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好房網雜誌 攝
專文 | Essay 聚氣運化 — 蕭耀的現代繪畫 黃光男 P.4 Gathering "Chi" and Evolving — Contemporary Art of York Hsiao Dr. Kuang-Nan Huang P.6
蕭耀的意象三部曲 黃文叡 P.8 The Image Trilogy of York Hsiao Dr. Terry Huang P.12
遊於藝的人生 蕭耀 自序 P.16 A Life of Wandering in Art Self Introduction by York Hsiao P.17 經歷 Chronology P.142
圖版 | Plates 文字系列 Calligraphy Series P.18 臉書系列 Facebook Series P.82 好色之圖系列 Erotic Pictures Series P.104 藝術與時尚跨界演繹 Art × Fashion P.135
聚氣運化 — 蕭耀的現代繪畫 很多人都在探究藝術的本源，也在從事藝術工作。藝術是什
或許是蕭耀對於藝術發展為諸多的敏感度，將現代繪畫表現
麼？並不是藝術工作者要完全理解的，但工作者必有一本說法，
各家風格有了進一步體會與認知，好比他從西方美中看到物象
否則他的創作品就不算創作了。
的組合，看出圖象符號的重要，甚至了解「藝術與人生結合」 的論證，就明白藝術美學超越藝術外形的視覺習慣，有些作品
根據漢字解析，「藝術」是種子成長的技術。種子成長的養
只是象徵，有些作品則是符號，甚至是抽象，因為西方現代藝
份來自社會認同中的價值與情思；技術則是表現的方法與活動。
術表現上的內涵可能「事件」、「靈感」、「問題」的反思，
換言之藝術是項具備創意與美學要素的人文工程。自古至今，
它不全在物象的直接說明，確引發更多對問題的討論，甚至把
儘管東西方藝術呈現不同的面貌、美感、思想與創作者的見解
美學擴大為哲學辯論與社會運動，或把自由、民主中的「絕對」
都必須有自主的個性存在。
成為爭議的課題。
雖然藝術可能存在個人的理念裡，或經驗實證中，但若不在
蕭耀長期從事現代繪畫或藝術的推展上，也明白西方藝術之
藝術創作過程中得到屬於「內容」的擷取，只在外在「形式」
外的東方自然主義的立場，包括老莊引自中國禪學等精神性虛
過多的表演，充其量只能說他在「揮筆」中炫人耳目，對於藝
實相應的「相對」論點，例如法無法、色無色或我即法、我即
術美的詮釋或表現無助於境界的舒展。
色的真實。談「意境」、說「境界」誰都說上「逸、神、妙、能」 的層次，但並不能絕對刻劃出它的空格。然而詩之於繪畫內容，
嚴肅說來，藝術家對於美學、藝術學所立論的對象，它是哲 學性思考、文學性寄寓、社會性溝通的整體。
有了上述想法作為前提，再來賞析一位令人感佩的藝術家－ 蕭耀先生的藝術創作。
書體之於畫面或文學成為東方繪畫的內容時繪畫美學就在「外 師造化、中得心源」自我體悟中呈現了東方藝術美學的特質了。
現代性就是有種現實性的視覺經驗與審美過程是創作者由後 往前的審理，基於這個理由，我們看到這位原本為藝術服務的 畫家，正有「畫」要說的傑出作品提現，或許應該根據上述的
近三十年前認識這位熱心於現代藝術活動的朋友，當然只知
理由，列舉他創作類項，並逐一簡述於後。
道台北有關國際性的現代藝術展覽，他必再三到台北美術館共 襄盛舉，尤其身為館長的我，對他提供如達達主義作品訊息，
第一類是文字系列：
當代紐約藝術展的成份、德國表現主義、藍騎士或是眼鏡蛇畫
這是蕭耀歷年來最先定位的藝術形式，也是他體悟藝術美感
派、東方抽象表現主義等等現代性的作品，他均能如數家珍，
的形色創作，當然漢字造型有很多是象形文字的演化，當在「六
以藝術的社會性参予藝壇的析論。
書」為其基本原理時，文字的空間與時間的配合，常常在象形 符號的簡化中，組合成為千變萬化的形態，蕭耀把這些幾近圖
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藝術創作的社會意識，是時代所賦予藝術家創作的泉源。在
騰意象的境界，以設計簡化、強調、誇張等技巧，陳設了一系
廣義美學論點，應屬於人類情知的反映，也是藝術家之所以成
列的佳作，好比作品中的「共」字義是一同一起的意思，它是
為藝術思想家的根源，其中所含蓋的人性與個性是互為表裡，
由三個手（ψ）合在一起，既表現字義的造型，又表現繪畫空
一體兩面的形態與符號。蕭耀更清楚狹義的藝術哲思乃在心靈
間的視覺美感，當然他用色的沉穩與技巧，造就這一系列包括
內在的需要，大多時候它是私密而隱藏的精靈，流動在藝術與
其他的作品，如「問」、「伏」、「長扁之爭」或「門」、「永」、
美學的園地滋長。
「鼎」的造型精義。
第二類是臉書系列： 此類創作與現代生活中的手機或伊媚兒的「Facebook」有直
蕭耀的畫作有上述之特徵，固然是他長期投注現代藝術研究
接的關係，因為科技而生活方便，卻也給生活更加忙碌，原因
的結果。更具體地說他的才能是與社會歷練所匯集的才能。藝
是人性都有虛幻與真實的一面，用之為正，其用亦正，用之為
術尋求心靈所寄的創作時，反應在作品的內容與圖象與他自身
虛，其用亦偽。這種狀況可以影響生活的實體，也可能更加不
的藝術美層次成正比。欣賞過國際藝壇的現代畫作，再比對蕭
可信任。但這是時代的必然，也是生活的選擇。蕭耀在這一系
耀先生的作品，一種明朗、真實與簡約的造型中，更能得到深
列中，認為 Facebook 中呈現的自己，是包裝、虛偽、隱藏，
濾、質樸、深遠的現代性表現，在國際藝壇發揮美學的真實。
而並非真實的自己。我們容易在虛擬世界中，將自我的黑暗面 隱匿，其所呈現虛擬世界面相與真實生活究竟有多大差異，藝 術家更明白自我心中所以啟發多少真正的心靈面貌。蕭耀沉思
藝術是神靈的工作。將物象化為意象，將心思成為創作，是 一股生氣蓬勃的事業。蕭耀如此說。
藝術創作在臉書的揮灑、怪異、奇幻、真理互動中，尋求創作 的興趣。這是很現實的題材，他發揮的淋漓盡致，結合他習慣 用的色彩與造型、對比、層次、與統一在具備版畫中的信度輪 廓，例如「夢見倉頡」、「智者的象徵」、「塵世年輪」等等 都可以看出作者畫中有話，畫外有畫的暗諭與嘲諷，畫家心思 細密，令人想起當今繪畫名家說：「我畫生活的溫度」，溫度 有時候會起伏，蕭耀衝過來，溫度提昇了好幾度。
第三類是好色之圖系列： 這是蕭耀很早以前就注意的創作主題，事實上人類對於藝術 起源有諸多的看法，但「性崇拜」的「性」之於自然界的訂立， 它是繁衍後代的課題，也是生理需要的衍生而來，不論親情、 人情、愛情，性的引發的價值即生命的動力，而藝術創作正是 其昇華的結果，因為「色」即是兩情相悅，或是獨占鰲頭的趨 力，更是藝術表現好題材。
蕭耀以人體之特徵，表現出愛情諸象隱喻，常有其獨到見解， 與他的現代性圖象的演譯息息相關。愛情是個無法釐清的神奇 故事，但如何具體以圖案表列，卻不是隨興的工作，然而蕭耀 卻能將「形、色」合為一體，將人生的愛欲化為神祕圖騰，且 舉世可明白「纏綿悱惻」的力道。
前國立臺灣藝術大學校長
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Gathering "Chi" and Evolving — Contemporary Art of York Hsiao Many people have been exploring the origin of art and
The social awareness of an art creation is the source of
many people engage in working with art. What is art? Not all
creativity for the artist given by the time of the moment.
the artists have to fully understand but each should have a
Commenting from the point of aesthetics, it is a reflection of
complete set of theories in his own mind or his results would
human emotions and cognizance, it is also the foundation for
not be considered a creative work.
an artist to evolve into a philosopher in art. The contents of humanity and individuality are the two sides of a coin of form
According to the meaning of the literary words in Chinese
and symbol. He also realized that philosophical thinking is a
character, art is the techniques to make the seeds glow. The
need in the human mind, private and hidden most of the time,
energy that make these seeds glow comes from the value
growing in the garden of art and aesthetics.
and believes of the community. Techniques are the methods and activities of the presentation. In other words, art is a
Maybe because of York`s multi-facet sensitivity to his art
cultural construction of human with creativity and elements
development, he brings forth a deeper understanding and
of aesthetics. Even though there are distinctive ways in the
recognition to the different styles. For example, he sees the
presentations of Eastern and Western art, but the view of
combination of images in Western aesthetics, the importance
beauty, the thoughts, and ideas have to reflect the characters
of symbolic images, and he understands the arguments,
of the artist himself.
"combining art and life". He also realizes that the visual habit of aesthetics over shapes. Some works are tokens; some
Although art maybe in one's mind, or in his practical
works are symbols; some are abstract; because the contents
experience, but if there is no "content" in his creation and just
of Western contemporary art may be related to "incidents",
too many "forms" in the presentation, the most you can say
"inspiration", "problems". It does not directly make a statement
about his work would be dazzling. There is no contribution
but ask for more discussion on the problems. Sometimes
to the interpretation of art's beauty or to the expansion of
the aesthetics bring to philosophic arguments and social
boundaries.
movements, or even bring the "absoluteness" of liberty and democracy into the argument.
Seriously, aesthetics and art for an artist have to base on philosophical thinking, literature foundation, and social communication.
York Hsiao has been in the promotion of contemporary art and he understands the points of Oriental Naturalism, including the relativity thinking of Lao Zi, Zhaung Zi, and Zen. For example,
With the previous thoughts, let us look at the creations of an admirable artist, York Hsiao.
at one point it is said that the way to understanding is not the real way and the matter is not the real matter; but in another incident, it is said that I am the way or I am the matter. Many
Our encounter dated back to nearly thirty years ago. At that
people talk about the spiritual levels that can be achieve in
time, whenever there were international contemporary art
an art work, but very few can describe its spaciousness. The
exhibition in Taipei, he always came to participate in activities
essential characters in Oriental aesthetics come from the
at the Taipei Art Museum. I was the curator at the museum
poetic contents, calligraphy influence in the composition, and
and gladly provided him with all the latest information such
"learning from nature, listening to the heart".
as Dadaism, art shows in New York, the expressionism in Germany, the Blue Rider, CoBrA, or the Oriental Abstract
Modernity is a realistic visual experience and a process of
Expressionism, etc. We had many discussions on the social
aesthetic judgment. It is a retrospective examination by the
aspects within the art community.
artist. Let us look at some of the exceptional works of this artist as follows.
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The first type is the "calligraphy Series": This is the first form established by York Hsiao, his creations
The third type is the "Erotic Pictures Series":
of shapes and colors with the understanding of art aesthetics.
This is a creative theme which York Hsiao has been paying
Chinese characters are forms evolved from hieroglyphic
attention to for a long time. As a matter of fact, there are many
symbols, when they are combined using the six basic methods
theories about the origin of art in human being. One cannot
to form more complex words, thousands different words are
ignore the "Eros" in "erotic worship" in nature. It is the means of
formed from space and time variations. York Hsiao takes these
propagating all species and an urge for all living things. The
totemic images and simplifies, emphasizes, exaggerates to
feelings between family members, human beings, lovers are
create a series of master pieces. For example, the painting of
all based on the drive of "Sex", and artistic creations are the
the word "Gung" which means "Together" is shown as three
results of its sublimation. Because of its powerful drive, it is a
hands working together. This shows the meaning of the word
very good topic in artistic presentation.
and provides the visual aesthetics for the space of the painting. Of course, his carefully selected colors and composition
York Hsiao uses the forms of human body to show the unique
techniques define all the essence of paintings in this series,
images of love metaphors, closely related to his interpretation of
such as "Ask", "Crouch", "Struggles between Long and Flat",
modernity images. Love is a miraculous story which cannot be
"Door", "Forever", or "Ding".
clearly defined and to describe it with symbols is a very difficult work. York Hsiao commands the abilities to merge the shapes
The second type is the "Facebook Series": This series has direct tie to the "Facebook" on mobile phone
and colors to show the human sexual desires in mystical totem form and in plain romantic terms.
or Email in modern daily life. Because of the convenience of the technology, it also makes life busier. There are two sides, virtual and real, of people. When the technology is used for good, it is very helpful. When it is use for hiding the real self, then it creates mistrust. This can affects the real life in many ways. However, it comes with the time and it is inevitable, but it is also a choice in life. York Hsiao believes that the image in Facebook is not real. It is just a packaged, hidden, fake image. We can easily hide our dark side in the virtual world. The difference between the virtual face and the real life can be significant. York Hsiao has contemplated the many interactions in Facebook, weird, fantasized, real, and found his interest in creation. This is a topic of reality and he explores it thoroughly
There are the previous mentioned characteristics for all the creations of York Hsiao. It is from the long period of time and efforts invested into the research in the contemporary art. More appropriately speaking, it is his ability of collecting all his personal experience in the society. When looking for the creation to reflect his mind and soul, the resulting contents and images show the level of aesthetics achieved on his own. When we admire the current contemporary works in the international scenes and compare them to the work of York Hsiao, we can see his works shows the contemplating, unassuming, and profound modernity in a bright, real, and simple style. They sprout the truth of aesthetics in the international art community.
with his customary colors, composition, contrast, layers, and outlines as in lithograph. His paintings "Dreaming of the god of words", "The sign of a wise man", "Year rings of earth" are all paintings with metaphor and irony that carry underlying images
In York Hsiao`s own words, "Art is the work of Spirits. It converts matters into images and thoughts into creation. It is a career that is full of life."
and messages. The artist`s inquisitive mind reminds me of the saying by another famous artist, "I draw the temperature of life".
Former Principal of the National Taiwan University of Arts
Temperature is changeable. When York Hsiao comes near, the temperature rushes up several degrees.
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蕭耀的意象三部曲 初看蕭耀色彩紛呈的作品，直覺反應是，它們的表現形式與
對從事書畫藝術和藝術史的人而言，書與畫之間總有許多說
內容和抽象表現主義 (Abstract Expressionism) 與普普藝術 (Pop
不清道不明的對應關係。中國藝術原本就自成體系，要試圖在
Art) 的關係至為密切。游移在「文字」、「臉書」和「好色之
當代藝術的領域裡界定「繪畫的線條」與「書法的線條」，並
圖」設計意味濃厚的圖像間，觀者可以看到威廉·德·庫寧
清楚闡釋這個中國藝術領域之內的議題，除非對筆墨與筆法深
(Willem de Kooning)、理查·普賽特 - 達特 (Richard Pousette-
入涉獵，否則只能隔靴搔癢、略及皮毛；而這種認知上的問題，
Dart)、威亷·巴齊奧蒂 (William Baziotes)、法蘭茲·克萊因 (Franz
總會讓人掉入邏輯思考與美學定義的泥沼裡。但是如果做這樣
Kline)、羅勃·馬瑟威爾 (Robert Motherwell ) 對形式和色彩的
的反思：書法的線條可以創作出繪畫的空間，是否反之亦然？
掌握，還有與大衛·霍克尼 (David Hockney)、凱斯·哈林 (Keith
或許就不至於輕易落入辯證思考的窠臼中。好比法蘭茲·克萊
Haring)、李奇登斯坦 (Roy Lichtenstein) 類似的表現手法，其間
因的繪畫作品〈October Day〉，在西方人眼中無疑是件畫作，
還融合了超現實主義畫家慣用的夢境和精神分析的語彙，雖不
但對熟悉中外藝術史的人而言，它的表現手法，卻和井上有一
出奇卻仍溢於言表，尤其是畫家對圖騰式意象所做的線性演繹，
(Inoue Yuichi) 的〈Work A〉更為貼近；也就是說，它是一幅畫，
衍生出無限的想像與鋪陳，經歷十年的經營，形成一個三部曲，
同時也可以被概括為一件書法變體的文字創作。
各自分立，卻也相互呼應。這個意象三部曲，是畫家從不同主 題，利用線條、色塊與有機形象所構成的一套完整的美學演繹，
日本戰後的前衛書法創作，已經在這方面做出了不少的回應，
可說是一個線性觀念的延展，集「色受想行識」於一體的意象
原因在於日本人對書法與漢字的認知，沒有中國人長久以來的
之作。
包袱和思考上的矛盾情結。日本藝術創作者大多不盡理解筆法 之美的真義，但對抽象繪畫藝術，卻有著文化上較為深厚的見
蕭耀從設計起家，之後投入藝術經紀行業，經營首都畫廊多
識與開放度。由於對禪宗文化長期的浸潤，日本藝術發展出對
年，提攜後進、成就泰斗，眼光獨具；從雄厚的商業經驗中，
「粹」」( いき，iki) 美學理念獨特的感知，表現在其風俗、穿著、
累積對市場、政治、文化與人文的省察與關注。從藝術經紀人
日常生活甚至「好色文學」等 ( 包括江戶文化浮世繪藝術豐富
到藝術家的心路歷程，定有令人玩味之處，卻也不令人意外。
的圖示 ) 各樣的文化生活之中，使其當代藝術能在西方文化思
因為透過他的三部曲作品，可以清楚看到蕭耀除了自己對藝
潮不斷的沖擊下，找到東方人對繪畫線條的對應方式，更進一
術經紀一如既往的熱忱外，對個人的藝術創作也另有期待，尤
步利用文字與線條的厚度 (brushwork) 與彈性 (elasticity)，走出
其他試圖用書畫文字多功能多層次的力量解構人心與人性的嘗
一條前衛繪畫與書法藝術可兹奉行參考的康莊大道。
試，均一一在創作中得到了體現。
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很明顯的，蕭耀大部分的作品，尤其是早期的《文字系列》，
四處散落的疏離感與錯落其間且支離破碎的文字形象，和另一
走的就是這條路線。線條上並不刻意界分繪畫性與書法性之間
幅以單隻眼睛回視觀者的符號化「字眼」，加上填充在「皮」
的思考，即使間或有所著墨，也只輕描淡寫，因為他更關心的
字裡頭、游離在「肚子」中的心與器官，乍看只是對政治意味
是空間的佈置與色彩的應用。對中國字和字詞，不管是象形的、
濃厚且高度精英文化體系的批判，實際上還是對現今政治現實
會意的、還是形聲的，均予以拆解、重組、聯想、暗示，以自
的針砭與當前政經情勢的評點。這種圖像並置 (juxtaposition)
己的語法和西方當代的抽象表現主義者平行對話，游走在形與
的效果，使作品本身更具張力、質感與可看性。
象、虛與實、象內與象外的概念間。其中，〈山〉(2007) 與〈鼎〉 (2009) 冷色調的烘托，反射畫家對解構中國文字的意向；〈長
較之《文字系列》，《臉書系列》的表現形式則較為直截、
扁之爭〉(2006) 與〈伏〉(2006 ) 明顯表達了對線性空間佈置與
另類，將虛擬與真實生活間產生的心理區隔形象化，同時把時
抽象表現主義的深度關切；作品〈合〉(2010) 有著畫家對字形
下包裝修飾過後的「假面現象」，予以嘲弄諷刺。標題針對的
結構、空間對應虛實的反差與實驗，調性上帶有基里科 (Giorgio
雖是「臉書」(Facebook) 社群網虛擬世界創造的的種種假像，
de Chirico) 靜謐深沉且具空間逆轉的抽象形式，與其他使用表
圖像營造上仍帶有《文字系列》意象的延伸，進一步導出系列
意文字以及稍後《臉書系列》圖像帶有「米羅式」風格的畫作
主題「臉之書」和「臉 / 書」的心理層次。〈塵世年輪〉(2010)
相比，揭示創作者對超現實主義 (Surrealism) 表現方式的關注
以重複的線條引導出畫面的漸層空間，層層堆疊，似近又遠，
與嘗試。
既像臉又像木紋年輪，既像浮世繪版畫裡張揚的面具臉孔，又 委婉點出時下人們過度使用社群網產生精神耗弱而致感官麻木
《文字系列》作品創作具有強烈的空間意識、文字個性與
的病態現象。此系列作品交互使用臉孔的造型、文字、色塊和
象徵意味。「怒」(2007) 有著紀堯姆·阿波利奈爾 (Guillaume
複合媒材，再以一貫的題目式手法，呈現有如圖騰的形象。此
Apollinaire) 具詩意與文字遊戲的調性；形象富有包含形音義的
系列中有米羅風格強烈的作品，如〈哲人〉(2007)、〈夢見倉
多重表現力；〈亂〉(2008) 與〈盼〉(2009) 表徵人性心理的
頡〉(2009)、〈另一張臉〉(2011)），還有如〈招財〉(2012)、
糾結，意味紛亂與秩序的並存與激化時代的兩極特質。其中，
〈信口開河〉(2012)、〈側臉〉(2012)、〈小丑〉(2012) 和〈伊
〈內再隱象〉與〈外在形式〉則须分開來閱讀，之後再一起端詳，
甸園之愛〉(2013) 等饒富超現實主義色彩的亮眼之作，有機的
才得以掌握個中真意；〈政治就是這麼一回事〉與〈披皮痞屁〉
構圖不但自成一格，同時示也接續了《好色之圖系列》的營造
則又是另一套圖組，既憤世嫉俗又帶黑色幽默，前一幅撲克牌
手法。
9
檢視《臉書系列》中不同分類的圖像，可以更加理解各個作
普世價值，那麼創作者就有成為一位真正藝術家的先決條件。
品間的對應關係。可以說，〈如履薄冰〉(2012) 和〈歌聲魅影〉 (2012) 總結了蕭耀對此系列作品特殊的創作動機，雖然圖像本
一併檢視三部曲的作品，才會明白畫家《文字系列》所要傳
身的引申義十分清楚，不需過度解讀，但這兩件作品的並置，
達的意向。《文字系列》的本質基本上是文化的、內省的、中
視覺上體現情緒的收與放，形象完全崩解的同時，也因思想的
國的。文化的本質無法參雜，其固有文字的表達意念是主觀的，
混沌不安而收斂，結構上進行了壓縮，具有情緒上的衝擊性。
要西方人完整的理解這個系列有一定難度。但是《臉書系列》
而再留意〈臉書 (1)〉的次標題「如履薄冰」，這才知道，畫家
不存在這樣的問題，因為它的意向是次文化的、全球性的、無
意圖在這些塗繪性空間裡 (painterly space) 更有效地凸顯他對
文化藩籬的，透過 FB 相關系列的鋪陳，在文字的意象表達上，
當下生活與人文環境的思考與意向。
能比較清晰地傳達訊息和與之相對應的符號，因而較易解讀、 也易於欣賞。至於《好色之圖系列》作品，多方融入普普藝術
提到「意向」，一個當代藝術領域裡時常提及的心理學與哲 學名詞，是解釋當代藝術家創作 「意象」 的必要條件。也就是
的元素，自不待言，很自然地在其意向與意象上，具備自成一 格的「聲色效果」。
說，檢視藝術作品 ( 即意象 )，必需對藝術家創作的意向有一定 程度的了解，才能掌握創作者的原創特質、風格分期，甚至他
沒 有 人 喜 歡 被 標 籤 化， 就 像 喬 治 亞· 歐 姬 芙 (Georgia
的潛力與永續性。心理學家認為，「意向」表現在主體的意識
O’Keeffe)，一輩子都未曾承認她花朵作品中強烈的性暗示 ( 也
層面，透過形象的形式使自身產生效果 ( 雅克·拉崗 Jacques
可能這真的不是她的意向所在 )。但蕭耀卻為此系列明訂了一個
Lacan，1901-1981；法國精神分析學家，被稱爲“法國的弗洛伊
聳動的標題，蓄意賦予三個系列鮮明的論述，把文字作遊戲式
德”)；對當代哲學來說，「意向」所指的是「朝向一個對象的
的處理，讓觀者看圖說話、猜謎、解題、甚至搞繞口令，讓觀
意識趨向 (inclination)」，而「意象」是指「對象在意識中所顯
者跟著創作者一起遊走於文字天地與人間情事。在《好色之圖》
現出來的一種方式」( 尚 - 保羅·沙特 Jean-Paul Sartre，1905-
裡，平緩綿密的線條得到了擴充與釋放，因膨脹變得豐滿，因
1980；法國哲學家、作家、存在主義哲學大師 )；用現象學的「意
豐滿顯得開放，畫面更因線性的變化 ( 從直線變為曲線 )、色彩
向性」(intentionality) 釋義，意向與意象是行為中一個不可分割
的鮮活 ( 從冷色轉為暖色 ) 和構圖的延展 ( 圖像開始超越畫面的
的意識整體結構；如以藝術的角度解讀，畫家的意向使他在有
局限 )，顯得圓滑而輕快、性感卻不低俗。其切割重組的色塊、
意 (intention) 和無意 (inclination 或 tendency) 之間創作意象，
具暗示性的色調、充滿想像的空間和近乎生命圖騰的情色主題，
營造具形象本體的作品。根據這個解析可以推論，一件作品之
還有令人莞爾的標題—創作者的意向相當明確，但同時也讓人
可稱得上是件藝術品，必須是藝術家在自身「意向」與「意象」
意識到此「色」非彼「色」，其實是一語雙關的「色相」，關
的傳導間，具備深化的思考與認知，且清楚知道要如何明確表
乎男女，是一種介於性愛 (Eros) 與性慾 (Eroticism) 的描繪，但
達自己的意識趨向，賦予創作者的生命能量 (spirit) ，並有效地
也意指畫家對顏色與造型的蓄意經營。
傳達訊息 (message)。如果這個趨向與訊息具有普遍性，甚至
10
如同《臉書系列》，許多在《好色之圖系列》裡的作品也各
business.”)。蕭耀的「普普化抽象表現主義」意象三部曲是
自組成次系列 ，將整個系列再次意有所指的分割、重組、演繹，
時代的產物與象徵，在當下的時空環境裡，具有與生活結合的
例如〈你在看我嗎〉(2011) 與〈情不自禁〉(2011)， 〈君子好逑〉
高辨識度，提點人們要用不同面向體認藝術的本質，進而反映
(2011) 與〈愛神〉(2011)。而〈風情萬種〉(2015) 卻是另一個
人生、融入生活，以感官的「色、受、想、行、識」觀照外在
故事，似乎有意的引申了武則天秦川大地上乾陵的風水傳說 ( 人
的物質世界與內心幽微的活動。透過圖騰形式的意象，蕭耀書
說唐朝龍脈在當地的梁山，其北峰最高，前面兩峰狀如乳房，
寫出人的生活主張，在各種情緒裡掙扎、進出、游離，闡釋「五
整個山形，遠遠看去像一個少婦平躺，乳峰高聳，是個典型的
蘊皆空」背後的人文因子與生命的共同經驗。
利陰之地 )。蕭耀在解析聯想性愛 (Eros) 和探討人類對「性崇 拜」矛盾情結的同時，給予人入世而開放、既明顯又隱晦、寬 容又飽滿且非常普普式的註解。
普普藝術甜俗放任的風格，在《好色之圖系列》中一覽無遺， 不外是因為它所指涉的男女情事，給人一種既甜美又通俗的聯 想。蕭耀的「色圖」像海報一樣，充滿官能性的畫題與畫面， 易引人遐想，且挑逗觀者的視覺神經，目之所及，絕對令人印 象深刻。這些「色圖」是一種圖騰，符號化的男女性徵，利用 空間設置傳達意念，直白地呈現一般人內心對性與愛所共同具 有的悸動。
蕭耀的藝術發展進程，跟當代藝術的發展同步，多樣而富於 想像。可以肯定的是，畫家對中外藝術涉獵夠多夠久夠深，因 此畫風能與當下的現代藝術契合，而且息息相關。藝術是一種 全然的創造，關乎生活，來自生活；文字形象、臉書和男女之
摩帝富集團副總裁兼亞洲區總經理 黃文叡
事，都是現實生活中無所不在的生活元素，它們是「流行的、 轉瞬即逝的、可隨意消耗的、廉價的、大量生產的、年輕的、 諧趣的、性感的、惡搞的、魅惑的及語不驚人死不休的」 ( 摘 自 1957 年藝術家理查·漢彌敦為「普普藝術」所下的定義 “Pop Art is: popular, transient, expendable, low-cost, massproduced, young, witty, sexy, gimmicky, glamorous, and Big
11
The Image Trilogy of York Hsiao At the first encounter of York Hsiao`s colorful works, the
For people studying fine arts and art history, there are many
immediate reaction is their close relationship with Abstract
unspeakable connections between calligraphy and painting.
Expressionism and Pop Art in shapes and contents. When we
Especially in Chinese Art, it is very difficult to distinguish
view the graphic images of the "Calligraphy", "Facebook", and
between the line in a painting and the line in calligraphy, unless
"Erotic Pictures" series, we can see the resemblance to the
one has been studying thoroughly in the characteristics of
works of Willem de Kooning, Richard Pousette-Dart, William
brush and ink, and the applications of different brush strokes,
Baziotes, Franz Kline, Robert Motherwell, David Hockney, Keith
this discussion will be totally meaningless and let one easily
Haring, and Roy Lichtenstein. Besides, Hsiao`s works also
trap into the quirk mire in the middle of logical thinking and the
incorporate the vocabularies of dream and psychoanalysis
definition of art. But, if we consider that the lines of calligraphy
which have been employed by many Surrealist artists.
can provide the space in painting or vise versa, then, maybe
Especially, the artist`s linear interpretation of totemic images
we can avoid the traps in dialectical thinking. For example,
generates endlessly imagination and elaboration. After ten
Franz Kline`s painting "October Day" is plainly a painting in
years of preparation and development, these works have
common Westerner`s eyes. But, in the eyes of people familiar
become three individual but coordinating series. This image
with international art history, it is very similar to the work "Work
trilogy formed by the artist with different themes using lines,
A" of Inoue Yuichi; i. g., it is a painting but in the same time
color blocks, organic images to create a complete set of
it can be considered to be a creation from transformation of
interpretation in art, is an extension of a linear idea, combining
calligraphic designs.
all the five stages of human senses in Zen belief. Amongst the contemporary Japanese calligraphers of the after York Hsiao started his career in graphic design before
war era, many development have been made in this direction.
he started the gallery business. He established Capital Art
The reason is that Japanese do not carry the heavy cultural
Center many years ago. His keen sense in art promoted many
baggage about calligraphy as among the Chinese. They do
established artists and young uprising artists. Through his
not understand and do not pay attention to the beauties of the
wealth of business experience, he accumulated many insights
brush strokes but pay more attention to the abstract design.
in market, politics, culture, and people. His passage from an art
Due to their long association to the Zen ideas, they develop a
dealer to a full-fledged artist must have been full of struggles
particular feeling of "iki" in their art view. This idea permeates
but should not be surprising. In observing his works in these
in their culture, clothing, daily life, and "Erotic Literatures"
three series, it is clear that he is enthusiastic about his business
(abundantly illustrated in their famous Ukiyo-e paintings during
and his expectation on his own personal creativity is equally
Edo Era). Under the constant impact from the Western ideas,
high. His attempt of deconstruction of human mind and human
they find an Eastern way to response to the treatment of the
nature by using the multifunction and multilayer of words and
lines in paintings and develop ways to use the brushwork and
graphic images are all realized in his creative works.
elasticity of the words and lines for the experimental painting and calligraphic arts.
12
Obviously, the majority of Hsiao`s works, especially, the
then view together to fully understand the idea. Paintings "That
early "Calligraphy Series" are following this route. He did not
is politics" and "The four tones of Pi" is another group. They
put too much emphasis on the consideration whether the line
are shown with antisocial attitude and dark humor. The first
is for painting or for calligraphy. His attentions were on the
painting shows a scattered set of Poker card and broken words
composition of space and colors. For the Chinese characters
mixing in them. The second painting shows a single eye staring
and phrases, no matter how they are constructed from, he
back to the viewer which signifies the phrase "Wording" and the
performs de-construction, reassembly, association, suggestion
organs and heart wandering around the stomach underneath the
on each of them by using his own rules to communicate
word "Skin". They look, at first glance, like just the comments
with the Western contemporary abstract expressionists and
against the current highly politicized and elite cultural system.
wandering between ideas of shape and image, empty and full,
In reality, they are the criticism for the current political system
reality and unreality. The paintings "Mountain" (2007) and "Ding"
and environment. The effect of juxtaposition raises the quality,
(2009), with their cool tone of coloring, reflect that the intent of
tension, and viewability of these paintings.
de-constructing the Chinese words by the artist. The paintings "Struggle between Long and Flat" (2006) and "Crouch" (2006),
Comparing to the "Calligraphy Series", the presentations in the
clearly indicate the deep concern for linear space arrangement
"Facebook Series" are more straight-forward and alternative,
and Abstract Expressionism. The painting "Together" (2010)
displaying the division between the real world and the virtual
contains the artist`s study on the structure and spacing of
world. In the same time, they laugh at the faรงade packaged by
the word and the relating reality. It`s deep and quiet coloring
a lot of people. The construction of the images is an extension
similar to those of Giorgio de Chirico and with a hint of space-
of the "Calligraphy Series", in addition to the psychological
reversing abstract form shows the attempt of the artist in
themes of "Book of Faces" and "Faces and Book". The painting
Surrealism, comparing to the other more "Milo" style paintings
"Year Rings of Earth" (2010) shows many repeated lines to lead
in the later "Facebook" series.
in the multi-level layers of space. They were layered to show the many scenes of different time and different distance. They
The paintings in the "Calligraphy Series" contain a strong
look like faces but also like the year rings of trees. They seem
sense of space, characteristics of words and symbolization.
to be masks as in the Ukiyo-e paintings, but actually show the
Painting "Angry" (2007) shows the similar poetic tone and
lifelessness of people caused by the over-using of the social
playing with words attitude of works from Guillaume Apollinaire.
network. The paintings in this series use the images of faces,
The images provide the multiple presentations of the shape,
words, color blocks, and multi-media interchangeably, adding to
the sound, and the meaning of the word. "Chaos" (2008) and
the usually witty ways of titling, to present totem-like pictures.
"Longing" (2009) represent the entanglements of the human
There are several pictures with strong "Milo style", such as
mind, which bring about the coexistence and intensification of
"Philosopher" (2007), "Dreaming of the God of Words" (2009),
chaos and order in this bi-polar time. Paintings "Hidden image
and "Another Face" (2011). There are also paintings like "Lucky"
inside" and "Outside shape" should be studied separately and
(2012), "Big Lie" (2012), "Profile" (2012), "Clown" (2012),-
13
-and "Love in Eden" (2013), which are Surrealistic masterpieces.
image are parts of the structure of a consensus idea which
The organic compositions extend to the structures of the next
cannot be separated. If we look at it from the artist angle, the
series of "Erotic Pictures".
"intent" of the artist moves him to create the image either by intension or by inclination to build up the work of creation. From
Examining the images of "Facebook Series", we can
this explanation, a creation which can be claimed to be a work
understand more clearly the relationship between the different
of art must be from the creator`s own intent and image, after
pieces. "Like Treading on Thin Ice" (2012) and "Phantom of
deep thinking and recognition of the means to state clearly
the Opera" (2012) summarize the creative motives of York
his own intention, empowered with the life spirit of the artist,
Hsiao for this series. Although the presentation in the pictures
and conveying the messages effectively. If this tendency and
are quite obvious, and don`t need to be explained, but to
messages are popular and have worldwide value, then the
view both of these pictures side by side can experience the
creator has the prerequisite of becoming a true artist.
constraining and expanding of the emotions. At the point of total disintegration of image, it is not as complete due to the
When we examine the three series together, we understand
turmoil in thoughts. The compaction of the structures increases
completely what the artist tries to convey in the "Calligraphy
the emotional impact. If we notice the subtitle of "Like Treading
series". The basic characteristic of "Calligraphy Series" is
on Thin Ice" for "Facebook 1", then we would understand the
cultural, introspective, and Chinese. The meaning of the
attitude and intent for the current cultural environment in his
word is purely subjective. It is very difficult for Westerners to
painterly space.
fully realize this series. But, there is no such restriction in the "Facebook Series" because its intent is sub-cultural, worldwide,
As for "intent", it is a term in current psychology and
and without cultural boundary. Through the elaboration of
philosophy often used by the contemporary art community. It is
the "Facebook Series", with the imagery presentations, the
necessary to understand before we can explain an "image" of
messages are conveyed clearly by relating symbols. They are
the contemporary art creation. We have to clearly understand
more easily understood and naturally provide their own "audio
the artist`s intent to get a handle of his originality, his style
and visual effects" on their direction and intent.
period, his potential, and continuity. Psychologists believe that
14
"intent" is in the subject`s consensus mind and affects the body
Nobody likes to be labeled. Even Georgia O' Keeffe, through
by images to achieve results (according to Jacques Lacan,
her whole life, she never once admitted that her flower
1901-1981, a French psychoanalyst, whom was called Freud
paintings had a strong sexual innuendo (maybe that was really
of France.) For the current philosophers, "intent" indicates the
not her intent). But, York Hsiao chose a sensational title which
"inclination" to an object and "image" is "the form of the object
intentionally brought the ideas into focus. He lets the viewer
in the consensus mind" (according to Jean-Paul Sartre, 1905-
generate his own words after watching the paintings, solve his
1980, a French philosopher, writer, Existentialist.) If we use
own riddles, or even create his own Rap. He invites the viewer
the intentionality of phenomenology to explain, the intent and
join him to explore the world of words and human emotions.-
-In these pictures, ordinary lines become expanding and free.
between male and female always provide a sweet and popular
They become full due to expansion and open due to fullness.
association. The "Erotic Pictures" of York Hsiao are like posters,
The paintings become smooth and light, sensual but not
full of organic topics and scenes, which induce erotic thoughts,
vulgar because of the linear changes (from straight lines to
titillate the viewer`s visual nerve, and leave a deep impression.
curves), lively colors (from cold colors to warm colors), and
These "Erotic Pictures" are totems, symbolized the male and
the extension of the composition (images exceed the picture
female sexes, using space arrangement to convey straight-
boundaries). Their reassembled cut-up color blocks, sexual
forwardly its ideas to reveal the emotions that touch the deepest
suggestive color tones, space that is full of imagination, the
mind of all common people.
close to life totemic sexual theme, and the humorous titles, all point to the clear intent of the artist which is to explore the
The art development of York Hsiao is in-sync with the
double-meaning of the Chinese character "Se". Between the
contemporary art, multi-facet and imaginative. One thing can
sexes, it describes "Eros" and "Eroticism", but it also describes
be certain that the artist has spent a lot of time and efforts
the careful dealing of the colors by the artist.
with local and international art business to maintain this close relationship to the contemporary art community. Art relates
Just as in the "Facebook Series", paintings in the "Erotic
to life and comes from life. The image of words, Facebook,
Pictures Series" form into several sub-groups, groups
and sexual activities are essential elements in life. They are
presenting different ideas. For example, "Are You Watching
"popular, transient, expendable, low-cost, mass-produced,
Me?" (2011) and "Can`t Help Myself" (2011) is a group; "Pursuit"
young, witty, sexy, gimmicky, glamorous, and Big business."
(2011) and "Venus" (2011) is another group. "Many Graces"
York Hsiao`s "Pop Style Abstract Expressionism" image trilogy
(2015) tells another story. The artist seems to associate
is a product and symbol of current time. It reminds people to
intentionally to the Feng Shui story of the tomb of the Empress
realize the essence of art in a different angle, and to reflect on
in Tang Dynasty. The story stated that the dragon vane of the
one`s own life to sense the materialistic world and the activities
Tang Dynasty resides in Leong San where the empress was
in mind. Through the images of totemic forms, York Hsiao
buried. The north peak is the highest and there were two lower
spells out his idea of human life, behind all the struggles, back
hills in front which shaped like the breasts of a young woman.
and forth, to best demonstrate the Zen belief that the common
The whole mountain looks like a woman lying down. It is a very
life experience of human senses are all empty.
good Feng Shui omen for female. York Hsiao gives a popular and open explanation in Pop Art fashion, clear but hidden, tolerant and full, in his exploration of the relations in "Eros" and human "Erotic Worship".
Managing Partner and Founder of Motif Art Group Former Board of NEA Dr. Terry Huang
The sweet and "laissez-faire" attitude of Pop Art can be easily seen in "Erotic Pictures Series" because the topics
15
游於藝的人生｜自序 就在首都藝術中心成立三十一個年頭之際，我的使命感誠如
合與構成。於是我顛覆了傳統。常思考，繪畫太重於形象的表
孔子所言 :「志於道，據於德，依於仁，游於藝。」孔子說，立
現則被「象」所制約。藝術追求的極致在於「意」，我傳遞活
志追求人生理想，確實把握德行修養，絕不背離人生正途，自
潑的表現意涵。中國文字本就是藝術，我轉化觀點而作畫。將
在涵泳藝文活動。古時候的藝，談的是禮樂射御書數等六藝。
社會評論等時事結合文字的解構，再次建構「時事」於創作之
我不敢認為自己都能涉獵，但在人生康莊大道上，我擇善固執。
中，讓「藝術」貼近生活之中，見仁見智的解讀成為每個心靈
期許自己從藝術事業經營者的技術層面，轉換跑道成藝術創作
的慰藉窗口。讓藝術生活反映社會的縮影。
者。
臉書系列 在經紀人與創作者之間，我的生命經歷了無數藝術家與藝文
網際網路與雲端科技的便利性，影響了人們的生活。人們變
人士。有幸向大師之傑作之精髓學習觀察，並在當代藝術作品
得善於在虛擬世界中，隱藏最真實的自我。畫作中一張張的臉
中體悟源源不絕的新養分。思考、整合後成為我另一面藝術的
譜表象的喜怒哀樂，是諷刺人們逃避現實扭曲自己的一面。藉
創作泉源。
著創作提醒觀賞者，能夠在真實生活中找回自己。
生命歷程是有軌跡可循的。自幼即開始學習藝術創作，至今 四十多個年頭。真是歲月不饒人，我從中國傳統繪畫開始，由 書法、水墨之學習後，又轉換西方藝術技法，不斷地嘗試各種 原創性。我從事平面設計有多年的經驗，因此成立首都藝術之 後，選擇了石版畫作為進入藝術市場的敲門磚。
為了求得專業，我到法國 MOULT 版畫工作室研習。爾後我 把第一代老畫家的作品，在 IDL 版畫工作室裏作後製石版畫。 其實這種後製版畫的發行，在歐美已經行之百年。當然萬事起 頭難，我為名家製作石版畫引進台灣之初，飽受部份人士對後 製石版藝術的存疑與批判。又，2005 年我與 Epson 合作推展的 「數位版畫」。經歷十年的印證，它成為現代的藝術家喜歡運 用的「藝術微噴」。藝術微噴，也因此變成藝術家青睞的呈現 方式。舉這些例子，說明凡是創新的事務，難免受人議論。雖 如此，但我至今熱忱依然不減。
就在備受質疑「畫廊的經營者能創作嗎 ?」之際，個人堅定 的走上藝術創作這條路上。數年來，有幸完成三大系列：「文 字系列」、「臉書系列」與「好色之圖」。容我引導閱讀者來 認識拙作，以真誠的創作靈魂邀您進入我心深處。
文字系列 從平面設計到鑽研美術字體，頓悟了中國文字，應有新的組
16
好色之圖系列 「好色之圖」的創作意念，企圖挑戰台灣傳統社會的氛圍。 符號的象徵作品，自古至今倍受喜愛。我想表達人類最原始的 「慾望」，以直觀的象徵性性器符號，透過強而有力暗示性的 構圖。搭配簡潔的大面積色塊，讓觀賞者心領神會後莞爾一笑。 具體而細微的傳達出，男女愛戀情慾纏綿的本性，可以不斷地 挑戰觀賞者的視覺衝擊。深層之意，則是反諷東方社會的保守 與西方藝術開放的矛盾情感。
歷經象形文字的意象，藉由時事交織讓內心與外在形象衝突， 最後釋放最原始的情感慾望。三系列的創作，表達了我人生不 同時期的熟稔與成長。它們是一長串的生命鏈。是個人珍貴的 經歷，透過不同的語彙來分享我的創作。
A Life of Wandering in Art ď˝œ Self Introduction During the 31 years of operations of the Capital Art Center, my mission
Now, I am facing people having this question whether an art dealer really can
in life has been what Confucius said, "To follow the straight and narrow
transform into an art creator. I have decided to take this path of creativity for the
way for life, to base all the activities on ethics, to deal with people in an
rest of my life and will try to give an affirmative answer to those thoughts. In the last
proper manner, to wander in activities of art." In the old days, art included
few years, I am glad to finished three series of paintings, the "Calligraphy Series",
many cultural activities, sports events, music and dance performance,
the "Facebook Series", and the "Erotic Paintings Series". Let me introduce my works
calligraphy, and even mathematics. I cannot say that I have participated in
and lead you into the depth of my soul.
all of those art forms, but I choose and persist on my best talents and has transform from the technical side of a businessman dealing with art to a budding creator of art.
Calligraphy Series When I was working on graphic design, I studied the artistic character styles and realize that there should be new ways to combine and construct the Chinese characters. I was trying to break out from the existing traditions. The ultimate goal
Between my roles of art dealer and art creator, I encountered many established artists and cultural workers, and was lucky enough to observe and learn from their masterpieces. I also absorb ideas from the many contemporary art creations. After a lot of thoughts and reassembly, they become another source of inspirations for my own creations. I started my art study since forty years ago at an early age. Time went by so quickly. In the beginning, I studied traditional Chinese painting, learning Chinese ink techniques, calligraphy, and how to use the brushes. Then, I switched to Western techniques, endlessly trying to experiment with different ways to create. After establishing the Capital Art Center, I decided to enter the market with stone-plate lithographic prints because of my previous professional experience in graphic design.
of art is in the presentation of the idea instead of the image. I want to convey a lively idea. Each Chinese character by itself is already a form of art; I change my view point slightly and make it into a picture, connecting to the current news stories and combining with the deconstructed words to reconstruct the stories in painting. It makes the art form close to life. The difference in the interpretation becomes the comfort window for each soul, making the art reflect the epitome of society.
Facebook Series The convenience of the internet and cloud technologies affects life of many people. They prefer to stay in the virtual space to hide their true selves. The many masks displaying different fate emotions on the outside are indicating the façades which people are put up to avoid reality. These paintings remind the viewer to reclaim himself in real life.
To gain the proper knowledge and expertise, I first went to study at the MOULT Lithographic work shop in France for my basic training. Then, I collected a set of paintings of the first generation Taiwan artists and start to create stone-plate lithographic copies for these rare pieces with help from the IDL Lithographic work shop, also in France. Editions of stoneplate technology for reproducing artworks have been issued in Europe for over a century. I was really excited with my newly acquired knowledge, technology, and proudly introduced these masterpieces into the Taiwan market. However, it was a very difficult task to accomplish. At the beginning, there were many critics about the techniques and value of lithographic prints. In 2005, I worked with Epson to introduce the "Digitized Lithographic Technology" for art reproduction. After the continual development, the technology matured to "Glcree Technology" and has now become one of the preferred presentation media of many established artists in the world. What I am trying to say is that anytime when new renovation first appears, there will always be a lot of obstacles to be overcome. My enthusiasm for lithographic prints remains very high to these days.
Erotic Pictures Series The intent for this series is to challenge the environment of traditional society in Taiwan. There has always been great popularity through the time for symbolic art works. I present the basic human desire with symbols for sexual organs in a strong, forceful, and suggestive composition of simple, large color blocks. Hopefully, it will bring a smile on the viewer`s face after he catches the idea. They challenge the viewer`s visual impact and describe the subtleties of all the entanglements between the male and female sexes. On a deeper layer, they show the contradictions between the conservativeness of the Eastern society and the openness of Western art.
These three series of paintings start from the images of hieroglyphic writing, through the conflicts of the mind and outside images in the news items, then end with the relief of the ultimate instinctive emotion desires. They represent the different stages of my life`s development. They are a long chain of life and my most precious experience. I hope I can share them with you in forms other than words.
17
18
文字系列 Calligraphy Series 從平面設計到鑽研美術字體，頓悟了中國文字，應有新的組 合與構成。於是我顛覆了傳統。常思考，繪畫太重於形象的 表現則被「象」所制約。藝術追求的極致在於「意」，我傳 遞活潑的表現意涵。中國文字本就是藝術，我轉化觀點而作 畫。將社會評論等時事結合文字的解構，再次建構「時事」 於創作之中，讓「藝術」貼近生活之中，見仁見智的解讀成 為每個心靈的慰藉窗口。讓藝術生活反映社會的縮影。
When I was working on graphic design, I studied the artistic character styles and realize that there should be new ways to combine and construct the Chinese characters. I was trying to break out from the existing traditions. The ultimate goal of art is in the presentation of the idea instead of the image. I want to convey a lively idea. Each Chinese character by itself is already a form of art; I change my view point slightly and make it into a picture, connecting to the current news stories and combining with the deconstructed words to reconstruct the stories in painting. It makes the art form close to life. The difference in the interpretation becomes the comfort window for each soul, making the art reflect the epitome of society.
19
永
Forever
水彩 Watercolor 52 × 37 cm 2006
20
門
Door
水彩 Watercolor 38 × 53 cm 2006
21
共
Together
綜合媒材 Mixed Media on Canvas 72.5 × 62 cm 2006
22
心Ⅰ
Heart Ⅰ
水彩 Watercolor 39.3 × 54.6 cm 2006
23
愛
Love
綜合媒材 Mixed Media on Canvas 91 × 72.5 cm 2007
24
發
Prosperity
綜合媒材 Mixed Media on Canvas 72.5 × 91 cm 2007
25
神鋸木斷水滴石穿
Perseverance
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
26
門庭若市
Doing Blooming Bussiness
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2006
27
苦盡甘來
Sweet after Bitter
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
28
心Ⅱ
Heart Ⅱ
綜合媒材 Mixed Media on Canvas 60 × 72.5 cm 2006
29
川流不息
Continuously Flowing
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
30
四海一家
We Are Family
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2007
31
武
Might
綜合媒材 Mixed Media on Canvas 65 × 53 cm 2009
32
忍
Endure
綜合媒材 Mixed Media on Canvas 65 × 53 cm 2009
33
行雲流水
Moving Clouds and Flowing Water
綜合媒材 Mixed Media on Canvas 116.5 × 90.5 cm 2007
34
空心
Empty Heart
綜合媒材 Mixed Media on Canvas 53 × 45.5 cm (×2) 2008
35
仙人
Super Human
綜合媒材 Mixed Media on Canvas 91 × 60.5 cm 2006
36
你我他
You, Me, and Him
綜合媒材 Mixed Media on Canvas 72.5 × 91 cm 2006
37
一個好人
A Good Guy
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
38
伏
Crouch
綜合媒材 Mixed Media on Canvas 72.5 × 91 cm 2006
39
真善美
Truth Virtue Beauty
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
40
心心相印
Heart to Heart
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2007
41
國
Country
綜合媒材 Mixed Media on Canvas 91 × 72.5 cm 2006
42
如意Ⅰ
As You Wish Ⅰ
綜合媒材 Mixed Media on Canvas 91 × 72.5 cm (×2) 2006
43
福到了
Fortune is Here
綜合媒材 Mixed Media on Canvas 91 × 72.5 cm 2008
44
心閑手敏
Relaxed Mind, Nimble Hands
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2006
45
如意Ⅱ
As Your Wishes Ⅱ
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2006
46
隨心所欲
As Your Wish
綜合媒材 Mixed Media on Canvas 100 × 80 cm (×2) 2006
47
山
Mountain
綜合媒材 Mixed Media on Canvas 72.5 × 60.5 cm 2007
48
品
Quality
綜合媒材 Mixed Media on Canvas 60 × 73 cm 2006
49
真心
Genuineness
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
50
生生不息
Multiply
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2007
51
樂天知命
Content
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
52
源源不絕
Beginning
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2009
53
心清智明
Clear Mind
綜合媒材 Mixed Media on Canvas 116.5 × 91 cm 2007
54
海納百川
All Rivers Flow into the Sea
綜合媒材 Mixed Media on Canvas 65 × 53 cm 2009
55
誠
Honest
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
56
天馬行空
An Extraordinary Thought
綜合媒材 Mixed Media on Canvas 116 × 91 cm 2007
57
鼎
Ding
綜合媒材 Mixed Media on Canvas 65 × 53 cm 2009
58
如魚得水
Just Like Fish in Water
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
59
匕
Dagger
綜合媒材 Mixed Media on Canvas 100 × 100 cm 2009
60
合
Appropriate
綜合媒材 Mixed Media on Canvas 100 × 100 cm 2009
61
契合
Match
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2009
62
正在甦醒的藍
The Awakening Blue
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2009
63
數字遊戲
Game of Numbers
綜合媒材 Mixed Media on Canvas 91 × 72.5 cm (×3) 2008
64
65
66
貪
Greedy
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2011
67
嗔
Anger
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2011
68
癡
Obsession
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2011
69
亂
Chaos
綜合媒材 Mixed Media on Canvas 100 × 100 cm 2008
70
盼
Longing
綜合媒材 Mixed Media on Canvas 100 × 100 cm 2009
71
卓爾不群
Above All Others
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2007
72
長扁之爭
The Struggle between Long and Flat
綜合媒材 Mixed Media on Canvas 91 × 72.5 cm 2006
73
和平共存
Peaceful Coexistt
綜合媒材 Mixed Media on Canvas 53 × 65.5 cm 2006
74
天下不和平
No Peace
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2006
75
怒
Anger
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2007
76
寶島新樂園
New Paradise in Taiwan
綜合媒材 Mixed Media on Canvas 97 × 162 cm 2006
77
內在隱象 Hidden Image Inside 綜合媒材 Mixed Media on Canvas 130 × 80 cm 2007
78
外在形式 Outside Shape 綜合媒材 Mixed Media on Canvas 130 × 80 cm 2007
79
政治就是這麼一回事
That Is Politics
綜合媒材 Mixed Media on Canvas 130 × 162 cm 2008
80
披皮痞屁
The Four Tones of Pi
綜合媒材 Mixed Media on Canvas 130 × 162 cm 2007
81
82
臉書系列 Facebook Series 網際網路與雲端科技的便利性，影響了人們的生活。人們變 得善於在虛擬世界中，隱藏最真實的自我。畫作中一張張 的臉譜表象的喜怒哀樂，是諷刺人們逃避現實扭曲自己的 一面。藉著創作提醒觀賞者，能夠在真實生活中找回自己。
The convenience of the internet and cloud technologies affects life of many people. They prefer to stay in the virtual space to hide their true selves. The many masks displaying different fate emotions on the outside are indicating the façades which people are put up to avoid reality. These paintings remind the viewer to reclaim himself in real life.
83
笑口常開
Always Smile
綜合媒材 Mixed Media on Canvas 72.5 × 91 cm 2007
84
為什麼
Why
綜合媒材 Mixed Media on Canvas 53 × 65.5 cm 2006
85
鋼鐵人
Iron Man
綜合媒材 Mixed Media on Canvas 72.5 × 91 cm 2007
86
三人行必有我師
There is Always Someone to Learn From
綜合媒材 Mixed Media on Canva 100 × 80 cm 2007
87
如履薄冰
Like Treading on Thin Ice
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2012
88
智者的象徵
Symbol of the Wiseman
綜合媒材 Mixed Media on Canvas 80 × 100 cm 2010
89
泉源
Fountain
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2012
90
耍寶
Foolish
綜合媒材 Mixed Media on Canvas 72.5 × 90.5 cm 2007
91
歌聲魅影
The Phantom of the Opera
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2012
92
招財
Lucky
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2012
93
信口開河
Big Lie
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2012
94
側臉
Profile
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2012
95
小丑
Clown
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2012
96
樂不思蜀
Happiness
綜合媒材 Mixed Media on Canvas 91 × 72.5 cm 2006
97
夢見倉頡
Dreaming of the God of Words
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2009
98
酷
Cool
綜合媒材 Mixed Media on Canvas 116 × 91 cm 2010
99
浴火鳳凰
The Phoenix from the Flames
綜合媒材 Mixed Media on Canvas 162 × 227 cm 2010
100
另一張臉
Another Face
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2011
101
塵世年輪
Growth Rings of Earth
綜合媒材 Mixed Media on Canvas 162 × 227 cm 2010
102
塵世吶喊
Scream
綜合媒材 Mixed Media on Canvas 162 × 227 cm 2010
103
104
好色之圖 Erotic Pictures Series 「好色之圖」的創作意念，企圖挑戰台灣傳統社會的氛圍。 符號的象徵作品，自古至今倍受喜愛。我想表達人類最原 始的「慾望」，以直觀的象徵性性器符號，透過強而有力 暗示性的構圖。搭配簡潔的大面積色塊，讓觀賞者心領神 會後莞爾一笑。具體而細微的傳達出，男女愛戀情慾纏綿 的本性，可以不斷地挑戰觀賞者的視覺衝擊。深層之意， 則是反諷東方社會的保守與西方藝術開放的矛盾情感。
The intent for this series is to challenge the environment of traditional society in Taiwan. There has always been great popularity through the time for symbolic art works. I present the basic human desire with symbols for sexual organs in a strong, forceful, and suggestive composition of simple, large color blocks.
Hopefully, it will bring a
smile on the viewer’s face after he catches the idea. They challenge the viewer’s visual impact and describe the subtleties of all the entanglements between the male and female sexes. On a deeper layer, they show the contradictions between the conservativeness of the Eastern society and the openness of Western art.
105
男與女
Man and Woman
油畫 Oil Painting 41 × 32 cm 1996
106
古代與現代
Ancient and Modern
綜合媒材 Mixed Media on Canvas 53 × 41 cm (×2) 2009
107
前凸後翹
Bootylicious
綜合媒材 Mixed Media on Canvas 65 × 53 cm 2006
108
突破
Breakthrough
綜合媒材 Mixed Media on Canvas 88.5 × 70 cm 2006
109
鑽入地心
Drill Into the Core
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
110
111
仲夏夜之夢
A Midsummer Night's Dream
綜合媒材 Mixed Media on Canvas 162 × 227.5 cm 2015
112
風情萬種
Many Graces
綜合媒材 Mixed Media on Canvas 108 × 168 cm 2015
113
114
非禮勿視
See No Evil
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
115
伊甸園之愛
Love in Eden
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2013
116
星星知我心
Stars Know My Heart
綜合媒材 Mixed Media on Canvas 100 × 80 cm (×2) 2010
117
地心引力
Gravity
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2015
118
滿足
Satisfaction
綜合媒材 Mixed Media on Canvas 100 × 80 cm 2013
119
愛神
Venus
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2011
120
君子好逑
Pursuit
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2011
121
你在看我嗎
Are You Watching Me?
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2011
122
情不自禁
Irresistable
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2011
123
情愛迷宮
Love Maze
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
124
情有獨鍾
Faithfully
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
125
魂縈夢繫
Dreaming
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
126
纏綿悱惻
Sentimentality
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
127
望眼欲穿
Wistfully
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
128
相由心生
Handsome is That Handsome Does
綜合媒材 Mixed Media on Canvas 97 × 130 cm 2015
129
赫赫雄風
Powerful
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
130
母儀大地
Gaia
綜合媒材 Mixed Media on Canvas 97 × 130 cm 2015
131
雲遊四海
Roam
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
132
雲擁
Embrace in Cloud
綜合媒材 Mixed Media on Canvas 97 × 130 cm 2015
133
祖靈崇拜
Worship of Ancestral Spirits
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
134
生命密碼
Life Code
綜合媒材 Mixed Media on Canvas 130 × 97 cm 2015
135
孕育
Incubation
綜合媒材 Mixed Media on Canvas 97 × 130 cm 2015
136
ART
FASHION York Hsiao
誠 Honest
消失的地平線 Lost Horizon
&
真心 Genuineness
137
海韻 攝影
138
Rhythm of the Sea Photography
漣漪 攝影
Ripple Photography
神鋸木斷水滴石穿 綜合媒材
Perseverance
Mixed Media on Canvas
如魚得水 綜合媒材
Just Like Fish in Water Mixed Media on Canvas
139
律動 攝影
140
Rhythm Photography
漣漪 攝影
Ripple Photography
迷彩 攝影
Camouflage Photography
節拍 攝影
Beats Photography
141
小丑
Clown
綜合媒材
142
Mixed Media on Canvas
春漾 攝影
Spring Water Photography
如意Ⅰ ( 左 ) 綜合媒材
As You Wish Ⅰ (Left)
Mixed Media on Canvas
如意Ⅰ ( 右 ) 綜合媒材
As You Wish Ⅰ (Right)
Mixed Media on Canvas
143
經歷｜ Chronology 2009-2015 中華民國畫廊協會常務理事•理事 Taiwan Art Gallery Association, Director 2011-2012 臺北市立教育大學 助理教授 University of Taipei, Assistant Professor 2009 台北國際藝術博覽會總召集人 Art Taipei 2009, creative organizer 2008 台北藝術大學藝文中心課程講師 Taipei National University of Arts, Fostering an Arts Community, Lecturer 2007-2008 中華民國畫廊協會理事長 Taiwan Art Gallery Association, Chairman 2007 國家 CMBA 文化創意總會講師 Taiwan CMBA, Lecturer 2006 台北師範大學 EMBA 中心講師 National Taiwan Normal University EMBA, Lecturer 2005-07 中華民國畫廊協會副理事長 Taiwan Art Gallery Association, Vice-Chairman 1990 繼續於巴黎 MOULT 版畫工作室深造 Advanced studies in MOULT, Paris 1989 榮獲中華民國美術設計大展第二名 The Designer Association of the R.O.C. Award, silver medal 1986 遊學法國入 IDL 版畫工作室研習 Advanced studies in IDL, France 1984 創立首都藝術事業有限公司迄今 Established Capital Art Corporation since 1984 1982 成立首府設計印刷事業有限公司 Established Capital Print & Design Corporation since 1982
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參展經歷｜ International Art Fair 2016 Art Central 國際藝術博覽會，香港 Art Central HK International Art Fair, Hong Kong 新加坡 Art Stage 國際藝術博覽會 Art Stage 2016, Singapore 2015 台北國際藝術博覽會 Art Taipei 2015, Capital Art Center, Taipei ,Taiwan 台灣藝術家博覽會 Artist FairTaiwan, Taipei ,Taiwan Art. Fair 2015 國際藝術博覽會，德國科隆 Art. Fair Cologne 2015, Cologne, Germany 2014 上海藝術博覽會 Shanghai Art Fair 2008, Capital Art Center, Taipei ,Taiwan 2013 台北國際藝術博覽會 Art Taipei 2013, Capital Art Center, Taipei ,Taiwan 2012 台北國際藝術博覽會 Art Taipei 2012, Capital Art Center, Taipei ,Taiwan 2011 台北國際藝術博覽會 Art Taipei 2011, Capital Art Center, Taipei ,Taiwan 2010 台北國際藝術博覽會 Art Taipei 2010, Capital Art Center, Taipei ,Taiwan 2009 馬來西亞藝術博覽會 Art Expo Malaysia 2009, Capital Art Center, Taipei ,Taiwan 台北國際藝術博覽會 Art Taipei 2009, Capital Art Center, Taipei ,Taiwan 2008 上海藝術博覽會 Shanghai Art Fair 2008, Capital Art Center, Taipei ,Taiwan 台北國際藝術博覽會 Art Taipei 2008, Capital Art Center, Taipei ,Taiwan 日本大阪飯店型藝術博覽會 Art Osaka2008, Capital Art Center, Taipei ,Taiwan 2007 上海藝術博覽會 Shanghai Art Fair 2007, Capital Art Center, Taipei ,Taiwan 北京藝術博覽會 Art Beijing 2007, Capital Art Center, Taipei ,Taiwan 台北國際藝術博覽會 Art Taipei 2007, Capital Art Center, Taipei ,Taiwan 145
國家圖書館出版品預行編目 (CIP) 資料 意象三部曲 : 蕭耀 / 蕭耀作 . -- 臺北市 : 首都藝術中心 , 2015.10 面 ; 公分 ISBN 978-986-87686-3-5( 平裝 ) 1. 平面設計 2. 作品集 964
作者｜蕭耀 發行人｜廖小玟 編輯監督｜李張煒、葉彥廷
Author ｜ York Hsiao Publisher ｜ Hsiao-Wen Liao Editor Supervisor ｜ Louis Lee, Yen-Ting Yeh
文字｜張弘弢、李翊菱
Editor ｜ Vang Cheong, Eileen Lee
美術編輯｜葉彥廷
Graphic Designer ｜ Yen-Ting Yeh
校稿｜莊舒如、馬怡綾 服飾提供 | 黛安娜國際企業有限公司 出版｜首都藝術中心 地址｜台北市仁愛路四段 343 號 2 樓
Manuscript Reviewer ｜ Shu-Ju Chuang, Yi-Ling Ma Clothing Offer | Diana Fashion CO.LTD Publisher ｜ Capital Art Center Address ｜ 2F, No.343, Renai Road Sec.4, Taipei, Taiwan, R.O.C.
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版權所有｜首都藝術事業有限公司
Copyright ｜ Capital Art Corporation
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Printing House ｜ Suhai Design & Production, INC
發行日期｜ 2015 年 10 月 定價｜新台幣 2000 元
Publishing Date ｜ October, 2015 Price ｜ NTD.2000
ISBN 978-986-87686-3-5
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2015 © Capital Art Corporation
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