972 3a Art Studio

EXHIBITORS

葉怡利/ b. 1973

葉怡利經常從大眾文化與生存環境擷取養分,以生活體驗為創作動機,其作品大量探討人與人、人與自然之間的關係;她以身體作為穿梭於空間與時間的媒介,本著孩子般嬉戲的本能,透過現場行為的藝術形式,裝扮成有魔力的怪獸、仙子、惡女等角色,遊走於文明的城市或是悠然的大自然中;「遊戲中」就像藝術之於「創作中」,過程是藝術創作中最重要的部份。「景.物」系列的立體作品中,葉怡利企圖在古老的陶瓷媒材上加入時代語言,她以雕塑堆疊的技法,加入現成物並截取其既有形體,順理成作品有趣造型。

 

Yi-li Yeh b. 1973

Yeh often captures nutrition from the popular culture and living environment, and adopts life experiences as her creative motivation. Her artworks explore the interpersonal relationship and the relationship between people and nature; she chooses the physical body as the medium to shuttle between space and time. With the child-like playful instinct, through the form of on-site action art, Yeh dresses up as magical monsters, fairies, villains and other characters, and walks in civilized cities or leisurely nature; “In the game” is just like “in the process of creating” in art, which is the most important part of artistic creation. For the three-dimensional artworks in the “Scene. Object” series, Yeh intends to incorporate vocabularies of the times with porcelain and ceramics, the ancient medium. She applies the stacking technique of sculpture and adds ready-made objects by intercepting their existing shapes to make the interesting form of the artworks.

吳詠潔/Wu Yung Chieh

1979年生於臺灣高雄,目前定居於台北。2005年畢業於國立台南藝術大學造型藝術所。作品曾入選「台灣美術新貌展-平面創作系列」、「世安藝術創作贊助-造形藝術獎」及「2004台北美術獎」,畫面風格清新甜美,帶著淡淡的憂傷。其創作關乎自我形象的追尋,也隱含著新世代的苦澀。畫面中宛若童話形象的構成元素,充滿魔幻風格,也有著糖衣包裹下的哀傷基調,在虛實與想像的片段間,拼湊每一個當下的記憶。吳詠潔的創作源起於某種孩童時期肖像畫的變調,其將影像素描為草稿後,再以黑白剪影的方式轉換呈現主角人物的樣態,單一色調的黑,經過手指的揉搓顯現為輕薄神秘的魅影。吳詠潔早期作品總將影像資訊內爆的人們,以「漂浮」的樣態呈現,並將其稱之為「魅影世代」,呈現這個時代的人們,富庶豐饒卻荒蕪寂寞的飄忽樣態。

 

Wu Yung-chieh was born in 1979 in Kaohsiung, Taiwan, and she lives in Taipei now. She received her MFA in Graduate Institute of Plastic Arts from the Tainan National University of the Arts in 2005. Her artwork was selected for the 2011 Exhibition of the Newly Emerging Artists in Taiwan-2D Creation Series, the S-AN Art Creativity Sponsored Award of S-AN Foundation, and the Taipei Arts Award. Wu’s creations feature visual elements that are both refreshing and sweet, yet often come with a sense of sadness, which expresses both the exploration of herself, and also reveals the characteristic bitterness which marks her generation. The fairytale-like elements give her work a magical aspect, narrating essentially sad stories in the guise of fairytales, composed of real and imaginary fragments. Wu Yung-chieh’s creation is usually a morph of her childhood memories, in which she would first sketch the images of certain memories before transforming the character figures into black and white silhouettes. Through these black and white silhouettes, the creations become mysterious phantoms in her stories. Facing the age of image implosion, Wu’s early work has tended to present the human state of being of this “phantom age” using this floating style to outline the uncertainty of modern loneliness in the era of affluence.

廖堉安Liao Yu-An