推廣台灣年輕藝術家，呈現優質當代藝術作品給大眾。當代藝術作為廣泛的通用詞彙蘊含多種可能性與表現，「漸層｜當代藝術的 15 個面貌」呈現 15 位年輕藝術家作品作為這個世代的抽樣研究，將聚光燈放在藝術表現上不同的技法、主題與型式。從抽象到具象，以及兩者之間，從平面到立體，這獨特的漸層值得觀者細細品嚐。
A group show in Taiwan featuring 15 young and exceptional artists (born in 1983-1993) titled: Gradient | 15 Faces of Contemporary Art.
The goal of this exhibition is to highlight emerging talent on both the local and international stage, it is produced by the artists, of the artists and for artists and art lovers. The unique vantage point from the new generation offers a refreshing outlook of the future stars of the artworld.
空中花園 － 相傳前 6世紀新巴比倫王國的尼布甲尼撒二世為患思鄉病的王妃所修建，現已不存在。花園建於四層平台之上，以 25米高的柱子支撐。由奴隸推動連繫齒輪的把手，維持灌溉。園內種植各式花草樹木，遠看猶如花園懸於空中，又稱懸園，是古代「世界七大奇蹟」之一。希臘文 paradeisos（空中花園）日後蛻變為英文 paradise（天堂）。
According to legend, the Neo-Babylonian King Nebuchadnezzar II had the Hanging Gardens built in the 6th century BC for his homesick-stricken queen. Although no longer standing today, it’s said these gardens, or ‘paradeisos’ in Greek, were planted on tiered platforms supported by columns 25 metres in height, with slaves powering the connected wheels of the irrigation system. Seen from afar, the abundance of trees and flowers hanging over the sides of the terraces would have given the gardens the appearance of hovering in midair — hence the name, and its status as one of the Seven Wonders of the Ancient World. The Greek word ‘paradeisos’ eventually found its way into English as ‘paradise’.
Inspired by this legend, I decided to create “Paradeisos” using a readymade and two photographs — a sheet of artificial turf alongside pictures of what appear to be dazzling seas of flowers, but which are actually man-made landscapes. “Paradeisos”, then, presents a contemporary perspective on the sentimental, speaking to the search for meaning in the grandiose architecture of ancient times, and the plastics that have today managed to supplant us.
To me, painting is a state of being, in which loneliness and enthusiasm blend together. When I use painting as a language, a sense of familiarity can enable one to reveal symbols and metaphors rich in poetry without restraint. As for the meaning that the emergence of photography has brought to my artistic career, it not only broadened my variety of mediums, but also expanded my artistic language. The expression of clearness to blurriness of the body, the subject and parts of the body, through photography, which I expect to carry some characteristics from painting, is my unique photographic language.
This solo exhibition will showcase 41 of my artworks, containing paintings, photographs, installations and others. Through the connection within my works and the extension of the sense of space, the viewer will be led to a different level of sensation.
2018年三月於日本京都 GalleryMain 展出的作品，是「City ‧ Taiwan」系列中，「Kyoto ‧ Taiwan」的首次發表。我將 2017年於京都的旅行軌跡，與在家鄉台灣所蒐集的物件進行並置，藉此暗示物件及照片在質地與符號上的聯結。
Kyoto ‧ Taiwan, from the series City ‧ Taiwan, was first exhibited at GalleryMain (Kyoto, Japan) in March, 2018. In this segment, I juxtapose images from my travel to Kyoto in 2017 and objects collected afterwards from my hometown in Taiwan. Each pairing is made to highlight textural and symbolic similarities between image and object.
It might be something I’m able to brush on, but when it comes to life and death, loss and scars, the greater picture remains just beyond reach. Some words will forever be impossible to write, but through the depths and perceptions of images, we flow together in the same ultimate direction.