大象艺术 展位A05 ｜ 2022 台北当代艺术博览会

驰骋艺术荒野的先锋者

Pioneers in the Territory of Ton Fon Modern Art

以李仲生为精神导师的艺术家们，于1956年成立「东方画会」，视现代抽象为目标，冀望在作品中传达前卫的理念，并表达个人多元而大胆的风貌。

大象艺术以「学术先行、市场在后」的理念为画廊定位，以独树一格的画廊品牌形象立基于台湾推广当代艺术，并以抽象艺术为画廊的推广主轴，自2007年创立以来，多次举办东方画会成员的个展与联展，2022台北当代艺术博览会展位A05，以《驰骋艺术荒野的先锋者》为展览主题，策划展出八位艺术家，分别为朱为白(1929-2018)、霍刚(1932- )、萧勤(1935- )、萧明贤(1936- )、夏阳(1932- )、李锡奇(1938-2019)、欧阳文苑(1928-2007)、吴昊(1932-2019)，他们以自由的创作态度融合东方底蕴，开创新的抽象表现形式，在台湾美术史上具有重要地位。

此次推出从1957年至2009年期间作品，艺术家在孤寂驱使的环境中，让同个平面轴点展现出各自的观点，在不同形式、不同接口的载体下，诠释桀傲不逊而又理性的脉络纹理，将其生命精神转为独特的符号形体，畅响每一次的创作历程。

"Ton Fon Art Group" was founded in 1956 by a group of artists who had seen of LI Chuh-sheng as their mentor. They advocated modern abstractionism as their ultimate goal, trying to advance avant-garde and to express their personal diversity in creation.

Da Xiang Art Space, a gallery based in Taiwan that promote contemporary art with a unique brand image of concept "Academic first, Market Behind", has taking abstract art as the main promotion axis and has held several solo and group exhibitions for the members of “Ton Fon Art Group” since establishment in 2007.

The curation of this time exhibits eight artists including founding members and members of "Ton Fon Art Group":

CHU Wei-Bor (1929-2018), HO Kan(1932- ), HSIAO Chin ( 1935- ), HSIAO Ming-Hsien (1936- ), HSIA Yan(1932- ), LEE Shi-Chi(1938-2019), OYAN Wen-Yuen(1928-2007) and WU Hao, they combined the oriental heritage with a free creative attitude and created a new abstract form of expression, which has an important position in the history of Taiwanese art.

This time, will present works from year of 1957 to 2009, which the artists turn its life spirit into a unique symbolic form while facing the environment of loneliness. Each has their preferred media to describe their emotional states. they defiantly and rationally choose unique media to manifest their own point of view with amazing courage.

欧阳文苑的作品隐藏着某种无垠神秘，其思想与情感始终体现东方价值，在他的油画作品中，流动而难以言说的色彩、色块，像是在深渊中驰骋，而墨态的笔触，流逝一些之后再重生一点，隐含出原相所给予的真实力量，并非技巧所能撼动的感受，整体深邃而苍凄的内在气息，在坚毅兼具温柔的建构下，涌出不畏的生命。

There is a certain boundless mystery within OYAN Wen-Yuen’s works. His thoughts and emotions have consistently reflected Asian values. In his oil paintings, the flowing and ineffable colors and color blocks are like soar in the abyss. The genuine power imparted by authentic imagery implied in a reading of his brush and ink paintings, the courage for incremental rebirth with the gradual passage of time are not limited to the senses conjured by technique, under his steadfast yet tender brushstrokes, an unwavering life force surges forth from the depths of a bleak inner aura.

朱为白内省与唯心的艺术创作，超越了线、布、棉花棒的物质形体，将其媒材转化成另种表现形式，看似简单的作品，经由排序迭合构成的增与减，再没有多余颜色的彰显中，沈静如白，黑的稳重，沉默而内敛，承载更多岁月感悟后的生命价值。

The introspective and idealistic artistic creations of CHU Wei‐Bor transcend the physical forms of thread, cloth, and cotton swabs, to transform his media into alternative forms of expression. Variations constructed through an ordered layering, where the taciturn and restrained quietude of white and solemnity of black are highlighted without an overabundance of color. The ostensible simplicity of his work is a vehicle for the realization of the value of life that come with the passage of time.

霍刚从七○年代至今的作品，画中色彩愈来愈浓烈鲜明，构图也趋向明快简洁，常见对称性与突发性现身的点、短直线交替展现，有时线与块面凝住对峙，闪烁的小点线一触即发，激扰平静寂浩瀚的画面，却又可发现这些灵活的小符号是拆卸了书法线条的重组乐章。

HO Kan's works from the 1970s to today, his colors have become increasingly dense and bright, his compositions increasinglylissome and minimal, frequently expressed in symmetrical, spontaneously manifested pointsand overlapping short, straight line segments. Sometimes lines and fields freeze in mutualopposition. Scintillating points and lines suddenly materialize, disrupting a tranquil, expansiveimage. Yet at other times, one discovers these supple little symbols serving as a reassembled musical movement of disassembled calligraphic lines.

萧勤的创作中，表现出潜意识里恣意与恒定，看似柔和的挥洒姿态，也正是辽阔苍穹赋予的力量，虽受西方文化的启发，但依旧从东方的道家思想与禅宗哲学，寻求本我内在的精神，作品中，书写流动的大势线条涌现出"曲则全"的劲道，圆点、长条造型的律动，给予空间的平衡，他总是用静的脚步，让观者感受浩浩荡荡的重量。

In HSIAO Chin's creation, he shows the willfulness and permanence of subconscious, his seemingly soft swaying gesture is also the power endowed by the vast sky. Although inspired by Western culture, he still seeks the essence from Eastern Taoism and Zen philosophy and searching for inner spirit of the self. In his works, the general trend of writing and flowing lines emerges the strength of "partial yet complete", the rhythm of dots and strips giving the balance of space, he always uses quiet steps to let the viewer feel mighty weight.

萧明贤的作品以抽象水墨表现梦幻诗情，线形与团块墨韵交集成抽象空间，他用线条在宣纸上或在画布上，钩勒出自然形象以外的另类造形，粗线条、细线条在不同的媒材上产生律动变化的视觉符号，令人印象相当深刻。

HSIAO Ming-Hsien uses abstract ink painting to express fantastic scenes and poetic sentiments, in which linear shapes and masses interlaced with the cadenced flow of ink to form abstract spaces. On either xuan paper or canvas, he painted the outlines of imagined forms not found in nature. Lines, alternately coarse and fine, formed visual symbols, engendering rhythmic changes in combination with different materials, to memorable effect.

夏阳的绘画题材内容，取自于民间宗教、神话、寓言故事及传奇人物，他以颤动的线构成人形在空间穿梭，画面中的毛毛人以寓言象征表现超现实的意境，既摆脱物像原本的含意，同时亦象征人处于都市丛林之不安与疏离感，毛毛笔触转变成似是而非的物象，鲜明的动势牵引出敏感机智的图像语言。

HSIA Yan draws the subject matter of his paintings from popular religion, mythology, fables and legendaryfigures. He employs vibrating lines to compose human figures moving about within spaces. The "fuzzy people" in his pictures serve as metaphors or symbols, expressing a realm of surreal imagery, and by breaking away from the original state of physical images, he also symbolically represents the unsettled alienation of people living in the urban jungle. His blurry brushstrokes are transformed into illusory forms, vivid motion producing an acute, agile language of visual images.

李锡奇的创作风格多变，1990年开始发展漆画作品，从「后本位」、「本位‧新发」至「风起‧水涌」系列，于漆黑厚重的肌理中，并置文化与传统元素，在方形、圆形、印记、书法拆解的重组下，诠释「传统中找新意」的内在精神，另「墨语」作品，则藉由排笔而成的皴法，带来独有的墨态色相，灵透而诗意。

The creative style of LEE Shi-Chi is changeable, he began to develop lacquer paintings in 1990, from the series of "Post- Orientation ", "Orientation‧New Discovery" to "Rising Wind‧Surging Water ", under the reorganization of squares, circles, imprints and calligraphy dismantling, it interprets the inner spirit of "Finding Innovation within Tradition", juxtaposing cultural and traditional elements in the dark and thick texture. Other "Inktalk" works show unique ink tones through the arrangement of brushstrokes, which are translucent and poetic.

吴昊早期的作品介于超现实与抽象之间，具有东方古朴之神秘意境。吴昊撷取古文物与民间庙宇彩绘的色彩，例如：红绿相映、绿色与桃红色互衬、宝蓝妆点深黄，这些色彩显得十分迷人，然而画面上的构图总是以“饱满”物象占据整个画面，在视觉上形成强烈压迫感之张力。他藉由奇观式的造形与构图，画出了自己的感觉，从而建立独特的艺术语汇。

WU Hao's early works were somewhere in between surreal and abstract, expressing simple yet mysterious images with an Eastern sensibility. Wu appropriated colors from antique artifacts and the paintings in neighborhood temples – for example, complementary red and green, contrasting green and magenta, or sapphire embellishing a deep yellow. These colors were extremely enchanting, yet his compositions were packed full of objects occupying the entirety of his pictures, forming a powerfully claustrophobic visual tension. Through spectacular forms and compositions, he painted his own feelings, thus creating a unique artistic vocabulary.

【2022 台北當代藝術博覽會(Taipei Dangdai)】

大象藝術 | 展位A05

展    期：2022 年 5 月 20 至 22 日11:00 AM – 6:30 PM

地    點：台北世貿中心一館 (台北市信義路五段五號)