# 抽象藝術abstract art

[beyourselfchulanmaria]

Jean Arp (1886-1966), was a German-French sculptor, painter, and poet known as a founding member of Dadaism.

讓·阿爾普，德語名漢斯，德裔法國雕塑家、畫家和詩人。1916年參與達達主義運動，第一次世界大戰之後又與超現實主義者和表現主義者有著廣泛的交往。阿爾普主張藝術的完全自由，注重內在情感的表達。阿爾普延續了康斯坦丁·布朗庫西、查特金、赫西埃等人的道路，實現了雕塑的全面抽象化。

Period: Surrealism, Dadaism, Abstract art, Modern art

JEAN (HANS) ARP / “DÉMÉTER” / 1960 [white marble | height: 25 3/4″]

[masterscrafts]

Crystal Treasure Vase, Feng Shui, Dragon of Fire Element, Fiery Illumination Baoping

Color: Amber / Purple

Material: Crystal Glass

Technique: Pate de Verre

Size: 11.42L x 11.42D x 18.90H inches

Limited Edition: 350 pieces (Worldwide)

Note: As the art pieces are individually hand-made, with slight variations in color & dimensions.

Sku: PCA037.ADAEJ

The Collection: Emergence of the Dragon

Design Concept:

Birthed from flames & entwined in an illusory yet physical fire, this “baoping” (treasure vase) reveals a classically Chinese yet expressionistic dragon. Descending from the heavens in its almost abstract body, the “Fiery Illumination Baoping” dragon conveys the symbolic spirit of Chinese virtues. The vivid persona of the “fire element” dragon radiates strongly with a striking design, to be bold & silent yet powerful. LIULI glass artisans use tiring mouth-blowing techniques to forge a vase adorned with glimmering gold leaf patterns unique to every piece. The artworks’ tops are cast in the studio’s signature pate-de-verre method, tirelessly sculpted again & again. What emerges from the flames—physical in-studio as well as metaphysical—is an artwork rooted in classic symbolism, expressed like no other in the world.

設計概念說明：

這只 "寶瓶 "從火焰中誕生，在虛幻而有形的火中纏繞，展現了一條經典的中國龍，但又具有表現力。火照寶瓶 "的龍以其近乎抽象的身體從天而降，傳達了中國美德的象徵性精神。火元素 "龍的生動形像以醒目的設計散發著強烈的光芒，大膽、沉默而有力。 LIULI的玻璃工匠使用累人的吹口技術來鍛造花瓶，每件作品都有獨特的閃亮的金箔圖案裝飾。藝術品的頂部是用工作室標誌性的拍打法鑄造的，不厭其煩地一次次雕刻。從火焰中出現的--工作室裡的實物以及形而上的東西--是紮根於經典象徵主義的藝術品，表達方式與世界上其他任何作品不同。

Fiery Illumination Baoping

Great flames Rising, Vivid and fiery, Radiant as the sun. From this day on It is the guardian For all eternity.

焰照長明寶瓶

升起 巨焰 燦燦炯炯 如日長明 從今起 遍照 千秋萬世

[shujung]

«  無窮的瞬間：臺灣當代女性藝術2003-2023 /  Infinitely Ephemeral: Contemporary Women’s Arts in Taiwan, 2003-2023 »

.

« Taiwan Venus » 2016 ~ Now

(A series of works by 趙書榕 Shu-Jung CHAO)

(interview )https://vimeo.com/326135869

https://shujung.tumblr.com/2016taiwanvenus

很榮幸我的作品《Taiwan Venus》被收錄在此重要的書中！

(**好希望此系列作品可以在不久的將來完整的展出!)

I am honored that my work 《Taiwan Venus》 is included in this important book！

（** I really hope that this series of works can be fully exhibited in the near future!）

-----------------------

Publication :

《無窮的瞬間：臺灣當代女性藝術2003-2023》

《Infinitely Ephemeral: Contemporary Women’s Arts in Taiwan, 2003-2023》

#陳明惠 教授 著

Ming Turner

五南出版社

.

本書以2003年至2023年臺灣女性藝術發展為題，但並非以時間線性為書寫軸線，而是以藝術家作品議題與思想脈絡為章節安排。本書從臺灣的歷史、政治、社會、文化以及全球經濟主義的觀點，來分析臺灣當代女性藝術創作在形式與議題上的多樣性與異質性。本書收錄135位二十一世紀臺灣女性藝術創作，論述議題包含：歷史敘事、離散美學、族群認同、日常生活、性別政治、編織藝術與常民文化、抽象藝術與精神探索、後人類與數位女性主義。

This book focuses on the development of Taiwanese women’s art between 2003 and 2023. It is not written in chronological order, rather the structure of the book is based on the themes of the art works featured therein. It analyses the diversity and heterogeneity of contemporary Taiwanese women’s art through the perspectives of history, politics, society, culture and global capitalism. The book includes 135 women’s art practices in Taiwan in the 21st century, with a theoretical consideration of historical narratives, diasporic aesthetics, ethnic identities, everyday life, gender politics, textiles and folklore culture, abstract art and spiritual exploration, posthumanism and cyberfeminism.

[the-third-other]

the 11th session of Improvisors improvising , another evening of the unexpectedly unexpected! , featuring in random order:

- Daniel Ditlevson an American sound artist that is currently based in Taipei, Taiwan. He creates sound collages utilizing tape loops and manipulations of field recordings, audio feedback, found objects, and various electroacoustic sounds for his performances, recordings, compositions, and sound installations. It is through these sonic montages, his sound art serves as a conduit of communication of emotions and experiences—an unspoken and abstracted communion of a created sonic environment with the listener. 美國聲音/噪音藝術家，目前從事聲音創作。他使用磁帶循環、田野錄音、無線電頻率、現成物及各種電子原音的素材來製作聲音拼貼，進行表演和錄音。透過聲音蒙太奇，其藝術作品整合「心靈地圖」的概念，作為情感和體驗交流的渠道--建構某種聲音環境，與聽眾以不可言說、抽象的方式進行溝通  https://www.youtube.com/watch?v=b29Vm7HUObA&t=48s

- 爆爆千歲 Adding a DJ mixer to the effector group, using African drums, synthesizers, Didgeridoo, dead beats, and rap improvisation to add the present, but not fixed, mainly because only in the present, can I feel how to reflect between myself and others. 用Dj混音器加入效果器組，在以非洲鼓、合成器、Didgeridoo、死腔、饒舌即興的加入當下，不固定式的加入主要是，因為只有當下，我才會感覺到，用什麼感覺反射自我與他人之間。 英文 https://soundcloud.com/jordan-chen-251504672...

- Minor Sounds x Cryo A sonic journey through ethereal soundscapes coaxing ambient and atmospheric sounds that seem to materialize from the cosmos themselves. 穿越空靈音景的聲音之旅，誘使環境和大氣的聲音，這些聲音似乎是從宇宙本身物質化的。

-Silla Turca I like to use sound recording’s as the main object in the composition, and add on top some noise, using different synths. 我喜歡使用錄音作為作品中的主要對象，並使用不同的合成器在上面添加一些噪音。 https://soundcloud.com/sillaturca

- 吳妍萱 Yen Hsuan Wu Yen-Hsuan Wu comes from Taoyuan, Taiwan. She is active in various cross-domain stages. Her performance style is novel and stable, delicate and sincere, full of tension and full of sense of picture. While retaining the traditional rhyme of Gu-Zheng music, she also gives innovative musical context and unique interpretation techniques. Therefore, she has become a Gu-Zheng performer that many composers or crossover artists love to collaborate.  臺灣當代箏樂演奏家。 臺灣桃園人,中央音樂學院民樂系藝術碩士、中央音樂學院民樂系學士。 活耀於各種跨領域舞台,演奏風格新穎穩健、細膩真摯,充滿張力且富有畫面 感,保留古箏音樂之傳統韻味的同時,又賦予創新的音樂脈絡,獨特的詮釋手 法成為眾多作曲家或跨界藝術家喜愛合作的古箏演奏者。 近年與金音獎最佳樂手、濁水溪公社鍵盤手、音樂製作人蘇玠亘(蛋)學習電 子音樂,嘗試將電子與傳統音樂相結合,創作另類且有機的音樂型態。 https://on.soundcloud.com/SpgzK https://www.youtube.com/watch?v=JqKQfieIIBo

anapplewuThe Third Other 11  2024.01.04  23 music room 

I didn't think I could get involved in such an experimental scene Open 2024 first performance with experimental electronics and free improvisation

Thank you for the quiet moment of the show and the praise after the show. 一步步走，一步步練習，相信自己🙌  I'm cheering on myself like this ✌

Experimental, Improvisation, Electronic and GuZheng……  Thanks for having me in this project.  I had much fun. It’s so lucky for me to be a GuZheng player and Electronic player. 

#guzhengplayer#electronicmusic#improvisation#experimental#gig#night#try#keepgoing#2024

[kenghaokang]

平行與斜率 – 耿晧剛的第三自然

第三自然 耿晧剛個展

The Third Nature / Daily Pattern Keng Hao Kang

9.9 – 10.8 2017

月臨畫廊 台中

Moon Gallery Taichung

在新世代的抽象畫家中，耿皓剛是表現頗為傑出的一位，生長在藝術世家，結合父親建築師的理性建構，和母親的水墨抒情，耿晧剛在留學義大利的1990年代末期，和新世紀初期，已逐漸顯露個人在藝術創作上的獨特面貌：一種對外在世界好奇、探索，不斷吸納、映現、拼貼，甚至帶著強烈的、屬於年輕世代的時尚色彩。

1969年出生的耿晧剛，已經是屬於玩著機器戰警、打著電動玩具長大的一代；在東海大學美術系畢業之後，便前往歐洲古老卻也時尚的城市米蘭，進入布雷拉藝術學院就讀，主修繪畫與裝置，指導教授Prof．Diego Esposito更是一位強調觀念與思考的前衛藝術家。這樣的背景，讓初至異國的這位東方少年，學會了用心眼去觀看、認識、掌握、紀錄那個既古老又時尚的歷史名城；那曾經是歐洲文藝復興的故鄉，也是達文西、米開朗基羅這些偉大的曠世奇才生活、創作的地方……。

然而相對於那些古老而久遠的歷史，眼前櫥窗的擺置、琳琅滿目的商品色彩，乃至古老牆面馬賽克的幾何紋飾和質感，以及街道石塊排列的規律，在在更吸引了這位年輕人的眼睛和心靈；而這些視覺的元素，也自然而然地融入他的創作之中，成為畫面的一部份。

在西方風景畫的傳統中，大自然地景的高低起伏、尺度變化，曾是尼德蘭地區這些所謂的「低地國家」畫家最早關心、記錄的對象，因此，風景畫被稱作「Landscape」。等到近代，尤其是印象派的興起，市民階級的抬頭，工業社會初期正在形成的都市景觀，成為藝術家關懷的新課題，於是相對於最初的大自然之被稱為「第一自然」，城市景觀則成「第二自然」。

到了工業文明的極度成熟，人工的製造物、商品、印刷品、電腦圖像……等，又取代了城市景觀的街道、建築，乃有了「第三自然」的成立。

對於像耿晧剛這些玩著機器戰警與電動玩具長大的新一世代而言，「第三自然」顯然是他們生活中更親切、熟悉，足以互動、合一的內涵與課題。

耿晧剛對這些「第三自然」視覺美感的吸收與運用，初期並不納入完全理性的掌握或歸納，也不抒發成一種全然感性的情緒或發洩；毋寧說，他更像是一個行吟的詩人，以開敞、流動、適意的心靈，讓這些色彩、形式，乃至衝突、拉拒的語彙，依他們自有的溫度、個性，同時呈現在畫面之中。耿晧剛初抵米蘭的1998至2000年間，就有一批以有色墨水形成的紙上作品，往往以極簡拙的幾筆，捕捉某些湧現的靈感或意象，有時是一些反覆的平行線，有時是一些重疊的符號、筆劃，有時則是人體的勾勒……。總之，這些早期的紙上手稿，作為日後創作的參考，卻也記錄了某些閃現的靈光，基本上，反而更透露了藝術家在創作前期的思維痕跡與焦點。

而在壓克力彩的作品中，我們也可以窺見耿晧剛在色彩重疊上所投注的用心，往往看似平面的色塊中，其中有一些壓印、重疊的肌理，在淡亮的色彩底層，其實掩埋著多重層疊的暗沈色彩；這種猶如複寫紙般的層疊效果，既增加了畫面的肌理質感，也呈顯了歷史記憶的層累與呼喚。

此外，色彩也擔負著溫度傳達的任務，像幾件標題為〈熱帶〉(2012)，或〈24度〉的作品，都可以看見藝術家對環境的敏感與掌握。有時，你會窺見某個建築古老的馬賽克拼貼圖案；有時，你會發現猶如方格玻璃櫥窗後繽紛的色彩；甚至，有些時候，畫面中就直接出現米奇、米妮、海綿寶寶，和超人、蝙蝠俠等等的卡通圖案；在2013年的一批作品中，則在幾何的圖樣中，出現斑馬、豹等動物的皮毛，耿晧剛的作品，充分反映一個多所關懷、凡事入心、凡物入眼的熱情藝術家的生命本質。

耿晧剛創作取材的範圍，顯然極廣，有時來自城市的壁面、櫥窗、市招、路石……，有時來自居室空間的小物件，如：信封、摺紙……等。幾件取名〈喬依斯(Joyce)〉(2012-2015)，或〈梯〉(2014)、〈迷彩〉(2014)的作品，也顯示藝術家生活的片斷與接觸或閱讀的內容。

作為一位成功的藝術家，關鍵還不在對外在世界的感悟與捕捉，而是在如何將這些事事物物，安置、集中在一個有限的畫面中，而顯現出一定的意義或美感。明顯地，耿晧剛的成功，正在將這些原本獨立、片斷的物象或語彙，從自身的語彙脈絡中抽離出來，又併置、拼貼到另一個脈絡或文本中，形成新的意義或語境，增加了觀眾觀看、理解的空間，甚至不同的詮釋或感動；這樣的手法，其實就和裝置藝術的構成，有著相當雷同、流通之處。

2015年的〈導航〉顯然是一個新的開端。這件畫在畫板上的作品，一反之前較具指事性或象徵性的半圖像構成，是採用完全平行與垂直的畫面構成；左半約近全幅三分之二寬幅的部份，色彩明度較低，從粉紅、灰黃、黑、藍、墨綠到紫藍，而右半約僅三分之一寬幅的部份，則作較小的平行分割，接近中間的幾個色塊，如純白、灰、橘紅等，明度較高（尤其由中間的一塊紫藍及左側的大塊黑色所襯托），成為全幅視覺的焦點，猶如具有〈導航〉的作用，一如在黑暗海面上，引領船隻航行的燈光。

從〈導航〉出發，2016年即有一批名為《前進》系列的作品，這批畫在畫布上的作品，尺幅略小於2015年的〈導航〉，但在平行與斜率的畫面分割中，較低沈的色塊，給人一種優雅、內斂的感受。

而就在這種平行與斜率的構成變化中，亦發展出2016年的另一批作品，即：〈抽象-1〉、〈抽象-2〉、〈動力學-1〉、〈動力學-2〉、〈動力學-3〉、〈動力學-4〉，及〈紛-1〉、〈紛-2〉，和〈停泊〉、〈工作天-1〉、〈工作天-2〉、〈階梯〉等。這些作品，在平行與斜率的交織中，因色面大小的變化、因色相搭配的不同，更因彩色與無彩色的巧妙對照，讓畫面產生各種不同的視覺感受與心境風景；其中，尤以《動力學》系列，明度強烈的對比，加上線狀與面狀的斜率變化所產生的空間感，讓人對那些粉紅的色線特色留下深刻印象。

在2016年的這批作品中，〈動力學-4〉及〈階梯〉所構成的曲面空間變化，顯然為2017年的發展，作出了預告，如：〈成長〉、〈眼中的世界-1〉、〈眼中的世界-2〉，及〈登頂〉等，這是藝術家現階段最新的面貌，也是從平面與斜率發展的幾何性構成，最為成熟的發展；當中可以看到一些色面與短色線較複雜的變化。

幾何抽象最大的挑戰，即在如何維持藝術創作的思維特性，不致落入純粹設計的陷阱。耿晧剛的這批新作，明顯地發揮了他擅長的色彩掌握與畫面空間的深度感。那些交錯的平行線與具斜率的規律變化，正是建築物在陽光投影下最鮮明的印象呈現，但藝術家的色彩賦予，更塑造了濃厚的音樂性與空間感。

在2015到2017年的新作中，也可以發現幾件刻意加入書寫線條的作品，如：2015年的〈桃花〉、〈檸檬樹〉、〈海岸線〉、〈日光浴〉，2016年的〈是雲-1〉、〈是雲-2〉，以及2017年的〈工作天-2〉等，顯然藝術家在這個講究平行與斜率的主軸下，另一可能的嘗試。

作為新生代的抽象畫家，耿晧剛以強勁的創造力、辛勤的耕耘，再度向藝壇證明他的存在與努力，值得肯定、也值得期待。

蕭瓊瑞 《國立成功大學歷史系所教授》 台灣美術史學者

Parallel and Slope – The New Works of the Third Nature by Keng Hao-Kang

Of the abstract painters in the new generation, Keng Hao-Kang, born in a family of artists, is one of the best who combines the rational constructivism of his father and the lyric style of his mother. When Keng studied abroad in Italy between the late 1990s and the early 2000s, he had gradually revealed his personal unique taste of art creation whose works show strong and young colors of the new generation to express the curiosity towards the world to explore, absorb, reflect, and collage.

Born in 1969, Keng grew up with robot police toys and video games. After he graduated from the department of fine arts in Tunghai University, he left for Milan, an ancient and fashionable city in Europe, and studied in the Art Academy of Brera with is major in painting and installation art. His thesis advisor, Prof. Diego Esposito, is an avant-garde artist, who taught him to observe, understand, explore and record the historical city through his mind because Milan used to be the origin place of the European Renaissance and also the place where Leonardo da Vinci and Michelangelo lived and created the master pieces.

However, compared to the ancient history of the city, the deployment of store windows, various colorful products, geometric patterns and textures of ancient mosaic walls, and the arrangement pattern of paving stones were more attractive to him. And these visual elements have naturally blended into his art pieces, forming a part of the paintings.

In traditional western landscape paintings, the rolling hills used to the theme for the painting artists in low-lying countries such as the Netherlands, and this is also the reason why the landscape paintings are named as “landscape.” Then, with the rise of impressionism and citizen class, the urban landscape forming in the beginning of the industrial society had become the new topic concerned by the artists. Therefore, the Mother Nature is called “the First Nature,” and the urban landscape is called “the Second Nature.”

When the industrial civilization became mature, the man-made objects, products, printings, digital images…etc. have replaced the streets and buildings of urban landscape, forming “the Third Nature.”

Furthermore, for the new generation like Keng who played robot police toys and video games in their childhood, “the Third Nature” is obviously a closed, familiar, interactive and integrated theme in their lives.

In the beginning, Keng neither fully grasped nor concluded the ways to absorb and use the visual aesthetics of the Third Nature, nor he expressed the entire emotions. It is rather to describe him as a troubadour who presented colors, formats and words with open, flowing and enjoyable minds of their own warmth and personality on the paintings. When he first arrived in Milan during 1998-2000, he made some colorful ink paintings that used simple strokes to capture the ideas or images emerged suddenly, or some repetitive parallel lines, overlapping symbols and strokes, and outlines of human figures… These early manuscripts were served as reference for his creation in a later date but also recorded his ideas; moreover, these also revealed his thinking trace and focus in his early creation stage.

We can see his efforts on his acrylic paintings, where he overlapped colors to create imprinted texture of color lumps. He also painted light bright color on the lower layer, where actually covered multiple layers of dark colors. This articulating-paper effect not only increases the texture of the paintings, but also presents the layers and echo of history and memories.

In addition, colors also bear the mission to express warmth. As in some of his art pieces, such as “Tropical” (2014) and “24 Degrees,” we can see his sensitivity and management on the environment. Of which, sometimes you see the ancient mosaic patters of buildings, colorful square glass windows, and even cartoon figures like Mickey Mouse and Minnie Mouse, Sponge Bob, Superman, and Bat Man, while there are animal furs like zebras and leopards appeared in the geometric patterns in his art pieces in 2013 to fully reflect the nature of an enthusiastic artist who cares a lot of everything.

Obviously, Keng is inspired by various topics from both cities such as walls, shop windows, sign-boards, and paving stones and living objects such as envelopes and papers. Some of the named pieces like “Joyce” (2012-2015), “Stairs” (2014), “Camouflage” (2014) also showed the fragment that the artist’s life.

To be a successful artist, the key is to arrange and deploy these things and objects in a limited frame to present certain meanings or aesthetics, instead of the sentiment and capture of the external world. It is very obvious that the success of Keng is that he detaches the independent fragments and terms from his language context and collages and combines with another context to form new meanings and contexts, creating a space for audience’s viewing and understanding and even different interpretation. This kind of method is very similar to the construction of installation art.

The art piece “Navigation” in 2015 is a new beginning which is very different from the self-explanatory or symbolic half-image construction. The painting is comprised of completely horizontal and vertical images with the two-thirds of the left half painting by lower brightness including pink, greyish yellow, black, blue, blackish green, and purplish blue and with one-third of the right half separating by smaller parallel cutting and some high brightness blocks near the middle including pure white, grey, and citrus red (especially setting by one purplish blue in the middle and a big black block on the left side), serving as the visual focus of the full frame painting. The “Navigation” effect is like a spot light that navigates boats on the black sea.

Since “Navigation,” he further created a series of art pieces named “Moving Forward” in 2016. Although the size of “Moving Forward” is comparatively small compared to “Navigation” (2015), the parallel and slop splits of dark color blocks bring people elegant and introverted feelings.

Through the changes in parallel and slope construction, he developed another series of “Abstract 1,” “Abstract 2,” “Dynamics 1,” “Dynamics 2,” “Dynamics 3,” “Dynamics 4,” “Tangled 1,” “Tangled 2,” “Anchoring,” “Working Day 1,” “Working Day 2,” and “Stairs.” By parallel and slope intertwining, the changes in color field size with different color hue, the genius comparison between colors and achromatic colors produce various visual and spiritual feelings. Of which, the series of “Dynamics” have a strong comparison in brightness with the space sense created by linear and plane slope changes, leaving strong impression for the viewers on the pink lines.

The curved spatial changes constructed in “Dynamics 4” and “Stairs” in 2016 are served as the trailer for the development in 2017, including “Growth,” “The World in the Eyes 1,” “The World in the Eyes 2” and “Reaching the Summit.” These art pieces show a new appearance of the artist and they are also the most mature development of the geometric construction of parallel and slope development as seen from the comparatively complicated changes in color fields and short color lines.

The most challenging geometric challenge is to maintain the thinking characteristics of art creation without trapping by pure designing. The new series by Keng have expressed his ability to manage colors and spatial depth perception. The crossing parallel lines and regular slope changes is the most expressive presentation of buildings under the sun shining; however, the color painted by the artist gave the art pieces more musical and spatial senses.

We can also observed the calligraphy lines that the artist intentionally added into the art pieces from 2015 to 2017, including “Peach Blossoms” (2015), “Lemon Tree” (2015), “Coastline” (2015), “Sunbathing” (2015), “It is Cloud 1” (2016), “It is Cloud 2” (2016), and “Working Day 2.” These art pieces are another possible trial for the artist under his chief focus on parallel and slope.

As the abstract artist of the new generation, Keng uses his strong creativity and diligence to prove his existence and efforts to the art field, which is worthy of recognition and expectation.

Hsiao Chong-Ray, Taiwanese art historical scholar

Professor of the Department of History, NCKU,

[masayokeizuka]

THZ Gallery｜ART TAIPEI 2023｜邏輯的視覺與內在意識｜Visual Logic and Internal Consciousness｜展位 F09

展覽日期｜2023 / 10 / 20（五）- 10 / 23（一）

展覽時間｜11:00 - 19:00（10 / 23 至 18:00）

貴賓預展｜2023 / 10 / 19（四）- 10 / 20 (五)

預展時間｜10 / 19：15:00–21:00、10 / 20：11:00–14:00

展覽地點｜台北世界貿易中心1館

參展藝術家｜崔浩俊 Ho Jun,CHOI、川崎泰史 Yasuhito KAWASAKI、西浦裕太 Yuta NISHIURA、吉野涼子Ryoko YOSHINO、堀越達人 Tatsuhito HORIKOSHI、奧村晃史 Akifumi OKUMURA、經塚真代 Masayo KEIZUKA

當現實與想像相遇交匯，用敏銳的雙眼專注，是具體、是抽象，反映出內在的波動，也反應當下思緒，隱約透露時而清晰、時而模糊不明的狀態。

當視覺停留，從單點到平面，再放大至空間延伸，焦點的位移關係著觀看的視角與腦內的記憶搜索，逐步定格化作時間節點，喚起曾經的過往經歷，用視覺思考轉化成意識結構，如同紀錄生活，用記憶創作，創造自我的邏輯風格與步調。

西浦裕太隨心之所向，將生活經驗、想像的風景或物件拼湊，一刀刀雕琢成形，細膩的手法讓木紋肌理更顯其層次與溫度；療癒自我，也愉悅人心如同川崎泰史保有童趣的純真無邪，飽和的色彩、圓滑的線條，童真的美好總是值得玩味；而經塚真代的人物表現，總是傳遞一抹甜蜜滋味，久看相視依舊甜而不膩；來自韓國的崔浩俊，其陶瓷動物雕塑擁有豐富的表面肌理質感，表情更是可愛又叛逆；堀越達人的空靈清新，神情自若的賦予每一個角色氣質與個性，那俐落優雅的目光久久無法轉移。吉野涼子渾沌的神情，沈穩寂寞的色彩，彷彿陪同陷入屬於她的思緒黑洞中，緩慢的解讀內心深處的話語；奧村晃史在真實面向中點綴想像元素，將動物描繪成似真似夢，自然共處於平衡畫面中。

日韓七位藝術家的創作範疇，有人像、有動物、有景色，有各自獨到的理念與立場存在，動靜之中抓取平衡，展現邏輯的協調並蓄與無限可能，憑藉直覺讓感官獲得最深刻的感動，一股隱身的內在力量，唯有用心洞察，才能發掘藝術的價值來自於內與外的溝通對話，相容且相連於心。

When reality meets and intersects with imagination, focus with a keen eye, and ask yourself if is it concrete or abstract. Allow it to reflect the fluctuating state of your inner volatility, revealing the sometimes clear sometimes blurred state of mind and current thoughts.

When the vision is locked, from point to surface, and then enlarged to a spatial extension, such displacement of the focal point is related not merely to one’s viewing point but to the search for memory inside the brain; gradually framed as a point in time, evoking past experiences, transformed into a structure of consciousness with visual thinking, like recording life with memories, with the logical style and pace of oneself.

Yuta Nishiura carves up life experiences, imaginary landscapes, and objects as his heart desires, one by one, with delicate techniques that bring out the layers and temperature of wood texture. Yasuhito Kawasaki’s ceramic sculpture comprises an energy of healing and pleasantness that retains the innocence of childness with saturated colors and smooth lines, for the beauty of childness is always worth playing with. Masayo Keizuka’s characters always convey a touch of sweetness that can stand the test of time; Korean artist Ho-Jun Choi, whose ceramic animal sculptures embody a rich surface texture with cuteness and rebellious expressions. Tatsuhito Horikoshi's ethereal freshness style endows each character with a special personality, with an elegant look that makes viewers reluctant to shift their gaze. Ryoko Yoshino's characters’ chaotic expression combined with a calm and lonesome colors, seem to accompany her into the black hole of her thoughts, slowly deciphering the words embedded deeply in her heart; Akifumi Okumura embellishes imaginary elements with reality, depicting animals in a seemly-real seemly-dreamy way, that naturally coexisting in a balanced picture.

The above seven Japanese and Korean artists' artwork includes themes of people, animals, and scenery, where they each present their unique ideas and standpoints, showcasing a balance in movement and stillness, logical coordination, and unlimited possibilities. With intuition, one's senses are touched most profoundly, and only by piercing one’s hidden power of the internal mind, can one realize that the value of art originates from the dialogues between internal and external conversation, which are compatible and connected to one’s heart.

展覽日期｜2023 / 10 / 20（五）- 10 / 23（一）

展覽時間｜11:00 - 19:00（10 / 23 至 18:00）

展位｜F09

展覽地點｜台北世界貿易中心1館

[iseilio-blog]

左手的謬思（二）

余光中

文星叢刊 4

現代繪畫 的 欣賞

原則上，凡是企圖解脫古典繪畫的束縛，以追求新觀念新價值，

並以新形式表現之作品，皆屬於現代畫範圍。這當然是一個籠統

的劃分。什麼是古典繪畫的束縛呢 ？那便是理性，表現於畫面，

便是對自然的模仿（representation of nature）。換句話說，便是

貌似。古典畫家自理性的角度去觀察（或者根本不觀察）自然，

結果把握的是他們「知道」的世界，結果就是浮泛的描下對象的

外形，而不能把握對象內在的生命。 現代畫之異於古典畫，即在於現代畫從理性的觀點，常識解脫出來，

打破自然形象的致俈，或作形式上新秩序的組合，或作內在心靈生活

的探索。 現代畫畫得這麼「光怪陸離」，到底有沒有什麼「規則」呢 ？所謂

規則，原是從已有作品中歸納而成。當舊的「規則」破壞後，必有

新的規則產生。問題在於：新的規則是否誠實而且成熟。 觀眾應該有些什麼基本認識呢？

一、用你的直覺去體驗，不要用理性去理解。藝術欣賞等於生命的

再經驗。畫家將他對生命的感受用色彩、線條、光影等保存在畫布

上，讓觀眾透過這些媒介不斷地再經驗到他原來的那種感受。

二、然而永遠用直覺作被動的接受，仍是不夠的。當你久久喜歡一幅

畫之後，你也許就會不安於相看兩嫵媚的忘我境界，而要主動地去

發掘一些象徵的意味，整理一些形式的秩序，研究一些創作的原則。

整部現代藝術史，就技巧而言，便是對於存粹形式的追求過程，就

精神而言，只是超越現實，肯定個性，由外而內，由形而上向上形

而上。 抽象藝術（abstract art）應有二解 ：廣義的說，從立體主義、米羅、

克利，以迄今日的純抽象畫，凡或多或少揚棄自然外貌的作品，皆得

謂之抽象畫。塞尚將自然分割為幾何形，可說是抽象的開端。狹義的

說，純粹的抽象畫乃指完全放逐自然外貌而以色彩、線條等最基本的

媒介來表達畫家內在性靈的作品。Kontinsky 自 1910年起，主張

繪畫要純粹而富動感如音樂；蒙德里安 自 1917年起，主張繪畫要

純粹而饒靜趣如建築。是為抽象畫二大觀念之先驅。

抽搜尋 (bing.com)象畫 –

抽象畫 - Bing video

點、線、面，感官的聯覺──康丁斯基的抽象繪畫創作之路 - 專題文章 | 藝術家雜誌社

成為抽象大師之路，瓦西里·康丁斯基的15幅名 - 搜尋 圖片

康丁斯基作品 - Bing images

康丁斯基 - Bing video

All Wall Art & Canvas Prints | All Panoramic Photos, Posters, Photography, Wall Art, Framed Prints & More | Great Big Canvas

遼 尉 臣 筆記 — Picasso (tumblr.com)

抽象畫訂製 - 抽象油畫 / 現代抽象油畫 - 四季家飾藝廊 (decoration-collect.com)

[hidetaka-kachii]

I was out from here recently. Around the end of last year to last month was so hard on me. Now, I found new point of my Art and activity. Just heading to there. sometimes, I was asked when I finish or fadeaway from the way for my art. I've never thought it. Art and Sport are maintain balance of my mind. when I lack these. "I" will be out away. Then, I'm not sure. I can call it is I or... or what? I do my art is keeping myself. I know that I'm telling something childish thing. But, it is natural for I. That's it. long time not see you. I'd like to show my painting and drawing more. I hope you will enjoy and like it. Thanks a million! #art #artwork #painting #contemporaryart #abstract #oilpainting #oiloncanvas #painter #芸術 #美術 #絵画 #抽象 #exhibition #HidetakaKachii #Současné #umění #Artecontemporanea #Hedendaagse #kunst #藝術 #油畫 #當代藝術 #抽象繪畫 #artistinresidence https://www.instagram.com/p/CdBHhrhP_19/?igshid=NGJjMDIxMWI=

[kara-artist]

重組

從極光中擷取部分的粒子組成天空和大地

#插畫 #藝術 #畫圖 #抽象 #極光 #天空 #土地 #紫色 #藍色 #綠色 #art #illustration #drawing #draw #abstractart #aurora #sky #earth #purple #blue #green

[tadashinishimura81]

作品「Dive deep」

○

730㎜×505㎜

2018

西村忠起

○

artdesign ・TadashiNishimura

○

Copyright © 2017 Tadashi Nishimura All Rights Reserved.

[lourdesmiazzo]

Night lighting . . . . . . . . . . . #arte #art #contemporary #contemporaryart #紙 #geometry #paper #lgenpaper #抽象 #アート #gradient #abstraction #geometric #abstractart #generativo #design #color #pattern #stayabstract #love #insta #instagramers #instaartsy #light #shadows #handmade #藝術 #幾何 #night

[ginotandartgallerie-blog]

GINO TAN, a native of Malacca, has been passionate about art painting since childhood. Although he has been engaged in computer-related work for many years, his passion for paintings and art remained a part of his creative life.

In 2017, he created "WOODLUXE", producing wood art, with various mixed form combination including light thus creating art pieces with both decorative and storage functions - making it unique in terms of art, form and design.

In 2018, he started his series of paintings using acryllic-on-wood medium. His oil paintings, like his wooden art installations, are deeply introspective with deep seated meanings and connotations. Each piece is based on a unique life experience complete with the accompaniments story behind it. The end results are fascinating abstract paintings - each with a tale to tell, and to be admired for its poetic essays and interpretations.

GINO hopes that his works will let inspire the audience to rethink the connection between man and nature, between man and fellow human beings, between man and culture. He wishes to re-establish that connection that has long been lost in the sometimes chaotic and rat-race life that we now live in, which comes with setbacks, sadness, anger, and betrayal in life. It is not always a smooth journey for all，some are luckier than other. But the reality is that life's struggle will always be there, roads will be paved with scars and thorns, and the paintings hope to instill a sense of inspiration to do better, to learn tough lessons and move on through a better and confident path in life.

GINO TAN，馬六甲人，自小熱衷藝術繪畫，雖然從事電腦相關工作多年，但仍難忘情畫品創作，2017年自創品牌WOODLUXE，從木藝出發，結合光藝，創作兼具收納功能及裝飾，獨一無二的木藝裝置藝術品。

GINO的油畫作品，和他的木藝裝置藝術一樣，深具人性反省，及文化傳承的內涵，每一件作品都取材自生活體驗，背後都有一個完整的故事，清晰的人物，及明確表達的意念，再轉化成一片或迷茫，或炫目，或堆疊的斑爛景象，看似抽象意念，細看，又彷彿人，物，景若隱若現，敘述著輾轉曲折的情節，堪稱「詩人畫家」 ，「油彩的散文家」。

GINO希望他的作品，讓觀者重新去思考人和自然，人與人，人與文化美德之間，早己失落的連結，人生總有挫折，傷心，憤怒，及背叛，但總要奮力一搏，在傷痕累累，荊棘密布的人生道路上，踽踽前行。

#woodluxe #ginotan #陳智鑫 #abstracts #woodpainting #acrylicpainting #acrylic #luxartgallery #malaysiaart #malaysiaartist #melakaartgallery #localartist #localartists #localartistsupport #craftsman #抽象畫 #bangsar #kualalumpur #publika #publikamall #luxart #luxart.kl #art #artexpo #homedecor #malaysianpainting #hotel #originalart #originalartforsale #artcollector #artcollectors

[haydee-gd]

[041519] Armenio Giovanni’s Instagram updates about T.O.P

caption: "A Man in Mondrian" Oil on canvas, 50 x 70 cm . . . . . . . . . . . . . . . . . . #choi_seung_hyun_tttop#choiseunghyun #art #oilpainting #abstract#abstractpainting #abstractart  #artcurator #fineart #expressionism#artcontemporary #modernart#artexhibition #예술 #예술가 #현대미술 #작품 #유화 #미술관 #アート #アーティスト #抽象 #現代美術 #藝術 #當代藝術 #抽象藝術 #美術館 #画家 #artgallery #アートギャラリー

[hinxlinx]

Daily #Art - Day 10-08-19 (2019) Tears of Chaos Here's an abstract tribute to Batman and Joker, with an art inspired by Picasso's Guernica (1937). "Trust takes years to build, seconds to break, and forever to repair." - Anonymous I think the same sentiment applies to almost everything, like we can replace “trust” with a “society” or a “city”. Granted nothing escapes entropy, but we shall not despair and should never give in to destruction. . 每日藝術 - 2019年10月08日 （2019）失序之淚 這是一幅對蝙蝠俠及小丑致敬的抽象畫，其藝術靈感來自畢加索的《格爾尼卡》（1937）。 “多年建設起來的信任，瞬間便可破滅，耗無��來修補。” -匿名 我認為此句適用於所有事物，例如我們可以用一個「社會」或一座「城市」取代此句的「信任」。 沒有任何東西可以逃避熵/失序現象，但是我們絕不能絕望，也絕不能屈服於破壞。 (#15,748 / #338) . . . #dailyart #illustration #pendrawing #abstractart #characterart #joker #clown #chaos #order #fire #batman #小丑 #混亂 #火 #蝙蝠俠 #hinxlinx #ericlynxlin #elynx #軒 #instaart #artofinstagram

[takuhisamura]

微觀交織─久村卓×李政勳雙人聯展 Micro Interweaving－Taku Hisamura × Li Cheng-Hsun Group Exhibition 展期 Duration：2019.03.02 Sat. －2019.03.31 Sun. 開幕 Opening：2019.03.02 Sat.  15:00pm 地點 Venue：GYUSYA牛舎二階 藝術展覽活動空間(台中市南屯區大英街440號) 開放時間 Opening Hours：依照粉絲頁公告為主 每日12:00－22:00，逢週四休館 (Closed on Thursdays) 藝術家 Artists：久村卓 Taku Hisamura × 李政勳 Li Cheng-Hsun 展覽策劃 Exhibition Planner：簡于庭 Amelia Chien、修天容 Daisy Shiou 展覽論述 Exhibition Concept： 在久村卓與李政勳的創作中，藝術家汲取⽇常線性中往往受忽略的感知與物件，以相對離散的形式再 現。作品既有雕塑的三維意識、繪畫的視覺形構，奠基在線性交織，甚形塑出嶄新的時間與空間，指涉著生活中無以名狀⽽微末的感知流變。 久村卓的作品自消費社會的支配性出發，將精品服飾去標誌化，一方面重構人類日常幾經忽略的物件符號，回歸品牌從眾的自主品味，一方面回應雕塑所具的空間性，隨觀看方式的差異，營造出截然不同的異質空間感。相對久村卓由外部因素回視個體內在追求，李政勳將事件經驗的內在交涉作為核心，在封存經驗當下存有時間的同時，再現了極其細微的意識剖面，轉化生活中飄渺的心緒與感官慣習，精煉出畫面中抽象性的色感與符號，彷彿編曲一般譜出視覺旋律。 在《微觀交織》中，兩位藝術家同樣透過堆砌與消除的過程，隨時間積累下的勞動實踐，試圖雕塑出當代日常與個體的互涉，淬煉生活切片以構築⼀個交涉關係的場域，進而結構性的交織並創構出各自獨特情境的微觀視野。 In the creations of Taku Hisamura and Li Cheng Hsun, the artist captures the perceptions and objects that are often neglected in linearity of everyday life and reproduces in a relatively discrete form. The works, based on linear interweaving while shaping the new time and space, has not only the three-dimensional consciousness of sculpture but also the visual structure of the painting, refers to ineffable and subtle sensation in life. Based on the dominance of the consumer society, Taku Hisamura's works remove the Logo from luxury clothing, reconstructs the symbols of a neglected object in human beings life and focuses on the independent taste of the conformity. With the difference in gaze, on the one hand, it responds to the space of the sculpture. Compared with Hisamura that he is based on external factors to examine the internal pursuit of individuals, Li Cheng Hsun takes the interior negotiation of event experience as the core. While retaining the time of the experience in a real moment, he duplicates the extremely subtle conscious section and transforms the ethereal emotion and sensory habitus in life, refining the abstract color and symbols in the picture, as if the arrangement to generate the melody in a visual way. In Micro Interweaving, the artists tried to sculpt the interactions between the daily and the individual through the process of stacking and eliminating with labor practice accumulated over time.They quench the life slice to construct a field of negotiation, forward, structurally intertwine and create a microscopic view of their unique situation. 藝術家簡介 Artist Introduction： 久村卓，1977年出生於東京新宿，畢業於多摩美術大學雕塑系。其作品將注意力集中在一些我們認為理所當然的日常，如牆壁、地板、天花、台座等的不同狀態，他擺弄、改變、重構這些元素，以致使其與新的環境產生共鳴，他邀請觀眾在新的語境下實際去感受這些「物件」。同期正於台北關渡美術館展出。 Taku Hisamura, 1977 born in Shinjuku, TOKYO, and graduated from Tama Art University Department of Sculpture. Hisamura's work draws attention to the various states of mundane features such as walls, floors, ceilings, or pedestals - the kinds of structures that are taken for granted. He manipulates, tweaks and places these elements so that they resonate with a new environment. In doing so, he invites audiences to perceive and experience these ‘objects’ in a different spatial context. At the same time, he is also exhibiting at Kuandu Museum of Fine Arts, Taipei. 李政勳，1985年出生於台灣台北，畢業於國立台北教育大學藝術與造型設計研究所藝術創作組，2010年獲GEISAI TAIWAN#2佐藤可士和評審個人獎，2012年獲得文化部補助於日本東京駐村，作品曾多次獲得國美館、藝術銀行與澳門文化局典藏，舉辦過多次個展及參與過多次聯展，目前持續創作中。 Li Cheng Hsun, 1985 born in Taipei, and graduated from National Taipei University of Education Art and design. He got reward of GEISAI TAIWAN#2 Kashiwa Sato personal award in 2010，went for his art residence(3331 Arts Chiyoda) in Tokyo, Japan. His works had been collected by National Taiwan Museum of Fine Arts, ART BANK Taiwan and Macao Cultural Affairs Bureau，has held many times of solo and group exhibitions, now keeps artistic creating and in his exhibitions preparation. 特別感謝 Special Thanks： Gyusya 牛舎炭火漢堡排專門店、設計阿珊、燈光贊助

[beyourselfchulanmaria]

朱德群 Chu Teh-Chun or Zhu Dequn (1920-2014)

He was a Chinese-French abstract painter acclaimed for his pioneering style integrating traditional Chinese painting techniques with Western abstract art. He was the first ethnic Chinese member of the Académie des Beaux-Arts of France, and together with Wu Guanzhong (吳冠中) and Zao Wou-Ki (趙無極 ) were dubbed the "Three Musketeers" of modernist Chinese artists trained in China and France.

他是一位華裔法國抽象畫家，以其將中國傳統繪畫技法與西方抽象藝術相結合的開創性風格而廣受讚譽。 他是法國藝術學院第一位華裔院士，與吳冠中、趙無極並稱為中國和法國培養的現代主義藝術家的“留法三劍客”。

Chu Teh-Chun