shadow that turned into a delicate, feather-light, and rippling

The images the artist captured in life were refined and collaged to

landscape of poetry.

open up a meaningful dialogue between human and nature through her gaze on herself and to introduce an enlightening way of thinking

Cătălin PetriĹ&#x;or has always been fascinated by exploring the intan-

and commenting on life and spirituality in painting.

gible ideas and analyzing the order of reality hidden behind the external appearances. His work integrates scientific rationality and

The Weight of Concept

romantic sensibility of poetry while focusing on creating a dialogue between man and the natural world. With his signature style, his new

The measuring of life has always been a core issue to Shi Jin-Hua.

work, Dissolved Into Another Field, which was comprised of painting,

Through studying Buddhist sutras and philosophical thinking, he

video and objects, led the audience into a world where reality and

keeps contemplating on the meaning of existence. In the series of Pen

illusion coexisted and unfolded the interweaving thoughts and inter-

Walking started in 1994 and is still ongoing today, Shi has converted

connectivity between all things. It also stimulated the philosophical

the life of each pen into his conceptual and performance artworks.

thinking about the authenticity or life, while doubts, exploration and

As his work beckons at the passing of time and the cycle of life, it

thinking would broaden our horizons.

is hoped that as every life progresses, it will leave unique markings for this world. In the new work, Pen Walking #157, the artist has at-

Where The Road Not Taken Leads to

tempted to use a tube of oil paint as the pen to paint out the alleyway near where he lives and works. The result was an image filled with

Untitled (Basilisk), a brand new work that Victor Balanon has spe-

personal emotion and philosophy dissimilar from past works.

cially created for the exhibition, showed rays of light shined through the dense forest, paving the ground and the distant place in glistening

Shiau-Peng Chen and Mia Wen-Hsuan Liu are two artists that both

and mesmerizing whiteness. The light is the inspiration of artists as

emphasize the expression of concepts. Chen's work reflects her travel-

well as the beckoning tower for Mind Set Art Center in operating

ling experience in her artistic career and the psychological journey

the art space. It guides us to move forward persistently and to keep

she has undergone. She often adopts a detached perspective to wittily

encountering soul-touching landscape in this divine forest of art and

analyze the essence of artistic creation and the mutual relationship

being spiritually inspired.

between artist and artistic mechanism. With simple and clear language, The Weight of Printmaking precisely conveyed the intellectual

13

15

SHI Jin-Hua

石晉華

樂音的線條作品第 1 號 Lines of Music op.01 鉛筆、宣紙 Pencil on Xuan paper 106 × 155 cm, 2015

17

石晉華

SHI Jin-Hua

走筆 #157 Pen Walking #157

油彩、畫布、顏料殼 Oil and tube on canvas 108 × 84.5 × 6.3 cm, 2016

19