Installation View
Installation View
Installation View
藍色桃實|Lapis.Podocarpus nakaii Hayata #22-2

合成色粉、天然色粉(青金石、瑪雅藍、苔蘚綠、土綠、赭石)、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Lapis Lazuli、Maya Blue、Moss、Green Earth、Ochre)、Oil and Acrylic on canvas_120x180cm_2022

深時22|Podocarpus nakaii Hayata #22-3

合成色粉、天然色粉(瑪雅藍、土綠、鋁綠鱗石)、凝膠、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Maya Blue、Green Earth、Celadonite)、Gel Medium、Oil and Acrylic on canvas_120x180cm_2022

板岩.質變.光|Podocarpus nakaii Hayata #22-1

合成色粉、天然色粉(板岩、土綠、綠簾石、鋯石)、凝膠、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Slate Gray and Green、Green Earth、Epidote、Zirconium)、Gel Medium、Oil and Acrylic on canvas _120x180cm_2022

命題?|Untitled

合成色粉、天然色粉(土綠、綠簾石、鋯石、紅土)、凝膠、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Green Earth、Epidote、Zirconium、Red Ochre)、Gel Medium、Oil and Acrylic on canvas _120x180cm_2022

時間軸|Podocarpus nakaii Hayata #22-4

合成色粉、天然色粉(鈷、土綠、鋁綠鱗石、綠簾石)、凝膠、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Cobalt、Green Earth、Celadonite、Epidote)、Gel Medium、Oil and Acrylic on canvas

桃實與功勞.早田文藏|Podocarpus nakaii.Mahonia oiwakensis.Hayata

合成色粉、釔銦錳藍、天然色粉、油彩、壓克力顏料、畫布|Synthetic Pigments、YInMn Blue、Natural Pigment、Oil and Acrylic on canvas_120x180cm_2022

沉積物2|tshenn-hūn

合成色粉、天然色粉(火山土、鋯石、紅土)、凝膠、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Snaefellsjoekull Red、Zirconium、Red Ochre)、Gel Medium、Oil and Acrylic on canvas _45x65cm_2022

光與色彩|Interference

合成色粉、壓克力顏料、畫布|Synthetic Pigments、 Acrylic on canvas _45x65cm_2022

Installation View
橘紅物質|OR

合成色粉、天然色粉(珊瑚、鋯石)、凝膠、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Coral、Zirconium)、Gel Medium、Oil and Acrylic on canvas _45x65cm_2022

白.釔銦錳藍的風景|YInMn Blue

合成色粉、釔銦錳藍、凝膠、壓克力顏料、畫布|Synthetic Pigments、YInMn Blue、Gel Medium、Acrylic on canvas_45x65cm_2022

Installation View
珊瑚|Coral

合成色粉、天然色粉(珊瑚、土綠)、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Coral、Green Earth)、Oil and Acrylic on canvas _45x65cm_2022

單色.沉積物|Sediment

合成色粉、天然色粉(火山土、鋯石)、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Snaefellsjoekull Red、Zirconium)、Oil and Acrylic on canvas _45x65cm_2022

沉積物|hi-bî

合成色粉、天然色粉(火山土、板岩、土綠、鋯石)、凝膠、油彩、壓克力顏料、畫布|Synthetic Pigments、Natural Pigment (Snaefellsjoekull Red、Slate Purple、Green Earth、Zirconium)、Gel Medium、Oil and Acrylic on canvas _45x65cm_2022

Quinacridone

合成色粉、凝膠、壓克力顏料、畫布|Synthetic Pigments、Gel Medium、Acrylic on canvas _45x65cm_2022

從青金石到釔銦錳藍|From Lapis to YInMn Blue

合成色粉、釔銦錳藍、天然色粉(青金石、鈷)、油彩、壓克力顏料、畫布|Synthetic Pigments、YInMn Blue、Natural Pigment (Lapis Lazuli、Cobalt)、Oil and Acrylic on canvas_70x100cm_2022

合成色粉、釔銦錳藍、天然色粉(青金石、鈷)、油彩、壓克力顏料、畫布|Synthetic Pigments、YInMn Blue、Natural Pigment (Lapis Lazuli、Cobalt)、Oil and Acrylic on canvas_70x100cm_2022

合成色粉、釔銦錳藍、天然色粉(青金石、鈷)、油彩、壓克力顏料、畫布|Synthetic Pigments、YInMn Blue、Natural Pigment (Lapis Lazuli、Cobalt)、Oil and Acrylic on canvas_70x100cm_2022

Blue

合成色粉、釔銦錳藍、天然色粉(青金石、鈷)、油彩、壓克力顏料、畫布|Synthetic Pigments、YInMn Blue、Natural Pigment (Lapis Lazuli、Cobalt)、Oil and Acrylic on canvas_45x65cm_2022

Detail
Detail
Detail
Detail
Detail
Detail

《桃實.色彩.幾則敘事》–許聖泓個展

《About Painting》 - SHIU Sheng-Hung Solo Exhibition

展覽日期:2022/10/17 - 11/11

開幕:10/18 (Tue.) 14:00

展覽地點:國立清華大學 竹師藝術空間

地址:

新竹市南大路521號 (南大校區,藝術與設計學系)

開放時間:週一至週五,10:00-17:00

-

《About Painting》 - SHIU Sheng-Hung Solo Exhibition

 

Date: 17. Oct. - 11. Nov. 2022

Opening: 18. Oct. (The.) 14:00

Venue: Chushih-Artspace, Hsinchu City, Taiwan.

Open Hours: Mon.-Fri. 10:00-17:00

-

展覽介紹:

展覽試圖從色彩物質這角度來觀看現實風景並思考繪畫如何可能,圖像的選取影響繪畫性的想像過程,透過造型語言:材料、色彩、筆觸線條在具象與非具象間擺盪。回朔解析繪畫過程,從畫布支架到最終可見的物質作用結果,除此之外更多是生活片段的經驗感受。進而展現視覺魅力與身體經驗。

 

藍色,仍然是這個時代價格相對昂貴的色彩之一。但已不再是中國青綠山水時代的流行色系或典範,也不再是聖母衣袍的神聖。我們無法看見萬年前鋯石的實際樣貌,它記載著長時間累積下來的地質時間與生物活動痕跡,展現紅色的色澤;無法想像若沒有廉價勞力冒著健康風險開採著鈷礦,在能源角力足以扭轉戰爭結果導向的今日,被壟斷的礦產資源以及能源革命口號,還有什麼方式能輕易取得鈷礦。鈷藍若因此消失在色彩架上,還能有怎樣嶄新的合成替代品。好比鋅白取代鉛白,改變人們對健康的想像、用色品味以及產業鍊。

 

從紅土(Red Ochre)到喹吖啶酮(Quinacridone Red),青金石(Lapis Lazuli)到釔銦錳藍(YInMn Blue),自然與科技合成物併置,隨著科技演進,色彩物質也在其中展現特質並與人產生關係。這些物質從環境作用,時間推演,在不同的時空環境裡顯現著不同的風景樣貌、型態與現實。

 

繪畫像是沉積物,透過物質展現時間與生物活動痕跡,甚至質變。

In this series, I view the landscape in reality and consider the possibility of painting from the perspective of treating color as matter. The selection of images has an influence on the painterly process of imagination. Through plastic language, the materials, colors, and lines of brushstrokes oscillate between the concrete and the abstract. Retrospectively analyzing the process of painting starting from a canvas on an easel to the final product resulting from the working of matter, the process also includes many fragments of everyday experiences and feelings, which are transformed into visual appeal and bodily experience.

 

As of today, blue is still one of the relatively expensive colors in the world. It is, however, no longer a popular or paradigmatic color as it once was in the genre of Chinese ink landscape; nor is it the sacred color used to depict the robe of the Holy Mother. We can never know what zircon looked like tens of thousands of years ago. Its red color beckons at the long accumulation of geological time and traces of biological activities. We cannot imagine that, if it were not for the cheap labor to mine cobalt regardless of the health hazard, what other ways could we have to gain access to cobalt, given the fact that the energy tug-of-war today is able to change the outcome of wars, with mineral resources being monopolized and all those slogans of energy revolution? If cobalt blue were to disappear from this world, what novel synthetic substitutes could we have? For instance, in the case of replacing lead white with zinc white, it has changed people’s imagination of health, taste in color usage, and the entire industrial chain.

 

From red ochre to Quinacridone Red, and from lapis lazuli to YInMn Blue, nature and technological synthetics are mixed and juxtaposed. Following the advancement of technology, color matter also demonstrates its characteristics therein, and develops a relationship with human beings. Due to the influence of the environment and the progress of time, it has revealed different types of landscape, form and reality. 

 

Like sediments, painting embodies time, traces of biological activities, and even qualitative changes, through matter.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

創作自述:

這系列作品針對台灣特有種的藥用植物-桃實百日青(Podocarpus nakaii Hayata)、阿里山十大功勞(Mahonia oiwakensis Hayata)作為繪畫對象。這些植物不是藝術史裡典型的花鳥繪畫題材以及象徵符號。植物本身的造型美感與色彩就很吸引人,在畫這些植物與塗抹色彩的時候,我想到的是關於醫學科技與生命延續的關係、對於家人的記憶、物質與質變、與世界的關係、遷移改變的適應力甚至語言。

 

使用油彩(天然色粉上色)的時候多半以描繪的筆觸居多,這些筆觸構成畫面植物的造型而不是以寫實的方式去勾勒。底色是壓克力顏料的Interference珠光色系以及刮擦所產生的的表現性色塊、線條。

 

這些底色的去留、厚塗薄塗與構成造型的拿捏是繪畫性的想像。我享受這個過程,同時我與物質;與對象物;與時間的關係彼此互動著,在畫布上成像。

 

來自大自然與人工科技的產物-色粉,從礦石型態到繪畫表面,具象與非具象的關係在這當中不斷聚合與變形。

 

自然與科技合成物併置,隨著科技演進,色彩物質也在其中展現特質並與人產生關係。 這些物質從環境作用,時間推演,在不同的時空環境裡顯現著不同的風景樣貌、型態與現實。

 

透過觀看色粉在人類歷史上的應用,現實也隨著色彩打散融入畫中。在這個時代,複雜性難以一言以蔽之,我們還能如何來看待一件非具象的繪畫?單色繪畫?具象的繪畫不只是插圖式的驗證。

 

我像是選取現成物的狀態透過繪畫造型語言以及塗抹,重新將他們編排。去模糊具象、非具象、抽象繪畫的界線。

透過材料與造形語言把這些碎片組裝起來,從取材到手操作與材料互動展現的時間性,這就是繪畫。

This series features endemic medicinal plants in Taiwan, including Nakai Yellowwood (Podocarpus nakaii Hayata) and Alishan Mahonia (Mahonia oiwakensis Hayata). Although not the typical subjects and symbols of the flower-and-bird painting genre, these plants embody aesthetic forms and colors that are vibrantly attractive on their own. When drawing and coloring them, what comes to my mind is the connection between medical technology and the continuation of life, the memories about my family, matter and qualitative change, their relationship with the world, the ability to adapt in migration and changes, and even language. 

 

When using oil paint (coloring with natural pigment), I mostly utilize brushstrokes of delineation. These brushstrokes constitute the appearances of the plants, which are not depicted in a realist style instead. Then, the base colors are created with the iridescent Interference pearl pigments, along with expressive color blocks and lines produced by the technique of scraping.

 

The retaining or removal of these base colors, the thick impasto or the thin application of paint, and the mastery of the formal composition visualize the painterly imagination—it is a process that I have rather enjoyed. Meanwhile, I interact with the matter, the subjects, and time, creating images on the canvases. 

 

From the mineral form to the painting surface, pigments from nature and manmade technology continue to emerge and metamorphose in the figurative and the non-figurative relations. Following the advancement of technology, color matter also demonstrates its characteristics therein and develops a relationship to human beings. Due to the influence of the environment and the progress of time, it has revealed different types of landscape, form and reality.

 

Through observing the use of pigments in the human history, it is clear that reality is also broken up and blended into paintings with colors. In this era, complexity is hard to be explained with words. How else can we approach a non-figurative painting or a monochromatic painting? Figurative painting is more than illustrative confirmation. 

 

As if choosing found objects, I employ the formal language of painting and the technique of smearing to re-arrange them, and consequently blur the boundaries among figurative, non-figurative, and abstract painting. 

 

With the material and the formal language, I put together these fragments. The temporality revealed From looking for the subject matter to my interaction with the material with my hands is precisely what painting is about.