Winds of Poetic Mountain 大度山風

大肚山風吹向南半球QPAC 展
昆士蘭日報 2019年01月24日刊登

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【Curator's Words】

Curator: Tuan, Tsun-Chen 段存真

Tunghai University is located at Mt DaDu, Taichung. A vast fertile red land where the red soil feeds the trees and the community of people living in the mountains. It is this very poetic mountain that has cultivated the University’s Department of Fine Arts. Here, we paint, sculpt and photograph. We write one poem after another. What is expressed in these poems is not the grace of the literati, but delicate experiences of life, captured in warm and sincere artistic language. The exhibition Winds of Poetic Mountain brings together artworks by professors and students of the Department of Fine Arts. Artistic creation is not only a means of self-expression, it is also a form of communication. It serves as a bridge between different cultures, allowing people to understand each other without being confined by tangible or intangible barriers. With this exhibition, we look forward to showing the unique artistic sense of Tunghai Fine Arts in Australia, a country with an inherently different cultural system, where the artworks can be appreciated, read, and felt from a completely different point of view. This is just the beginning. I believe that in future, there will be more and more exciting cultural exchanges between Australia and Taiwan.

東海大學位於台中的大度山，那是一片廣闊肥沃的紅土地。紅土餵養著樹木，也餵養著在山裡活著的這一群人，那是培育出東海大學美術系的詩意之山。我們繪畫、做雕塑、拍攝影像，然而更確切的說，在寫一首又一首的詩。詩裡所描述的不是文人雅士的風花雪月，而是源自於對生活的細膩體驗，用的是誠懇溫暖的藝術語言。此次的展覽「大度山風」，集結了東海大學美術系所師生的作品，在澳洲展出。藝術創作不僅僅是一種自我表述，更應該是一種溝通語言，在不同的文化裡作為橋梁，讓人與人互相了解，而不會侷限於任何有形或無形的隔閡。藉由此次展覽，我們期待能在澳洲這個擁有截然不同文化系統的國度裡，展現東海美術的獨特藝術品味，讓作品被欣賞、被閱讀，被用另一種角度來感受。雖然這只是一個開端，相信之後在台灣與澳洲這二個國家之間，會有持續不斷更為豐富精彩的文化交流。

【Artist Introduction-Professor】

Wang, Yi-Jan 王怡然

Assistant Professor 助理教授

1995-1997 Master of Fine Arts, University of Tsukuba, Ibaraki, Japan
1988-1992 Bachelor of in Fine Arts, Tunghai University, Taichung, Taiwan

Research Expertise:
Ink Painting, Chinese Calligraphy, Asian Gouache Painting, Movie and Visual Arts, Drawing

You know him. He was a man in his previous life. He is now a reincarnation, so he has become an animal or a plant.In the East, this may be a design in which life is transformed into a different type, perhaps a game.And I want to use the simple materials of paper, brush, ink, charcoal to stay the different states of life.Over the years, I have transformed the thinking about life and self-existence into images of gaze of different lifes. They are so clear, but dreamlike.

你認識他，他前世是一個人，只是現在輪迴轉世，他變成了一隻動物或一株植物。在東方，這或許是一個生命轉變成不同型態的設計，或許是一個遊戲。而我想用紙張、毛筆、墨、炭筆這些簡單的材料把生命的不同樣態留下來。這些年來對於生命以及自我存在的思考，轉化為一張張對不同生命凝視的圖像，那麼清晰，卻又如夢似幻。

http://fineart.thu.edu.tw/web/teacher/detail.php?cid=1&id=9

【Artist Introduction-Professor】

Tuan, Tsun-Chen 段存真

Assistant Professor 助理教授

PhD in Sculpture, National Polytechnic University of Valencia, Spain
BA of Fine Arts, Tunghai University, Taichung, Taiwan

Research Expertise:
Sculpture, Study of Plastic Sculpture, Mixed Media, History of Modern and Contemporary Art, Aesthetics and Theories of Contemporary Art

Tuan, Tsun-Chen continues to create his artworks with the form of “Pinch the soil by hands”. He constructs microscopic fields that are concrete but small, ridiculous and unreal. “Habitation, Migration and Games” are the subjects of constant attention in his creation. What is the image of dreams? Is it light? Is it heavy? The thick or indifferent relationship between people forms a world in which we live. In a self-murmuring description, anxiety, restlessness, and ignorance of the group society grasp us closely, such as aphids attached to bones. The "Weight of Dream" series seems to present a surreal sense of fun. But in fact, it is a cold reality that we cannot avoid in life.

段存真的創作持續以「用手捏塑泥土」的型式，搭構出具體而微，卻又荒謬不真實的微形場域，而「棲居、遷徙、遊戲」則是他的創作中一貫關注的主題。夢的形象會是什麼?是輕盈?是沉重?人與人黏稠或是冷漠的關係形成了我們所棲居的世界，在喃喃自語般的描述裡，焦慮、不安定、對群體社會的若即若離，如附骨之蛆緊緊抓攫著我們。「夢的重量」系列看似在呈現一種超現實的趣味感，實則處理的，卻是生命中不可迴避的冷酷現實。

http://fineart.thu.edu.tw/web/teacher/detail.php?cid=1&id=8

【Artist Introduction-Professor】

Lin, Yen-Liang 林彥良 Martin Lin

Assistant Professor 助理教授

1999-2001 Trainee, Kyoto Saga University of Arts, Kyoto, Japan
1997-1999 Master of Fine Arts, University of Tsukuba, Ibaraki, Japan
1991-1994 Bachelor of Fine Arts, Tunghai University, Taichung, Taiwan

Research Expertise:
Asian Gouache Painting, Lacquer Painting and Conservation and Preservation, Study of Painting Material

Professor Lin ,Yen-Liang's artworks are based on the tropical characters and flower plants in the southern part of Taiwan Island. Through a concrete but dreamlike mood, the symbolic colors and patterns of the gorgeous decoration create a unique exotic atmosphere of the southern country, and express the vitality and natural beauty and touch.

林彥良教授的作品以台灣島國南方的熱帶風情之人物以及花卉植物為對象。透過具體但卻如夢境般的意境，華麗裝飾的象徵色彩與紋樣等繪畫語彙，營造出南國熱帶特有的異國情調，並表現旺盛的生命力以以及自然的美與感動。

http://fineart.thu.edu.tw/web/teacher/detail.php?cid=1&id=24

【Artist Introduction-Professor】

Li, Szu-Hsien李思賢 Szuhsien Li

Associate Professor副教授

1998- Ph.D. candidate in Histoire de l’Art, Université de Paris-Sorbonne IV, France
1995-1998 D.E.A. en Histoire de l’Art, Université de Besançon, France
1996-1998 Maitrise en Art Plastiques, Université de Paris VIII, France
1988-1992 Bachelor in Fine Arts, Tunghai University, Taichung, Taiwan

Research Expertise:
Contemporary Ink Art and Writing Art, Art Criticism, Curating, Art History, Public Art, Visual Communication and Creative Design Aesthetics, Art Administration

Professor Li, Szu-Haien’s creation expresses an idea, and discusses the artistic language and form of contemporary ink painting. It is also the subjective feeling that best matches the artist's creation.Professor Li believes that the problem perspectives, processing techniques and image concepts of contemporary ink painting have completely deviated from the traditional range. In this contemporary, the traditional paradigm has been shelved, and we need to establish a new ink spirit. Therefore, the performances of new ink painting and artistic languages have became the key points in the development of the art history. It will be a topic we cannot ignore.

李思賢教授的創作在表達一種觀念，在討論當代水墨的藝術語言與形式問題，也是最符合藝術家創作當下的主觀感受。李教授認為，當代水墨所著重的問題視角、處理手法和圖像觀念，已全然脫離了傳統的範疇，因此在這個傳統典範已束之高閣，且需要確立一個新的水墨精神的當下，新式水墨的表現方法和藝術語言在藝術史長河的形態開展上立下的關鍵位置和意義，將是我們不容忽視的課題。

http://fineart.thu.edu.tw/web/teacher/detail.php?cid=1&id=6

【Artist Introduction-Professor】

Lee, Chen-Huei 李貞慧

Professor 專任教授

1993 MA of Fine Arts, University of Tsukuba, Ibaraki, Japan
1987 BA of Fine Arts, Tunghai University, Taichung, Taiwan

Research Expertise:
Asian Gouache Painting, Drawing, Painting, Chinese painting, Fine Brushwork Flower-and-Bird Painting, Folk Art

The artworks of Professor Lee, Chen-Huei, combine the emotions and observations of nature, and reflect the interpretation of life images in her mind. Recently, Professor Lee focus on the land of the environment around the life in her creations. Moreover, she presents her care for the natural environment in a calm and poetic way.

李貞慧教授的作品結合對自然的情感與觀察，反映心目中對生命意象的詮釋 ，近期創作以生活週遭環境之風土為題，並以寧靜詩意的方式呈現個人對自然環境的傾慕與關懷。

http://fineart.thu.edu.tw/web/teacher/detail.php?cid=1&id=4

【Artist Introduction-Professor】

Hsu, Hui-Hsuan 徐嘒壎 Hui-Hsuan Hsu

Assistant Professor 助理教授

2011-2015 PhD in Fine Art, History of Art and Cultural Studies, University of Leeds, Leeds, UK
2004-2007 Master in Fine Arts, National Kaohsiung Normal University, Kaohsiung, Taiwan
2000-2004 Bachelor in Fine Arts, National Kaohsiung Normal University, Kaohsiung, Taiwan

Research Expertise:
Video Art, Contemporary Photography, Contemporary Moving Image and Aesthetics, New Media Art, Western Media, Installation Art

Hui-Hsuan Hsu visualises and transfers observations of easily ignored objects and phenomenon into a digital form. Using digital techniques as an extension of, and as compensation for, weaknesses of the body’s senses: digital devices play roles as “semi-transparent prosthesis” connecting the object photographed, artists and viewers and create a rhythm amongst the physical, the mechanical and the perceptional in Hsu’ works. Hsu questions the notion of ‘point of view’ whereby the camera becomes a more active agent between the artist’s ‘seeing’ and mental perception. Hsu’s video pieces may create a sense of paradoxical imagination, which guide audiences’ consciences floating between the familiar and the unfamiliar, the recognisable and the unrecognisable. A different experience to watching mainstream film, Hsu’s work creates in audiences an uncertain perception and provocative ambiguity through gazing her ‘moving image objects.’

徐嘒壎的創作方式是運用數位機具將日常生活中人們容易忽視的物件和現象視覺化。徐嘒壎認為，在她的創作裡，數位技術的使用可被視為一種彌補身體感官不足的延伸：數位機具在藝術創作中扮演一種半透明的義肢角色，在被拍攝物拍攝者以及觀者之間形成一個動態關係，並且在拍攝過程中創造一種存於物質性，機械性，知 覺性之間的韻律。徐嘒壎的影像給出了一種混沌詭譎的想象維度，促使觀者面對一種看起來很熟悉卻又不熟悉，好像能夠辨識但又辨識不出來的氛圍，這是一種迥異 於觀看主流電影的不安定感，唯有透過靜靜地凝視，才能在影像不斷緩慢交替的曖昧模糊中，找到與影像一同呼吸的觀看韻律。

http://fineart.thu.edu.tw/web/teacher/detail.php?cid=1&id=66

website: http://www.huihsuanhsu.com/

【Artist Introduction-Professor】

Hsu, Li-Jing 許莉青

Lecturer 專任講師

MA of Chinese Language, National Institute for Oriental Languages and Civilizations, Paris, France
Bachelor in Fine Arts, Tunghai University, Taichung, Taiwan

Research Expertise:
Oil Painting, Folk Art (Shadow Play), Survey of Art Theory, Western Media

Painting creation allows each painter to look at life. What they think, observe, and feel, often turns into a figurative or an abstract colour atmosphere. It always makes viewers stay in the paintings and feel them.
Longing for the pastoral life, Ms Hsu, Li-Jing presents a quiet style in her artworks. With a series of small and large paintings, she records and praises the simplicity and beauty of field life. She learns to observe, listen, and wait during the changing seasons.

繪畫創作讓每一個畫家看向生活；所思、所想，觀察到的、感受到的，每每幻化成或具象或抽象的形體色彩氛圍，留駐畫面一一訴說。嚮往著田園生活，許莉青老師用溫婉清亮的沉靜風格，以一系列小品及大小幅畫作，持續記錄與歌頌親近林野生活中的簡單美好。在季節的變換更替中，學習觀察、聆聽和等待。

http://fineart.thu.edu.tw/web/teacher/detail.php?cid=1&id=10

【Artist introduction】

Wang, Hsin-Yu 王信瑜 Hsin-Yu Wang

Hsin-Yu's artworks are used by moving image as medium. She uses photographic lens to present a different world from naked eyes can see. Showing "a psychological world about time and space."

The senses of time and space are originally subjective. Because of the invention and communication needs of weights and measures, people began to get used to describing time and space in an objective way. In contemporary, people are talking about efficiency. Even we oppress the original subjective feelings.

The worlds under the lens, are including the size of the object, the speed of the time, the reversal, and the withdrawing time between the images. She uses these moving image, which are combined with subjective feelings, to show the disappearance of life and discussion of eternal.

王信瑜的作品以動態影像為媒材，用攝影的鏡頭呈現不同於肉眼所能看到的世界，展現「對時空的心理感受」。

人的時間感和空間感原本是主觀的，因度量衡的發明與溝通需要，人們開始習慣以客觀的說法描述時間與空間，在講求效率的當代，甚至反過來壓迫自己原本的主觀感受。

鏡頭底下的世界，包括物體的大小、時間變動的速度、倒轉，或是圖像與圖像間被抽離的時間。利用這些動態影像的手法， 配合心理主觀的感受，展現生命的消逝與永恆的探討。

Website: http://hsinyuwang.weebly.com

The exhibition has already begun on 11 December!
Let’s see the pictures of the wonderful exhibition!

本次展覽在12月11號已經開始，讓我們來看看展場的精彩照片吧！