鍾嘉駿擅長在畫布空間內活用並集合不同的繪畫風格,在此階段的創作中,藝術家透過壓克力、蠟筆與炭筆等繪畫媒材呈現不同空間,並以立體派風格的素描、超現實主義般的符號佈局,以及極簡硬邊的扁平色塊召喚平面性。透過不同繪畫表現,鍾嘉駿藉此在畫面呈現那些內藏於生命與自我意識中的解離、荒謬與疏離感。
CHUNG Chia-Chun is adept at combining different painting styles on paper. In this stage of creation, he uses acrylic, crayon, charcoal, and other mixed media to present different types of space in his artworks, juxtaposing the cubist-style figure sketches with surrealistic symbol layouts and the flatness of minimalistic hard-edge colored blocks. Through different painting expressions, CHUNG Chia-Chun subtly depicts the dissociation, absurdity, and alienation hidden in life and self-consciousness in his works.

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本次展覽的雕塑創作,藝術家楊宗嘉以自身生命體驗為起點,與成長過程中陸續開啟的身體感知對話,一路建構而成的內心世界為主軸,藉由媒材特質表達人類年幼的無能與後成人的無害,以及新時代人們共存的易碎體質。
In this exhibition, artist Yang Zong-Jia uses his personal life experience as the starting point of his sculpture. Since his childhood, he has been conscious of the inner world within his mind, feelings, senses, and body throughout the years and uses it to construct as his sculpture’s main constitute. He uses the characteristics of the media to display the incompetence of the young and the harmlessness of the adults.

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Hiro Hiro Art Space 很榮幸舉辦「那座彩山」聯展,展出藝術家為伊藤彩、長井朋子、以及山本桂輔。
Hiro Hiro Art Space is pleased to coordinate with Tomio Koyama Gallery to present “The Splendid Mountain”, a group exhibition of works by Aya Ito, Tomoko Nagai, and Keisuke Yamamoto.

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「在物派誕生的1968至1969年間,日本當代藝術的表現手法從繪畫、雕刻轉變成平面、立體,這個重大的轉捩點上,身為『幻觸團體』主要成員的飯田昭二(Iida Shoji),極可能就是影響『物派』誕生的關鍵藝術家。」“During the period from 1968 to 1969 when Mono-Ha was born, the expression of Japanese contemporary art significantly changed from painting and sculpture to two-dimensional and three-dimensional. At this major turning point, as the main member of the Group GENSHOKU, Iida Shoji is very likely the key artist that influenced the birth of the “Mono-Ha”

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水泥、銅線、一些繚繞周圍的空氣,或許還需要一點點想像力。這是挪威藝術家琳恩‧奇里德的主要創作媒介。
Cement, copper wires, the surrounding air, and perhaps with a little imagination. These are the main creative medium of Norwegian artist Lene Kilde.

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曾兩度受邀威尼斯雙年展的台灣當代重量級藝術家侯俊明,以其強烈鮮明的圖像與文字,描繪紀錄二十多年來香港人在其抑鬱處境中,如何嘗試以「be water」的態度,培力出一種面對個人情欲、乃至對抗政治壓迫的身體自主性。
Hou Chun-Ming is a contemporary Taiwanese artist who has been invited twice to the Venice Biennale, as a representation of Taiwan. Using impactful and distinct images, and vivid colors and texts, Hou Chun-Ming depicts the environment Hong Kong people have been living in for the past twenty years. He portrays Hong Kong people’s attitude of how to “be water” towards lust and political oppression.

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為討論孰為真實,他運用擅長的鉛筆及炭筆,以細線一筆一畫穩定地完全掌握物件之實,再結合壓克力顏料表現抽象大塊面筆觸,以多個顏色反覆劇烈地塗抹堆疊,形成這種二重式繪畫。將本欲深藏在對象內在的東西,揭示並覆蓋在精美的表面之上,二重對立同時出現在畫面,乍看當下帶有強烈反差,但細細推敲卻是巧妙地將看似分散不連貫的混亂,以細膩的手法諧調地布置在畫布之上。

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