2017. 02. 02 - 04. 23
目錄 CONTENTS
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館長序 Preface
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創作論述 Artist statement 由「場所」作為主題開始的一系列聯想 | 盧嬿宇 A Series of Associations Based on Using a Site as a Theme | Lu Yen -Yu
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圖錄 Plates 藝術家簡介 Biography
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序 Preface
李足新 Lee Chu-Hsin 毓繡美術館 館長 The Executive Director of Yu-Hsiu Museum of Art
2017 年的開春首展檔期，邀請了四位專注於不同領域的當代寫實新銳藝術家，舉辦各自表述的特展。主要呼 應毓繡美術館長久以來努力的方針之一：「致力於提升臺灣當代寫實藝術的能見度」，且也藉由作品中的手 感溫度，勾動更多國內外的藝文同好們，帶領觀者關懷當代環境及社會樣態。
盧嬿宇學成回到宜蘭的家鄉後，開始從生活中找尋創作的靈感，也從城鄉的變遷中看見所欲透過作品保留的 記憶。《棲息地》則是她這幾年裡，藉由對居住空間的觀察及描繪，暗示了居住裡頭的人們生活的樣態，她 覺得人能夠建構場域，也同時形塑了各自的特性，因此開始將人體揉入場所之中，形塑成各種象徵的外貌， 有的像是具有保護功能的羽毛殼、隔離人群的一道牆，又或是處於內外痛苦翻轉的環狀體，藉由這些形象， 探索內與外之間的雙向平衡。除了內心自我探索外，藝術家也從環境中取材，新作中將斷垣殘壁的紅磚巧妙 的融入陶瓷雕塑作品中，抽象又具象的表達現代人對於思想自由的渴望，且同時見證了土地 / 城市的變遷， 期待帶給觀眾一種對於環境覺知的提點。
For the first exhibition after the Chinese New Year holiday in 2017, Yu-Hsiu Museum of Art has invited four promising contemporary artists of realist art from different fields to hold four respective exhibitions. The attempt corresponds to one of the museum's long-term objectives, which is to "strive for increasing the visibility of Taiwanese contemporary realist art." We also hope that the artistic warmth of the works would capture the attention of international and domestic art lovers and lead our audience to care about the contemporary environment and society.
Lu Yen-Yu returned to her hometown, Yilan, after finishing her study, and started seeking artistic inspiration in life. During the process, she perceived the memories that she hoped to reserve through her work in the changes of the city. The exhibition, Habitat , reveals her observation and depiction of her living space in recent years, beckoning at various aspects of modern people's life. In her opinion, people create sites and places that simultaneously shape their life. Therefore, she begins to integrate the human form with the idea of site, creating a wide range of symbolic forms and appearances. They might be a protective feather shell, a wall that separates people from individuals, or cyclic forms that revert the inner and outer psychological spaces. Meanwhile, the artist also finds creative ideas in her surrounding environment, and cleverly incorporates debris of bricks into her ceramic sculptures. By demonstrating modern people's longing for freedom of the mind in a manner that combines both abstract and concrete forms, her work is also a kind of testimony to the vicissitudinous landscape or cityscape, reminding the audience to remain aware of their living environment.
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創作論述
由場所作為主題開始的一系列聯想
Artist statement
A Series of Associations Based on Using a Site as a Theme
撰文 / 盧嬿宇
Text / Lu Yen -Yu
居住空間有如肉體的延伸，貼合著身體，隔離個體與外界，提供量身打造的安全與舒適。在私密的隱蔽所中，
The living space is like an extension of the physical body. It complies to our bodies, separating individuals and the outside
獨立的個人，得以抽離現實社會劃定的規範，建構內在的和諧秩序。居住空間暗示著其擁有者的生活方式，
world while providing personal safety and comfort. In the intimate space of seclusion, independent individual can escape
人建構場所，同時場所也在反向形塑人的樣貌。我以主觀的空間想像，將擬人的肉體形塑成各種場所：包覆 的殼、隔離的牆、深掘的穴、內外翻轉的環，探索內與外之間平衡或拉扯的雙向關係。
from the regulation and confinement of the society and construct inner his or her harmony and order. The living space implies the contour of its inhabitant's lifestyle. Human beings create sites, and the living space also shapes the appearance of human beings simultaneously. I imagine space from a subjective perspective and fabricate personified bodies into different sites, such as an enveloping shell, a separating wall, a deep cave, a reverted ring, which allow me to explore the balance
在我的創作中，流動的造型特質反映自我與外在環境間不斷變動的依存關係，身處開放的資訊化時代，人們
between the outer and inner worlds or the struggling relationship between the two sides.
有如生活在一個浮動且模糊的意識世界裡，外在的刺激、社會化的規範、世代的不安，如層層覆膜般包裹著
In my work, fluid, sculptural forms reflect the constantly changing and co-dependent relationship between the self and the
自我的認知及思想，引領個體不斷去吸收、反思、質疑多樣的精神體驗。獸形、自然元素在我的創作中扮演
external environment. Living in the open information age, it is like people are living in a floating, blurry world of consciousness.
著純粹本質的象徵，自然生命的起始點。其單純強烈的生命形貌相對於矛盾多變的人類面相，看似相異的兩
External stimulations, social regulations, anxiety of different generations envelop our self-identification and thinking in layers of membranes, guiding individuals to keep absorbing, reflecting, and questioning diverse spiritual experience. Animal
個極端，卻又隱含著普遍的共通性。我以擬人的姿態將其延伸出人形特徵，形塑成似人非人、似物非物的變
forms and natural elements symbolize the pure essence, or the source of natural life. The simple but strong forms and looks
異形體。將自我帶入人形與獸形、物形間的對立與調和，表現人性在本質與變動之間的脆弱平衡。
of natural life form a contrast to the conflicting, diversified human faces. These two extremes, in fact, hold something in common. Through personification, I employ the characteristics of human forms to create humanoid or object-like variations. By injecting a sense of the self into the opposition and harmonization between the human, animal, and object forms, I aim to
我的創作方式常以簡單的草圖紀錄發想雛形，當形象在心裡出現時，往往只是一個模糊的輪廓或剪影，我必 須嘗試用各種具象與抽象的造型及質感去拼湊出這個影像，用理性分析直覺，讓它趨於立體化、可視化。變 形程度、不同造形的銜接融合、像與不像之間的拿捏，是需要實驗的部分；手與材質的接觸、平面到立體的 轉換，以及思想的變化，在製作過程中不時產生新的可能，在已有的基礎上持續奔馳想像。
express the fragile balance of humanity between the level of essence and that of change. My work usually starts with a simple sketch that captures an initial inspiration. When an image comes to mind, it is often a blurry silhouette or contour. I must try different concrete and abstract forms and textures to visualize the image, and analyze my intuition in a rational manner to turn the image into a three-dimensional form and materialize it. The degree of transformation, the combination of different forms, and the adjustment of realistic representation all require a series of
陶土這個媒材在燒結之前擁有多種狀態：流動的泥漿、柔軟潮濕的泥土、皮革化的半乾土、堅硬卻脆弱的乾 土，可以潑灑、隨意塑型、敲打、雕琢，在泥土上留下各種印記，我認為這種可塑性和直接性也和自己的創 作理念有共通之處。
experimentation process. It is a process of feeling the material in my hands, converting the two-dimensional to the threedimensional, and the change of thoughts. New possibilities continue to arise in the process of making, and the imagination runs freely on a base that has been founded. Before the firing stage, pottery clay might be in various states: liquid mud, soft and moist clay, half-dried and leather-like clay, or hardened and fragile clay. One can spill it, shape it freely, beat it, or carve it, leaving different impressions on the clay. For
人類的形象，在我心目中是持續混合與變動的，如同融合了多種元素形成的流動集成體。生來帶著缺憾、矛 盾，與之共存直到消逝，在各樣的身分與迷惘中徘徊拉扯，依存在自身以外的事物裡尋求平靜與完滿。我將 抽象的情感以理性的雕塑手法萃取成清晰可觸及的真實幻象，以擬真的細節處理異質之間的並立、制衡、共
me, such plasticity and straightforwardness also correspond to my artistic concept. In my mind, the image of human beings is something that keeps changing and mixing, like a fluid ensemble that incorporates many elements. People are born with imperfections and contradictions, and must live with them until life fades away. We
融等交互關係，合成每個虛構的完整個體，描繪心靈活動的多種面向。美麗或怪異，端看觀看的當下，勾起
linger and struggle in all kinds of identities and confusions, seeking peace and perfection in an external world that we depend
的是觀者哪一面相的共鳴點。
on. Therefore, with a rational approach in sculpture, I substantialize abstract emotion and represent them with vivid, tangible, realistic illusions. With realistic details, the juxtaposition, the checks and balances, and the integration of heterogeneities are delineated, creating different fictitious creatures that portray various aspects of our psyche. Whether they are beautiful or grotesque, it depends on how the viewer resonate with them at the moment of encountering these creatures.
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圖錄 Plates
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飛行元件系列 由飛行器及鳥類翅膀發想而成鮮豔且銳利的複合生物形體；並結合在生活環境蒐集到的廢棄磚牆碎塊，營造 出新與舊、移動與停駐之間的過渡形象。
藝術家回到宜蘭定居的幾年內，強烈感受到居住環境的劇烈變化，新建物快速的從市中心蔓延至郊區，大量 拆遷後的廢棄磚瓦被遺留在工地的路旁，新型態的建築材料不斷的替代掉它們，宛如上一個世代的遺物。因 而燃起轉化這些廢棄建材，透過另一種型態保存之，同時藝術家於創作過程中也不斷反思，在追求進步的集 體思維下，乘載著過往生活情感及居住文化的舊載體是否終將永遠消逝？或者能以共存的方式融入逐漸更迭 的城市面貌之中 ?
The Wing Series Inspired by airplanes and bird wings, the artist creates this hybrid creature that is colorful and sharp. She also incorporates brick and concrete debris collected in her living environment into the series to create a sense of transition from new to old as well as from movement to stillness.
After moving back to Yilan for a few years, the artist clearly feels that the living environment has changed drastically. New buildings spread from city downtown to suburban areas, and large numbers of debris and bricks are left on the road sides next to construction sites. Replaced by new construction materials, they are like remnants of a past generation. Therefore, the artist is inspired to transformed these construction materials and attempts to preserve them in another form. Meanwhile, she has kept contemplating on an issue when creating this series: when human beings have been collectively pursuing progress, would the things that have carried our life, sentiments, and living culture eventually fade away and disappear forever? Or, could they coexist with progress and be integrated into the changing urban landscape?
飛行元件 The Wing 陶瓷、樹脂土、磚 Ceramics, Plastics, Brick | 48 x 20 x 27 cm | 2015
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飛行元件 The Wing 陶瓷、樹脂土、磚 Ceramics, Plastics, Brick | 80 x 20 x 27 cm | 2015
飛行元件 The Wing 陶瓷、樹脂土、磚 Ceramics, Plastics, Brick | 95 x 23 x 45 cm | 2015
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探尋者、無垠之境、表裡凝視 V 鳥類從停駐到飛行的姿態蘊含著流暢的張力，如生活的本質，流動且無法預料。
藝術家使用簡化的有機造型，拼湊出單足、多翼、片面的鳥形動態，使之停滯於定點，表現動與靜的過渡瞬 間。鳥類的形態一向任人聯想為自由的象徵，然而在創造關於鳥類的系列作品時，藝術家則呈現一種擺盪於 無邊際的自由、與有限制的棲所間的不安定狀態。在創造這樣的形象時，藝術家直覺性地把最末端、指向性 的頭部，製作成細瘦、輕盈的量感，並且是未完成的狀態。
Explorer, Edge of Time, Expanse of Territory, Contemplating V The movement of birds from standing still to flying exemplifies fluent dynamics, reminding us of life's essence, which is also fluid and surprising. The artist employs simplified, organic form to put together diverse, moving birds that have one leg, multiple wings, or are single-sided. The birds are frozen in time, revealing a transitory moment between movement and stillness. Birds are always associated with freedom; however, when creating this series of birds, the artist's mind oscillates between a sense of unfettered freedom and a habitat that confines one's freedom. When creating the images, she intuitively makes the birds' directional heads at one end thin, light, and unfinished.
無垠之境 Expanse Of Territory 陶瓷 Ceramics | 80 x 40 x 60 cm | 2015
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探尋者 Explorer
表裡凝視 V Contemplating V
陶瓷 Ceramics | 60 x 40 x 33 cm | 2016
陶瓷、樹脂土 Ceramics,Plastics | 63 x 40 x 22 cm | 2015
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歧異獸、犄角與脈搏 獸類延伸的犄角， 予人探索、接觸、誇飾、抵禦等多種視覺意涵， 將鹿纖細、幽靜的形體印象詮釋為自然與本質的象徵， 使其柔和衍生出人形特徵， 如植物增生、如臟器鼓動， 訴說人與自然間緩慢而漸進的變動與混合。
Changeable Animal, Horns and Heartbeat The antlers grown on the heads of the animals visualize a sense of exploration, contact, exaggeration, and protection. Transforming the delicate, docile form of deer as a symbol of nature and its essence, human characteristics are combined with the deer in a soft, subtle way. Like the growth of plants and the movement of internal organs, they speak the slow and progressive change and integration of human and nature.
歧異獸 Changeable Animal 銅 Copper | 228 x 130 x 332cm (Pair) | 2015
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歧異獸 Changeable Animal
犄角與脈搏 IV Horns And Heartbeat IV
陶瓷、複合媒材 Ceramics, Mixed Media | 25 x 10 x 70cm (Pair) | 2015
陶瓷 Ceramics | 55 x 20 x 85 cm | 2016
心手 Heart 陶瓷、玻璃罩 Ceramics,Glass 24 x 24 x 28 cm 2015
移動風景 II、心手 捕捉人的形象一直是盧嬿宇感興趣的主題。在學院養成時期中不斷地重複摹擬人體的練習，逐漸延展出對於各個不同肢體 部位的象徵詮釋，特別是「手」的戲劇性張力僅次於臉，靈活的姿態有如一個能夠獨立思考的生物。 因此，藝術家將「手」抽離出人形，嘗試揉合各種不同的視覺元素，用形式轉換來發掘自己的創作語言。在〈移動風景 II 〉中，結合手與樹林的形象，製造出一個仿若會移動的風景，表達對場所印象倏忽即逝的心理感受。〈心手〉如同標本般 放置於玻璃罩內，比喻意圖蒐藏消逝的情感心緒。
The Moving Landscape II , Heart Lu Yen-Yu has been interested in portraying the human figure. When she was in school, she repeatedly practiced to sculpt the human body and gradually developed her symbolic interpretation of different body parts. Human hands are almost as dramatic and expressive as human faces; they can be so life-like that they might as well be a living creature capable of independent thinking.
Therefore, the artist separates the hands from human body, trying to incorporate various visual elements to develop her artistic language through transformed forms. For The Moving Landscape II , she combined hands and mountains to create a seemingly moving landscape, depicting the psychological impression that a site might be transient and disappear in no time. Heart is placed under a glass dome. It is an attempt to collect the fading emotions and feelings.
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移動風景 II The Moving Landscape II 陶瓷 Ceramics | 50 x 30 x 65 cm | 2013
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羽毛殼 創作這件作品時，盧嬿宇的腦中時常浮現作家赫曼 ‧ 赫塞 寫於《徬徨少年時》中的一段文字：「一隻鳥出生前，蛋 就是牠的整個世界，牠得先毀壞了那個世界，才能成為一 隻鳥。」牠用翅膀與手交融的造型包覆住隱蔽的內在空間， 懸吊於內部的頭像，彷彿沉潛在孤獨的自我覺察中，藉由 向內審視，孕育向外伸展的動力，一如作家所述，破殼而 出的自我才能夠追尋下一段歷程。
〈羽毛殼〉視覺印象發想於鳥類停歇在電線杆或枝頭上的 剪影輪廓，這個形象在創作者的想像中逐漸轉化成一個有 著細瘦的足爪，被巨大翅膀包覆的塊體，它的頭部深陷在 身軀之內幾乎難以覺察，整體像是一副靜謐的殼鞘，透過 裂縫，在遠處觀望這個世界。
Feather Shell When making this work, Lu Yen-Yu kept thinking of a passage in Hermann Hesse's Demian, "The bird fights its way out of the egg. The egg is the world. Who would be born must first destroy a world." The artist mixes the forms of wings and hands to create an enveloped internal space. The head that floats within the internal space seems to be submerged in self-awareness in solitude. Through looking inward, one nurtures the power to extend outward. As the writer states, one must first break the shell to be able to begin the next stage of the journey.
The visual form of Feather Shell is inspired by the silhouette of birds resting on utility poles or tree branches. In the artist's imagination, this image has gradually transformed into a
居心地 「居心地」在日文漢字中意指居住的感覺、心情，以中文直接閱讀，也可解讀為放置精神的場所。在這件作 品中，藝術家將瓷土捏塑成多個寫實的手形雕塑，與現成的紅磚錯落堆疊成一面牆，用以傳達一種每個人對 於建構自己生活的掙扎與嚮往。紅磚是原始且廉價的傳統建材，象徵著最基本的居住空間、簡單的生活方式、 甚或是精神上的庇護所，然而尋求安適的生存環境是人們基本的需求，但有時生活也會質變為束縛身體的牢 籠。
mass enveloped by giant wings with one skinny leg. It buries
Comfortable Place
its head deep into the body so that people can hardly detect
The term "comfortable place" refers to the feelings and emotions of living in a place in Japanese "kanji." To
it. Overall, it looks like a quiet shell, peeking into the world
interpret the Chinese characters directly, it could also mean a place for the mind. The artist creates multiple
from a distance through a crevice.
realistic porcelain hands and a wall of ready-made bricks, conveying every individual's struggle and longing for constructing a personal life. Bricks are an old-fashion and inexpensive construction material, symbolizing the basic living space, a simple way of life, or even a spiritual sanctuary. Although seeking appropriate and comfortable living environment is a basic need, sometimes life might also become a prison that confines the body.
羽毛殼 Feather Shell
居心地 Comfortable Place
陶瓷、複合媒材 Ceramics, Mixed Media | 120 x 42 x 20 cm | 2016
瓷土、磚 Porcelain, Brick | 120 x 60 x 10 cm | 2016
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迴圈系列：恍惚中的平衡遊戲、蠕行 藝術家以莫比烏斯環及克萊因瓶的視覺印象，發想出內外翻轉、迴圈狀的肉體造型，形塑成想像中的變異生 物，有時滑稽的翻騰於獨輪之上、或在群體中緩慢行進，用此隱喻人的存在狀態，在內與外之間不斷重複平 衡或拉扯的雙向關係。
Loop Series: Balance in a Trance, Wriggle Adopting the visual forms of the Mobius band and Klein bottle, the artist creates bodily forms that reverse the inside and outside and forms a loop. These imaginary, alien-like creatures sometimes ride a unicycle in a funny way, and sometimes crawl in a group. The artist uses them to symbolize the existence of humanity as well as the repeatedly balancing or struggling relationship between the inner and external worlds.
蠕行 Wriggle 陶瓷 ( 套組 4 件 ) Ceramics (4 Parts) | 35 x 20 x 15 cm | 2016
恍惚中的平衡遊戲 Balance In A trance 陶瓷、複合媒材 Ceramics,Mixed Media | 70 x 60 x 120 cm | 2016
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藝術家簡介 Biography
盧嬿宇 Lu Yen -Yu
1984 年生於宜蘭，2007 年畢業於台灣藝術大學雕塑學系，2011 年畢業於台南藝術大學應用藝術研究所陶瓷 組，曾短期駐村創作於美國、日本、荷蘭、芬蘭等地，2012 年於宜蘭設立個人工作室，從事陶瓷創作迄今。 專注於圖像造形發掘與自我意識探索，作品主要以人物、動物等複合形體轉換為原創形象，塑造出似人非人、 似物非物的變異形體，讓人的樣貌失去具體明晰的規範，隨著當下的心靈反映不斷改變形態。她的創作風格 以寫實的基礎展開想像，創造各樣的獨特個體，去紀錄、省思生活中的幽微思緒，詮釋人的內在形象在本質 與變動間的平衡調和，並期望用錯置、奇異的造形方式描述另一種美感與自由的精神。 Born in Yilan, Taiwan in 1984, Lu Yen-Yu received her BFA in Sculpture from National Taiwan University of Arts in 2007 and her MFA in Ceramic Art from Tainan National University of the Arts in 2011. She has been selected for artist residency in the US, Japan, Holland, and Finland, and established her ceramic studio to create her own works in Yilan in 2012.
Lu focuses on discovering sculptural forms and exploring the self-consciousness. Her work transforms original images and forms of humans and animals into hybrid creatures, creating alternative life forms that are semihuman and semi-object. By freeing the appearance of human beings from concrete, vivid visual forms, she is able to create constantly changing forms that reflect the psyche at a specific moment. Lu's creative style embraces a realistic basis, on which she allows her imagination to expand, giving birth to a wide spectrum of unique life forms. Through them, she documents and contemplates on the subtle, hidden emotions and thoughts in life, and interprets the balance between the essence and change of the inner world. She hopes to delineate a different sense of beauty and free spirit through the displaced, peculiar forms she creates.
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個展
Solo Exhibitions 「虛實浮遊─盧嬿宇、許芝琦雙個展」，臻品藝術中心，台中，臺灣
2016
”Between the Entity and Invisible—Yen-Yu Lu · Chih-Chi Hsu Exhibition. Galerie Pierre”, Taichung, Taiwan
2015
「丗 繪 × 溯 相─盧嬿宇、李思樺雙個展」，富貴三義，苗栗，臺灣
2015
”The Pictures of Floating World—Solo Exhibition by Yen-Yu Lu & Shih-Hwa Lee”. Fu-Gui Sanyi Art & Culture
2014
「幻化 / 陌形─盧嬿宇個展」，小畫廊，高雄，臺灣
2013
「移動風景─盧嬿宇陶瓷創作個展」，金車藝術空間，臺北，臺灣
2012
「塵土異境─盧嬿宇創作展」，德鴻畫廊，臺南，臺灣
2011
「在引力邊緣─盧嬿宇個展」，滋賀縣立陶藝之森，滋賀，日本
2016
Gallery, Miaoli, Taiwan 2014
”Lu Yen-Yu Solo Exhibition”. Show Gallery, Kaohsiung, Taiwan
2013
”Moving Landscape—Lu Yen-Yu Solo Exhibition”. King Car Art and Culture Center, Taipei, Taiwan
2012
”A Dust Land in an Imaginary World—Lu Yen-Yu Solo Exhibition”. Der-Horng Art Gallery, Tainan, Taiwan
2011
”Around Gravity—Yen-Yu Lu Solo Exhibition”. The Shigaraki Ceramic Cultural Park, Shiga, Japan
「偽物星球─盧嬿宇個展」，臺南市 76 藝文空間，臺南，臺灣 2009
「Levitating Tissues ─盧嬿宇個展」，美國州立南卡羅萊納大學學生藝廊，加州，美國
2009
”Levitating Tissues—Yen-Yu Lu Solo Exhibition”. University of South Carolina, California, US
Group Exhibition
聯展 2016
「新加坡藝術博覽會 2016」，濱海灣金沙酒店，新加坡
2015
「陶細述 陶藝三人展」，雲清藝術中心，臺北，臺灣
2014
「探 ‧ 藝域 陶藝聯展」，臻品藝術中心，臺中，臺灣 「去蕪存菁 陶瓷創作聯展」，富貴三義館，苗栗，臺灣
2013
The Fake Planet—Yen-Yu Lu Solo Exhibition. 76 Art Space, Tainan, Taiwan
2016
Art Stage. Marina Bay Sands Hotel, Singapore
2015
”Ceramic Monologue”. Elsa Art Gallery, Taipei, Taiwan
2014
”Ceramic Art Group Exhibition”. Galerie Pierre, Taichung, Taiwan ”Ceramic Art Group Exhibition”. Fu-Gui Sanyi Art & Culture Gallery, Miaoli, Taiwan
2013
Art Taipei. World Trade Center, Taipei, Taiwan
「臺北國際藝術博覽會」，臺北世貿一館 , 臺北 , 臺灣
”Contemporary Ceramic Art in Asia”. 21st Century Museum of Contemporary Art, Kanazawa, Japan
「亞洲當代陶藝展」，金澤 21 世紀美術館、愛知縣陶瓷美術館，日本
Connexon. Bomb Metal & Fry Jewelry, Taipei, Taiwan
「連接子 /Connexon ─胸飾創作展」，爆炸毛頭與油炸朱利，臺北，臺灣 2012
「2012 臺北國際當代藝術博覽會」，喜來登大飯店，臺北，臺灣
2011
「似是而非 - 創作陶六人聯展」，小畫廊，高雄，臺灣
2012
Young Art Taipei. Sheraton Grand Taipei Hotel, Taipei, Taiwan
2011
”Ceramic Art Group Exhibition”. Show Gallery, Kaohsiung, Taiwan ”Very Fun Park”. Taipei, Taiwan ”Go on the Stage”. National Taiwan Crafts Research Institute, Taipei, Taiwan
「2011 粉樂町─臺北東區當代藝術展」，臺北，臺灣 「國際工藝競賽臺灣入選者聯展」，國立臺灣工藝研究所臺北展示中心，臺北，臺灣
獲獎 2014
第十屆日本美濃國際陶藝競賽 陶藝部門 入選
2013
第一屆臺灣青年陶藝雙年展 臺灣青年陶藝獎
2012
臺灣工藝競賽 創新設計組 佳作
2011
第五屆苗栗陶藝獎 社會組第一名
Awards 2014
Selection, Pottery Art Category, The 10th International Ceramics Competition MINO, Japan
2013
Taiwan Young Pottery Artist Award, The 1st Taiwan Young Pottery Artist Biennale, Taipei, Taiwan
2012
Honorable Mention, Innovative Design Category, The 2012 Taiwan Craft Competition
2011
First Prize, Professional Group, The 5th Miaoli Ceramic Awards Creative Competition, Miaoli, Taiwan Selection, The 7th International Biennial of Ceramics Presented by the City of Kapfenberg, Austria First Prize, The 7th Taipei Ceramics Awards, Taipei, Taiwan
2009
Selection, Cheongju International Craft Biennale 2009, Korea
第七屆奧地利卡芬堡陶瓷雙年展 入選
2009
第七屆臺北陶藝獎 創作獎 首獎
Collection
第六屆韓國清州國際工藝雙年展 入選
2013
”Moving Landscape”, Global Strategic Investment Fund, Taiwan
2011
”Edge of Time. Culture and Tourism Bureau”, Miaoli County, Miaoli, Taiwan ”Composing Human”, National Taiwan Museum of Fine Arts, Taichung, Taiwan
典藏
"Experiencing the Separation of Consciousness", Yingge Ceramics Museum, Taipei, Taiwan
2013
「移動風景」，全球策略創投基金 , 臺灣
2011
「時空邊緣」，苗栗縣政府國際文化觀光局，苗栗，臺灣 「組合人間」，國立臺灣美術館，臺中，臺灣 「知覺解離體驗」，新北市立鶯歌陶瓷博物館，臺北，臺灣
30
31
棲息地─盧嬿宇個展 Habitat - Lu Yen -Yu Solo Exhibition 2017. 02. 02 - 04. 23
展覽執行 發行人
葉毓繡
毓繡美術館
總編輯
李足新
創辦人
葉毓繡
執行編輯
黃 翔
館長
李足新
美術編輯
林志遠
執行長
黃 翔
翻譯
黃亮融
副館長
林志遠
出版單位
財團法人毓繡文化基金會 / 毓繡美術館
展覽策劃
黃 翔
地址 | 542 南投縣草屯鎮平林里健行路 150 巷 26 號
展覽專員
李杰勳
電話 | 049-2572999
教育推廣
陳雨農、黃尹珊
傳真 | 049-2572020
公關行銷
胡文翠
網址 | www.yu-hsiu.org
美術設計
林志遠
印刷
興臺彩色印刷股份有限公司
行政業務
丁慧玲、蔣鴻濱
定價
150 元
文創推廣
洪淑惠、葉宇眉
初版一刷
2017 年 2 月
版權所有 ‧ 翻印必究 作品版權所有│藝術家 文章版權所有│作者
Working Team of the Exhibition Publisher: Yeh Yu-Hsiu
Yu-Hsiu Museum of Art
Chief Editor: Lee Chu-Hsin
Founder: Yeh Yu-Hsiu
Executive Editor: Huang Hsiang
Executive Director: Lee Chu-Hsin
Designer: Lin Jaakan
CEO: Huang Hsiang
Translator: Huang Liang-Rong
Deputy Director: Lin Jaakan
Publisher: Yu-Hsiu Cultural Foundation / Yu-Hsiu Museum of Art
Exhibition Organizer: Huang Hsiang
Address | No.26, Ln. 150, Jianxing Rd., Caotun Township, Nantou County 542, Taiwan
Exhibition Specialist: Lee Chieh-Hsun Communication & Education: Chen Yu-Nong, Huang Yin-Shan
Telephone | +886-49-2572999
PR and Markeing: Hu Wen-Tsui
Fax | +886-49-2572020
Designer: Lin Jaakan
Website | www.yu-hsiu.org
Administrators: Ding Huei-Ling, Jiang Hong-Bin
Printed by Hsing Tai Color Printing Co., Ltd. Price: NTD 150
First Published in February 2017
All Rights Reserved by the Artist and Yu-Hsiu Museum of Art
Cultural and Creative Marketing: Hong Shu-Hui, Yeh Yu-Mei