采泥艺术:【爱之苑】陈思颖个展

采泥艺术【爱之苑】陈思颖个展采泥艺术:【爱之苑】陈思颖个展

A Hymn for The Anatomist 2 |80x80cm |压克力、压克力墨水、画布 Acrylic ink, acrylic, canvas |2019

采泥艺术:【爱之苑】陈思颖个展

解剖学家的讚美歌(再一次,有感觉点)A Hymn for The Anatomist (Once More, with Feeling) 100x140cm 压克力、压克力墨水、画布 Acrylic, acrylic ink on canvas 2019

采泥艺术:【爱之苑】陈思颖个展

我们的血肉 Our Flesh & Blood 91x115cm 代针笔、铅笔、铅粉、纸 Liner pen, pencil and graphite powder on paper 2018

采泥艺术:【爱之苑】陈思颖个展

爱之苑(怨) The Garden of Love 100x70cm 压克力、压克力墨水、画布 Acrylic and acrylic ink on canvas 2019

采泥艺术:【爱之苑】陈思颖个展

爱之苑(怨)2 The Garden of Love 2 Φ40cm 压克力、压克力墨水、画布 Acrylic and acrylic ink on canvas 2019

采泥艺术:【爱之苑】陈思颖个展
    展期

    日期:2019-10-17 ~ 2019-12-01

    地点

    台北市敬业一路128巷48号1楼

    参展艺术家

    陈思颖

    采泥艺术:【爱之苑】陈思颖个展 采泥艺术

    台湾,台北市

      爱之苑—陈思颖个展

      The Garden of Love—Solo Exhibition of Jazz Szu-Ying CHEN
      2019.10.17—2019.12.01

      台北 采泥艺术

      Forum:2019/10/27 15:00 王焜生 Emerson WANG x 陈思颖Jazz Szu-Ying CHEN
      Opening:2019/10/27 16:30
      展览论述

      本展「爱之苑—陈思颖个展」为台湾旅欧艺术家陈思颖与采泥艺术合作的首次展览,最新创作「爱的花园(The Garden of Love)」之命名,来自于浪漫主义英国诗人威廉.布雷克的诗句,爱如花园般,因自由与承诺萌芽,却以死亡与坟墓终结。在一次驻村经验中,艺术家因动容于创办人麦可•贝里的家族情谊,便以家族之树「四照花」做为新系列的创作起点。作品中,「四照花」结合了北欧神话的世界观,以顶天立地的生命之树延伸探讨爱于不同文化中的社会期待和家族连结。另外,作品对于树的守护者「衔尾蛇」亦有着重新的诠释。「衔尾蛇」的蜕皮再生与口吞尾巴的逝去象徵生命的生死循环,同时也寓意着中西文化家庭关係的差异,如何在冲突与牺牲之际达到平衡。

      国外旅居十年的经历,使陈思颖透过西方艺术正统的训练探索自己的文化定位与认同。基于对解剖学的喜爱以及对法国解剖学家欧诺 • 福拉歌那(Honoré Fragonard)的致敬,思颖延续过去的创作风格,以动植物解剖细节描绘神话怪物意象,细腻又独特的个人语彙中,以女性视角温柔阐述她个人的生命经验,诉说一段私密的呢喃小语。
      Exhibition Introduction

      The Garden of Love is the first collaboration between Europe-based Taiwanese artist Jazz Szu-Ying Chen and Chini Gallery. Her latest series, entitled The Garden of Love, is inspired by the poetry of British Romantic poet William Blake. Like a garden, love grows with freedom and promises but ultimately ends in symbolic death. During an artist residency, Chen was touched by the familial interaction of the residency program’s founder, Michael Behle, and drew inspiration from their backyard’s dogwood tree to create her latest series. In this new body of work, the dogwood tree is combined with the cosmic view of Nordic mythology and represented as the tree of life, a motif the artist uses to explores issues of social expectation and familial connection in different cultures. The representation of the motif is accompanied by the reinterpretation of the tree’s mythological guardian, the ouroboros. The snake’s shedding skin and biting its own tail symbolize rebirth and the circle of life and death; at the same time, it also beckons at the differences in Eastern and Western family relationship as well as a balance achieved through conflicts and sacrifices.

      Having lived overseas for a decade, Chen has been exploring her own culture and identity through formal Western art training. Due to her enthusiasm for anatomy and her hope to pay tribute to French anatomist Honoré Fragonard, she continues her previous creative style while incorporating anatomic details of flora and fauna to create minute delineations of mythological creatures. With exquisite and unique artistic vocabularies, the artist conveys personal life experience from a gentle, feminine perspective, whispering stories of her inner world.

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