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867 尼頌詩藝術


廖敏君/LIAO Min-Chun 一直在做對時間對記憶的溫度的掌握,擅長以工業素材結合編織手法創造新舊的記憶連結。將時間的蒼老及曾經的痕跡停留在某一個刻度裡。利用碳纖維線串連,並將顏料停留在線上,成為一道幽微的影像,似有若無,用冷靜、壓抑、羞澀、並詩意的影像及結構來處理心裡的怦然,透過空間及光影還有片刻的時間來表達對某段時光某個人某件事的念想。 My works always focus on time and memories, using industrial material combines knitting to connect new and old memories, and letting trace of the past stay in some states. The pigment is painted on the fishing lines, and concatenating fishing lines that become a dim shape which is like an illusion. Using those dispassionate, oppressive, bashful and poetic images and structure to tackle the feeling of heart-touching. The space, light, shadow, and a piece of time through these methods to convey the person or a moment that we miss.




陳彥伯/CHEN Yen Po


「枕頭山」這個詞原本指的是地名,但我想把它解釋成:「什麼事情都不做,只想懶洋洋的待在床上。」

這系列的構圖採用傳統的中國山水畫概念,有山、水和空氣的流動。在這邊試著將"三遠法"與 "科學透視法" 加以整合,把堅硬的岩石跟柔軟的枕頭做結合,讓堅硬的「山」轉變成一種軟綿綿的「枕頭山」。另外,我覺得在山水畫中還有一個重要的元素是由水跟空氣(留白)去營造出來的空間感,所以在這系列中用了雲朵模擬出這一種抽象的距離感,並且保有一些童趣的想像。讓堅硬跟柔軟之間的衝突帶有某種程度的童趣但是又能在畫面上感受到「枕頭山」的「懶」態度。


"Pillow Mountain" was originally just a place name, but with these works I hope to present its alternative meaning of "doing nothing at all, lying around lazily in bed".

This series adopts the shan shui style, a traditional Chinese landscape painting technique that depicts mountains and the flowing of water and air. I also attempted to integrate both Guo Xi's "three distances" and scientific perspective in the artworks. By combining the hardness of rock with the softness of a pillow, I have transformed the rock hard mountain into a velvety soft "Pillow Mountain". Another important element in shan shui painting is the use of water and air to create a perception of space. Therefore, these works employ clouds to create this abstract sense of distance and encourage playful childlike musings. The contrast between hard and soft conjures up childlike delight while also conveying the "lazy" interpretation of "Pillow Mountain".

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