丁丁・佩瑪・哲星 Tintin Pema Tshering
As an artist I am greatly inspired by the endless creative possibilities that come from combining the richness of Bhutanese visual heritage with the infinite range of art techniques including watercolours, acrylic, sketching and mixed media, and have also attempted many forms. I am currently excited by the challenging freedom of working in conceptual art to explore my personal expression and experience in Buddhist themes.
佩瑪・蓋森 Pema Gyeltshen
我的作品包括宗教、傳統、文化、日常生活、和自我表達。我主要使用 丙烯酸和水彩畫，我也喜歡木雕和傳統繪畫。不丹以身為一個和平的國 度而聞名，我們從未被別人征服，在不丹出生和成長，一直讓我保持平 靜和平靜，我們腳踏實地、保持積極和並且富有同情心，不丹對於我的 影響力在我的大部分作品中都有所體現，我描繪不丹的經幡，文化，傳 統和豐富的自然環境。
My works include religion, tradition, culture, everyday life, abstracts and self expressions. I work mostly with acrylic and watercolours and I also like wood carvings and traditional paintings. Bhutan is known for being a peaceful nation and never been conquered by others,the environment where we grow up builds up our mental state and being born in Bhutan had always kept me peaceful and calm, influenced by positive attitude and compassion and being down to earth, so my influence are shown in most of my works depicting prayer flags, culture, tradition and rich environment of Bhutan.
Hsiao’s works are made with natural mineral pigments, water-dried pigments and metallic foil clay, and the techniques of vignetting, line drawing, and leaching and gilding are used in the murals, giving each work a new and different feeling. The former has a sense of solidity, while the latter has a soft and ethereal aesthetic. The different textures, different images and different connotations interact to create a new visual feast.
Lo Chieh combines traditional brushwork with the embroidery art of boudoir to create a scene of colorful dreamy beauty, full of the sweet taste of childhood warmth and joy on the surface, but in fact revealing the hint of sorrow of the long-lost years. By daydreaming about returning to that realm, relying on the sense of belonging brought by the hidden childhood feelings, and defending one’s childishness, one experiences the infinite imaginary joy and courage of the mind that accompanies the moment of meeting with childhood visions, and at the moment of saying that one does not want to grow up, one’s mind seems to become pure and fearless for a moment, as if providing a private theater where one temporarily escapes from reality and withdraws from role-playing. It is like an intimate theater that provides a temporary escape from reality and a break from role-playing.
2020 年，因為疫情的影響失去了許多心愛之人，促使我們加速經歷人生巨變。在 這樣沈重且不安的社會氛圍之下，透過傳說中象徵重生、自由脫俗的藍蓮花作為 媒介，傳遞「我們無法改變過去，那就接受、放下，並創造新的未來，重新開始」。無論外界發生什麼事，人生還是會繼續，期許每個人保持身心靈像蓮花一般。藉由文字解構，來重構六字大明咒，形成去閱讀性的連續性符號，佈滿畫框與作品之中。
In 2020, the loss of many beloved people due to the epidemic has accelerated our lives to undergo dramatic changes. Under such a heavy and unsettling social atmosphere, the blue lotus flower, which is a legendary symbol of rebirth and freedom, is used as a medium to convey the message that “we cannot change the past, so let go, accept it, and create a new future to start anew. No matter what happens in the outside world, life will go on, and we hope that everyone will keep their mind, body and soul like the lotus flower. By deconstructing the words, the Six Character Mantra is reconstructed to form a de-readed continuum of symbols that will fill the frames and works.
陳薇因的作品以雲的變化、浮動性質象徵著人的思緒，思緒的模糊及變動，成為籠罩在身旁的 表象，掩蓋著不想輕易展露的自我。 與人情感交流之際，總是密佈著未知，存在於你我之間的並不是點之間的距離，而是流動的猜測、感受蓄積而成的空間，在思緒的遮蔽下建構屬於我們之間的關係。
Chen’s series of works symbolizes the changing and floating nature of clouds, and the blurring and shifting of thoughts, which becomes an appearance around us, concealing the self that we do not want to reveal easily. What exists between you and me is not the distance between points, but the space accumulated by the flowing speculations and feelings, constructing a relationship between us under the cover of our thoughts.