風景之外-黃品玲、葉仁焜、鄭農軒三人展
展期:2017-05-09~2017-06-25  地點:台南市仁德區成功三街102號
  • 簡   介
  • 作   品
  • 藝術家
  • 活動照片

「雖然每個影像都具現了一種觀看方式,但是我們對影像的感知與欣賞,同樣也取決於我們自己的觀看方式。」──約翰‧伯格《觀看的方式》

“Although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing.” – John Berge Ways of Seeing

 

觀看涉及個人因素、文化背景與意識型態,長時間的培養累積而成。經由觀看,自身的思維在熟悉環境裡,對於物象有了自我的感受、看法與分別。

The act of seeing involves personal factors, cultural backgrounds, and ideologies that are formed across extended periods of time. Through seeing, the individual develops his or her own feelings, ideas, and distinctions in a familiar environment.

 

以「風景之外」(Beyond Landscapes)為展出主題,風景─就字面上的解釋為風光、光景、景致、景物之意。在西方最早出現於荷蘭語(Landscape),意謂「一塊土地」,即是由土地、環境作為客體觀看的樣貌。外在的風景透過藝術家之眼去觀看,所創作出的內在景觀也會有所差異。此次特邀請三位年輕藝術家,以不同面向的創作來傳達他們對於「風景之外」的感受。

This exhibition is curated around the theme “Beyond Landscapes.” The word “landscape,” interpreted as scenery, view, or sight, first emerged in the Western language in Dutch, literally meaning “a piece of land,” and therefore refers to the objective image of the land and environment. The outer landscape is portrayed as varying inner landscapes through the artists’ perception. This exhibition displays the works of three young artists who express their feelings that exist “beyond landscapes.”

 

黃品玲的創作以風景為主,這些風景並不是真實的存在,而是內在的想像。景色不全然是視覺本身,而是當下面對風景的感受、氣氛、濕度、溫度。把風景作為可以承載想像的場景,並在其中設法標的自己/安置自己。創作的衝動多來自於無法使用文字或語言傳達的抽象感知及意像。

The works of Huang Pin-Ling are mostly landscapes that do not exist in real life but are instead depictions of inner imaginations. The landscape is more than the visual itself, but also the sensation, atmosphere, humidity, and temperature that emerges in the senses when facing the scene. The artists imagine landscapes as sceneries that are able to hold imaginations and attempt to locate and place the self within the view. The drive for creation mostly originates from the urge to express abstract sensations and imagery that cannot be conveyed through words or language.

 

葉仁焜融合了傳統水墨與膠彩畫的技法特質,將屬於當代的藝術思維帶入作品中。近年的創作多描繪城市的空景,畫面中強烈銳利的線條、深邃的藍色以及無所不在的水泥建築,是其極具辨識度的元素。所關注的城市記憶,不同於既定的城市印象,斑駁、空寂、寧靜、幽淡是最真實切身的生命記憶。

Yeh Jen-Kun merges the technical characteristics of traditional ink painting with acrylic paintings and gives his works contemporary artistic philosophy. Yeh’s works throughout recent years mostly depict blankscapes of cities with scenes that stress sharp lines, dark blues, and ever-present concrete buildings, all elements with high recognizability. Rather than fixed urban memories, Yeh Jen-Kun is more interested in the blotchiness, emptiness, lonesomeness, and faintness of personal life memories.

 

鄭農軒的創作是一種觀看,在特定時間點上,外在風景與藝術家有了造型、質地、色彩上的連結。連結是很隨機的,可以是自然景物,也可能是生活物件。不同的題材最後透過內心轉化成一個均質而寧靜的氛圍,刻意抹除物件與意義間的界限,似是漂浮在一個曖昧不明的空間,但最終所有的物質都導向精神性的統一。

The works of Cheng Nung-Hsuan are ways of seeing. On specific points of time, connections link the scenery and artist through form, texture, and color. These connections are random and can be natural sceneries or objects from everyday life. The different themes ultimately transform into a harmonious and tranquil atmosphere through the mind while the boundary between the object and its meaning are deliberately blurred, making the works seem as if floating in an ambiguous space. In the end, all substances will lead to a spiritual unity.


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