衍 風景
Derivation Scenery
2021.5.6- 7.8 延至 9.25
李小鏡．盧明德．徐永旭．梁任宏．陳浚豪．曾琡棻
LEE Daniel．LU Ming-Te．HSU Yunghsu．LIANG Jen-Hung．CHEN Howard．TSENG Shu-Fen
《衍 風景》
文 / 崔綵珊
衍是衍生，繁衍；亦通「演」，成為一種演繹後的自然風景，或人造風景；同時也可轉音為「眼」，成為藝術家與觀者眼中各自的風景。故《衍風景》是「衍生風景」，「繁衍風景」，「演繹風景」，又或是「眼示風景」。
在《衍風景》展覽中，擅長用攝影及數位藝術創作探討人像進化的李小鏡，此次展出的「叢林系列」演繹的即是一種浮世幻境，藉「人面獸心」的擬人物種，凸顯都會叢林間紙醉金迷的獸性風景；畫作中常以自然為媒材，並將東方思維融入西方技法中的盧明德，近年所談的「文化擬態」則是在探索一種自然跟文化間交織的虛擬網絡，從理性丈量中發現以假亂真的「衍生風景」；屬「繁衍風景」的徐永旭，常以身體作為創作的肌理，反轉土壤的厚重為輕薄，以全身感知構築出「巢」與「竅」的蔓延，織界出生命的執著與勃發；而梁任宏則是善於將自然界的混屯，結合縝密的模組運行，讓作品以一種自然碎形的生命之姿，流轉成另一種偽自然、擬物種的「衍生風景」；陳浚豪的「蚊釘」山水，將東方文人水墨的意境立體化，溫婉了蚊釘的剛硬，繁衍也演繹了風景的寫意；最後曾琡棻的「眼示風景」，不僅模糊了繪畫與真實物件間的疆界，更讓平面視野轉化為立體場域，使真偽不清的空間感，朦朧掉眼前應有結界，同時也回扣《衍風景》中所有作品的示現，讓觀者在六位藝術家創造的風景裡，衍伸各自心中的玩味。
《Derivation Scenery》
By Lise TSUI
“Yan” is to derive and multiply; it can also be used to "act" and become a natural or manufactured landscape after interpretation; at the same time, it can also be converted into "eyes", which become the respective scenery in the eyes of the artist and the viewer. Therefore, "Scenery" means "derived scenery", "multiplied scenery", "interpreted scenery", or "eyes show scenery”.
In derivative scenery, Daniel Lee, who is expert in using photograph and digital creation to have a discussion of evolution of visual art. The theme “jungle series” is making a floating world. The anthropomorphic species of "human face and animal heart" highlights the beastly landscape of the urban jungle; Ming-Te, Lu who often uses nature as a media in his paintings, and he incorporates Eastern thinking into Western techniques. The "cultural mimicry" he talked about in recent years is an exploration of a kind of nature. The virtual network intertwined with cultures, from rational measurement, it is found that “derived landscapes” from false and chaotic realities; Yunghsu, Hsu , who belongs to “multiplying landscapes,” often uses the body as the texture of his creation, reversing the thickness of the soil into the lightness, and constructing the “scenery” with whole body perception. The spread of "nest" and "orifice" brings out the persistence and prosperity of life in the weaving world; and Jen-Hung Liang is good at mixing the natural world with meticulous modular operation, so that the works can be flowed in the posture of a natural fractal life. Howard, Chen "Mosquito Nail" landscape has three-dimensionally transformed the artistic conception of Oriental literati ink and wash, softening the rigidity of the mosquito nail, and multiplying it also interprets the freehand brushwork of the landscape; in the end, it became another kind of pseudo-natural and quasi-species "derived landscape"; Shu-Fen, Tseng’s "eyes show landscape" not only blurs the boundary between painting and real objects, but also transforms the plane vision into a three-dimensional field, making the sense of space that is unclear about authenticity and falsehood obscures the enchantment in front of the eyes. At the same time, it also kicks off. The presentation of all the works in "Surfing the Scenery" allows viewers to express their own playfulness in the scenery created by the six artists.
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