955 涅普頓畫廊

EXHIBITORS

巴梅莉Maria BARBAN

藝術家關注無外部可以逃逸的全球資本帝國中,年輕世代所解讀的世界樣態,形繪出其所感、所見、所聞、所受的真實,以及藝術何以作為對外在世界的表述,與作為反應自身所處的內在差異,透過90後世代的眼睛,觀察、捕捉並闡述,當代社會中各種既短暫且快速的怪誕、群發現象、熱潮與簇擁,邀請觀者共同反思。

The artist pays attention to the state of the world interpreted by the younger generation in the global capital empire where there is no outside world to escape, and depicts the reality of what they feel, see, hear, and receive, and how art can be used as an expression and reaction to the external world. Through the eyes of the post-90s generation, she observes, captures and explains the inner differences in which he lives, and invites viewers to reflect on all kinds of short-lived and rapid grotesques, mass phenomena, upsurges and crowds in contemporary society.

勝⽥えみEmi KATSUTA

藝術家結合雕塑與平⾯的元素,創造出是雕塑亦是畫作的視覺效果,以立體的畫框,勾勒出場景的畫⾯。作品中⼈物的眼神,不特別表達任何情緒,⽽是與觀者互動,猶如⼀副畫作,帶給⼈的感覺由觀者決定。The artist combines sculpture and plane elements to create a visual effect that is both a sculpture and a painting, and uses a three-dimensional frame to outline the scene. The eyes of the characters in the work do not express any emotion, but interact with the viewer, just like a painting, and the feeling it brings is determined by the viewer.

吳逸萱Yi Shuan Wu

藝術家受到江戶時期「琳派」眾多作品的影響,集中研究繪畫的裝飾性與平面性,大量嘗試礦物顏料與金屬箔表現的多元性,希望運用傳統的媒材,發展出嶄新的表現手法與獨自的風格。在四季分明的日本生活,時常觀察生活中隨著季節變化的各類植物,對於自然色彩的變化與造型感受特別深刻。在作品中將自我凝縮,想像動物、昆蟲的視點,用各種葉子重新構築出一座小叢林,呈現非日常的心象風景。

Influenced by the many works of the “Rinpa” in the Edo period, the artist concentrated on the decorative and flatness of painting, and tried a lot to express the diversity of mineral pigments and metal foils, hoping to use traditional media to develop new expression techniques and unique style of. Living in Japan, where there are four distinct seasons, the artist often observe various plants that change with the seasons in her life, and she feel particularly profound about the changes in natural colors and shapes. In her works, she condenses herself, imagines the point of view of animals and insects, and reconstructs a small jungle with various leaves, presenting an extraordinary mental imagery landscape.

林昱樺Yu Hua LIN

藝術家以中國傳統文人畫的經典「寒歲三友」為題材,將其融入當代建築的結構、材質等元素,試圖營造某種差異、衝突等不確定性,卻又帶點向傳統致敬的表現。因此,他捨棄植物與盆、瓶的標準搭配,將「寒歲三友」以折枝的手法鑲嵌且佇立於金屬、水泥構成的載體,並透過植物本身特有的寓意結合金屬、水泥象徵的都市性,敘述自身處於當代社會中最真實的感受。

The artist takes the classic Chinese literati painting ” Three Friends of Winter ” as the theme, and integrates it into the structure and materials of contemporary architecture, trying to create certain differences, conflicts and other uncertainties, but with a little tribute to tradition. Therefore, he abandoned the standard collocation of plants, pots and bottles, and inlaid the ” Three Friends of Winter ” by breaking branches and stood on a carrier composed of metal and cement. Through the unique meaning of the plant itself, he combined the urbanity symbolized by metal and cement. Narrate the most authentic feeling of being in contemporary society.

小島久典 Hisanori KOJIMA

在東京藝術大學保存修復雕刻研究室擔任修復講師的小島,對佛像修復研究經驗豐富。可以透過作品身上的線索,推斷物件當時的情況,然而歷史的真相,無人知曉。於是小島想像與創建一段他從未見過的時代,作為創作的啟發。欣賞小島細緻的雕刻手藝時,經由觀者自身生命經驗投注作品中,對作品產生無限的想像,推論這段由小島所創造的歷史軌跡。

Kojima, who works as a restoration lecturer at the Preservation and Restoration Sculpture Research Office of Tokyo University of the Arts, has extensive experience in the restoration of Buddhist statues. It is possible to infer the situation of the object at that time through the clues in the work, but the truth of history is unknown. So Kojima imagined and created an era he had never seen before, as an inspiration for his creation. When appreciating Kojima’s meticulous sculptural skills, the viewer’s own life experience is invested in the work, and he has unlimited imagination of the work, and deduces the historical trajectory created by Kojima.

王勁之-春之旋律

展出藝術家
小島久典 / Hisanori KOJIMA
山本真澄 / Yamamoto MASUMI
巴梅莉 / Maria BARBAN
陳睿淵 / Jui Wen TAN
勝田えみ / Emi KATSUTA
周學涵 / Hsueh Han CHOU
吳逸萱 / Yi Shuan WU
林昱樺 / Yu Hua LIN
王勁之 / Chin Chih WANG
程亮介 / Ryosuke TEI
町谷武士 / Takeshi MACHIYA
丸山達也 / Tatsuya MARUYAMA
胡閔堯 / Min Yao HU