藝術家 Artists

For English, please scroll down.

余曉冰
關注在「跨文化」(trans-culturalism)的對話及其相關行動,透過創作企圖揭發被隱藏的歷史、被壓抑的記憶、空間和認同的倫理關係和個人與國家之間的無定形關係。近期在創作上聚焦在思考如何透過中國傳統庭院的建置為作一種創作工法,透過「庭院」開啟不同的歷史和文化之間的溝通,以此解繫和再繫我們已明瞭的文化意義及相關知識。

 

歐靜雲
以平面繪畫為主要創作的形式,常以神話知識中的宇宙觀、生命中的失落、歡愉的感官經驗與暴力的樣式為創作內容,同時以此作為作品感官視覺上的操作與命題的延伸,最後在創作中再現戰爭、享樂、宗教與人造事物之間關於與一些催情與癲狂的寓意,再思關於羞恥與關於罪惡的一切意義。

 

黃韶瑩
善於透過創作來回應個人生命經驗,透過觀看與閱讀牠者的身體,回應到自身的社會處境及牠者的生命狀態。同時思考身為人存在於社會中的我們,身體會因為環境而產生選擇性的變化,例如意圖符合社會期待樣貌或在身體上建置無形的社會框架等。以各種不同類型關於空間性的創作方式,透過材質與空間結合所產生的厚度,來回應藝術家所看的身體及找尋的另種身體可能的形狀-原初的模樣。

 

詹奉宗
自然與人類文明間消長關係為其創作持續發展命題,擅長以 「物質派對」式的雕塑及空間裝置方式創作,從即興拼裝拾得物、現成物及天然素材出發,以直覺方式來探索人類欲望操作下物質的能量流動與生命週期。讓觀者在緩慢沈思與凝視的過程中,建立個人與物質的私密性關係,來反思主流價值觀及資本主義世界無止盡的發展,挖掘被抑制的反動知覺、遊戲性的思維及覺察待被更新的心靈。

 

秦政德
朋友們叫他「阿德」,當年「文化美術系事件」的關鍵人物,也因文大事件創立與同學共同創立「小草藝術學院」工作室,自許為永遠的「小草 N 號志工」,藝術學院長年持續以在台灣歷史文物中發現的圖像為載體製作明信片。除了台灣歷史文件的收藏,在藝術創作的方法學上發展出極具個人特色的地理學田野工法,透過立碑的行動揭示及再現被人忽略及被宏大敘事遺忘的重要台灣歷史片段。

 

赤嶺智也
出現在赤嶺智也的作品的包括“沖繩”,“跳舞的人”,“能源”,“生命”和“活力” ,表達了當今在沖繩的生活。沖繩島是他的生長的故鄉,它位於日本南部縣之一。它由數百琉球群島的。沖繩據說在全日本最美麗的海灘,沖繩據說在全日本最美麗的海灘,它是大自然所包圍,最後這一切自然的事與不事都成為他繪畫創作上的自然繆思。

 

Candice Jee
Candice Jee’s practice concerns dialogues around trans-culturalism and its related actions, attempting to expose hidden histories, repressed memories, the connection of space with identity, and the amorphous relation between the individual and the state. She currently is thinking about how to apply the idea of the Chinese garden as an artistic form in order to open communication between different histories and cultures, untangling and entangling what constitutes notions of culture and cultural belonging.

 

Jing-Yun Ou
Jing-Yun Ou applies painting as his main creative form. He often draws on mythical narratives of loss, joy, the sensual and the universe as his creative resource. These serve as creative methodologies through which he produces violent content, extending these notions into the medium of painting and the creation of sensory visual works. In his work can be perceived representations of war, pleasure, religion and the mania of the human condition, with some aphrodisiac and intent to influence the viewer to think about the meaning of shame and notions of evil.

 

Shao-Ying Huang
Shao-Ying Huang’s work involves her creative response to personal experiences. She frequently enacts the method of watching the bodies of others, which initiates her thoughts upon living conditions. Moreover, the visitors are forced to consider how the human being prepares themselves in order to live in our society. For example, people habitually change their appearance and intentions to comply with social expectations. After extended artistic research, through spatial creative practice, she often applies a variety of different ways to respond to what she sees behind the physical body, meanwhile looking for another kind of possible shape – the original appearance.

 

Feng-Tsung Chan
Feng-Tsung Chan develops his artistic concerns upon the long-term relation between nature and human civilization. In particular, his artistic works of sculpture and installation come together to form a “material party” – an assembly of found objects, the ready-made and natural materials. Through this, he uses intuitive means to explore the human desires that operate within the material flow of energy and the life cycle. In the reception of his work, he wishes that his viewers engage in a slow process of contemplation, establishing a private relationship between the individual and the physical. This reflects the mainstream values ​​in our world of capital and endless development. Ultimately, the work provides a chance for us to become aware of our habitual reactions, triggering a game with our thoughts, and a willingness for their renewal.

 

Cheng-Te Chin
Friends call him “A-de”, and he was also a key figure in the historical event of the Department of Fine Art in the Chinese Culture University. During this period, he and his classmates established the studio “Grass Arts Academy". The studio at present continues their practice of producing postcards, printed with traditional images found within Taiwan’s historical documents. Apart from his collection of Taiwan’s historical documentation, he also developed his artistic methodology through geographical fieldwork techniques. Though the performance of erecting stones in the field, his artistic project reveals important elements of historical events that Taiwanese people tend to ignore.

 

Tomoya Akamine
The main themes that appear in Tomoya Akamine’s work consist of ‘Okinawa,’ ‘dancing people,’ ‘energy,’ ‘life,’ and ‘vitality’. His artwork expresses present-day life in Okinawa. Okinawa is his hometown, and it is located in one of Japan’s southern prefectures. It consists of hundreds of the Ryukyu Islands. Moreover, Okinawa is said to have the most beautiful beaches in all of Japan, and It is surrounded by nature. The living experiences in Okinawa gives him the most idea for his creative works.