ART TAIPEI 2023 台北國際藝術博覽會│F07展位 (10.19-23.2022)

關於多納藝術 About Donna Art

盧昉 LU Fang

傅浩軒 FU Hau Shiuan

佐垣慶多 SAGAKI Keita

洪千惠 HUNG Chien Hui

印德拉 · 多迪 Indra DODI

大衛 · 莫雷諾 DAVID Moreno

門永哲郎 TETUROU Kadonaga

姜東見 KANG Dong Hyun

10 月 19 日（四） 12:00 - 21:00

10 月 20 日（五） 11:00 - 14:00

12:00 - 21:00, Oct. 19 (Thu), 2023

11:00 - 14:00, Oct. 20 (Fri), 2023

公眾展覽日期 Public Days

10 月 20 日（五） 14:00 - 19:00

10 月 21-22 日（六、日） 11:00 - 19:00

10 月 23 日（一） 11:00 - 18:00

14:00 - 19:00, Oct. 20 (Fri), 2023

11:00 - 19:00, Oct. 21-22 (Sat, Sun), 2023

11:00 - 18:00, Oct. 23 (Mon), 2023

關於多納藝術

多 納藝術成立於2016年7月，位於台北的空間以當代藝術為主軸，並於2022年

5月於華山文創園區紅磚區設立多納藝術華山館，主要業務包括藝術家經紀、藝 術展覽、藝博會參展、專案策展、藝術品平台經營、企業藝術品購藏及藝術品租 賃。

多 納藝術目前代理多位有潛力的亞洲藝術家，本身具備專業展覽空間，透過嚴 謹的佈展及燈光呈現為整體展覽加分。除了定期舉辦藝術展覽外，亦經常參加 國內外重要的藝術博覽會。負責人陳如鈊為國際金融專家，本身也是資深藝術藏 家，經常見報於國內外專業媒體，在藝術品顧問部份可針對個人及企業客戶需求 提出客觀建議。

Donna Art was founded in July 2016 and is located in Taipei. With contemporary art as its core focus, Donna Art expanded its presence in May 2022 by establishing Donna Art Huashan Gallery in the Red Brick Area of Huashan 1914 Creative Park. Its primary services include artist representation, art exhibitions, participation in art fairs, curatorial projects, art platform operation, corporate art acquisition, and art leasing.

Donna Art currently represents several promising Asian artists and possesses its own professional exhibition space. Rigorous exhibition layout and lighting enhance the overall presentation. In addition to regular art exhibitions, Donna Art frequently participates in significant art fairs both domestically and internationally.

The head of Donna Art, Ms. Donna Chen, is an international finance expert and an experienced art collector. He is frequently featured in domestic and international professional media and can provide objective advice in the field of art consultancy to meet the needs of individual and corporate clients.

盧昉

LU Fang

1977 Taiwan

「我的個性跟我的作品其實是一貫的，嚴肅中帶著些不按牌理。」–盧昉

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「東方與西方」以及「古典與當代」一直是盧昉創作上的靈感泉源。1977年出生於高雄，四歲那 年隨家人到美國直到小學三年級才回台。從小就展現對寫實繪畫的天份與熱情的盧昉，自國立台 灣藝術大學美術系畢業後，即到西班牙 薩拉曼卡大學攻讀美術系碩士，並接著在西班牙賽維亞大 學研讀繪畫與藝術修復博士班一年，長年生活於國外，也基於對於 文藝復興時期繪畫的喜愛，回 台後興起把古畫及當代生活融合的想法。

「成長背景讓我對國家認同感有一些疑問」。回台後的創作主題聚焦「古典繪畫與台灣文化的融 合」，希望透過繪畫找到東西文化的共通點。盧昉憑藉深厚的西方繪畫與繪畫材料學知識，開啟 了結合古典繪畫與台灣文化的當代創作。從突兀對比到逐漸融合，不同階段的作品反映著盧昉心 理與生活的真實狀態，在視覺形式間探索何謂「經典」的同時，亦鋪墊出藝術家尋找歸屬感的文 化旅程。近期則跳脫圖像敘事，重新探討繪畫本質，也就是東西方繪畫中，視覺美感、媒材與技法 的交集與銜接，盼能摸索出細膩而精準的語彙轉換之路。

"My personality and my work have always been consistent, com bining seriousness with a touch of nonconformity."

Lu Fang

The inspirations for Lu Fang's creations have always revolved around the themes of "East and West" and "Classical and Contemporary." Born in Kaohsiung in 1977, Lu Fang moved to the United States with his family at the age of four and returned to Taiwan only in the third grade of elementary school. Displaying a natural talent and passion for realistic painting from a young age, Lu Fang graduated from the National Taiwan University of Arts with a degree in Fine Arts. He then pursued a Master's degree in Fine Arts at the University of Salamanca in Spain and continued his studies in painting and art restoration at the University of Seville in Spain for a year. His extensive international experiences, coupled with his admiration for Renaissance-era painting, inspired him to merge classical art with contemporary life upon returning to Taiwan.

"Growing up in different environments made me question my sense of national identity." Lu Fang's postreturn works focus on the theme of "the fusion of classical painting and Taiwanese culture," aiming to discover commonalities between Eastern and Western cultures through art. Leveraging his deep knowledge of Western painting and materials, Lu Fang embarked on a contemporary artistic journey that blends classical painting with Taiwanese culture. His works transition from stark contrasts to gradual integration, reflecting the evolving states of his mind and life. Through exploring the concept of "classicism" within visual forms, they also lay the foundation for the artist's cultural journey in search of belonging. In recent times, Lu Fang has ventured beyond visual storytelling, reexamining the essence of painting itself in both Eastern and Western traditions, exploring the intersections and connections of visual aesthetics, materials, and techniques. His hope is to discover a path of subtle and precise linguistic transformation in the world of art.

水圖 - 寒塘清淺 #2

Water Studies - Clear & Shallow Water in the Cold Pond #2

60 x 90 cm

油彩、畫布 oil on canvas

2023

Water Studies - Light Breeze at Dongting Lake

60 x 90 cm

油彩、畫布 oil on canvas

2023

水圖 - 洞庭風細

傅浩軒

FU Hau Shiuan 1981 Taiwan

走筆所到之處看似內斂安靜，細看則流露騷動的情緒。

查看完整藝術家簡歷

傅浩軒總是能讓看似理性的風景散發深邃的情感。為了追求繪畫表現的極限，從顏料調色到展場 的照明，他堅持採用統一的標準演色系統，重現真實的光線與色彩。而在生活當中，他也時刻關 注現實情境，觀察環境變化之下，對人心所帶來的微小影響，從物理性的真實到心理性的真實， 以繪畫作為探究兩者差異的途徑，試著在這些差異當中置入自己微小的祈禱，持續地為家園守望。 採用油畫技法將觀者的視覺帶往微乎其微的寫實極限，讚嘆其技巧細膩之餘，在心理上也接受他 所建構的現實。相對於照相寫實，傅浩軒更希望透過筆調的變化，發展更多呈現寫實的手法，也 探索更多自己未知的繪畫能力。

Wherever the brush touches, it appears restrained and tranquil, yet upon closer inspection, it reveals underlying emotions.

Fu Hao Shiuan has the knack for infusing seemingly rational landscapes with profound emotions. To push the limits of his artistic expression, he adheres to a consistent standard color rendering system, from mixing pigments to the exhibition's lighting, to recreate the authentic play of light and color. In his daily life, he remains attuned to real-world situations, observing the subtle impacts of environmental changes on the human psyche. From physical reality to psychological truth, he employs painting as a means to explore the differences between the two, attempting to embed his modest prayers within these disparities and steadfastly watch over his homeland.

Using oil painting techniques, he guides the viewer's perception to the utmost limits of realism. While admiring his exquisite craftsmanship, viewers also find themselves accepting the reality he constructs. Unlike photographic realism, Fu Hao Shiuan aspires to develop various realistic techniques through changes in his brushwork, exploring his untapped potential in painting."

浸沐 Soaking in his presence

135 x 180 cm

油彩、畫布 oil on canvas 2023

家中一隅 2 A Corner of Home 2

50 x 65 cm

油彩、畫布 oil on canvas

2023

家中一隅 1 A Corner of Home 1

50 x 65 cm

油彩、畫布 oil on canvas

2023

佐垣慶多 SAGAKI Keita

198 4 Japan

「繪畫對我來說就像冥想，曼陀羅正是這樣被創造出來的。」–佐垣慶多

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因為兒時父親帶他去看曼陀羅的展覽，讓佐垣慶多深受感動。曼陀羅極其精細的描繪，豐富迷幻 的色彩，無數大小不同的佛像排列在其中的畫面設計，強烈的視覺衝擊成為他創作表現的核心。 於是佐垣慶多開創一種獨特的繪畫形式，其中包含無數隱身在畫作中的的卡漫人物。從遠處看， 他的作品就像是經典名畫的再現，但走近時，會發現這些畫作其實是由無數個卡漫角色所組成。 只用一支0.38毫米的筆，從約 A4 紙張的尺寸到幾乎寬3 公尺的巨大作品都有。在沒有草稿的狀 況下，一個失誤很有可能就會毀掉整幅作品，有些大型作品甚至需要費時一年的時間才能完成。

佐垣慶多其實從小渴望成為漫畫家，他崇拜手塚治虫、藤子不二雄以及吉卜力工作室，也愛搖滾樂 和塗鴉。後來成為藝術家，他便開始思考如何在創作中同時展現漫畫家和藝術家這兩種身份，然 後巧妙地揉合其中的對比之處，例如：高與低、東與西、近與遠。佐垣慶多選定要臨摹的名畫之後， 以自由聯想的方式填滿整個畫面。既有名畫的典雅與細膩，但又佈滿許多可愛、詼諧的角色，甚 至有令人不安的異形與怪物，讓他的作品帶著矛盾特質，展現深沉、複雜的一面。

Keita SAGAKI was deeply moved by mandalas after his father took him to an exhibition showcasing these intricate artworks during his childhood. The detailed depictions, rich psychedelic colors, and the arrangement of numerous varying-sized Buddha figures in mandalas became the core inspiration for his artistic expression. As a result, Keita SAGAKI developed a unique style of painting that incorporates countless hidden cartoon characters within his works. From a distance, his pieces may appear to be reproductions of classical masterpieces, but upon closer inspection, they reveal themselves as compositions comprised of numerous cartoon characters. With just a 0.38mm pen, he creates artworks ranging from the size of A4 paper to colossal pieces nearly 3 meters wide. Working without sketches, a single mistake could jeopardize the entire piece, and some of his larger works take up to a year to complete.

Interestingly, Keita SAGAKI originally aspired to be a manga artist from a young age, idolizing figures like Osamu Tezuka, Fujiko F. Fujio, and Studio Ghibli, while also having a love for rock music and graffiti. As he transitioned into the role of an artist, he pondered how to simultaneously showcase both his identities as a manga artist and a traditional artist, skillfully blending the contrasts between them, such as high and low, East and West, near and far. After selecting a famous painting to replicate, Keita SAGAKI fills the canvas with free associations. His works exhibit the elegance and intricacy of the original masterpiece, yet they are filled with adorable, whimsical characters, and even unsettling grotesque and monstrous elements, giving his art a contradictory nature that reveals its profound and complex facets.

"Painting is like meditation to me, and mandalas are created in this way."

– Keita SAGAKI

世界之巔 Top of the World

114.5 x 155 cm 硬筆，紙，木板 pen on classico fabriano paper mounted on board 2022

漫長的假期 A Long Vacation

24.1 x 33 cm 硬筆，紙，木板 pen on classico fabriano paper mounted on board 2022

綻放 2 Bloom II 51 x 41 cm

硬筆，紙，木板 pen on classico fabriano paper mounted on board 2023

神奈川沖浪裏 Brand New Wave Upper Mount 31.4 x 46.6 cm

絹印版畫 Neo Silkscreen

2023

Edition 36

「方寸紙上即是隱居的所在。」

洪千惠 HUNG Chien Hui

1988 Taiwan

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以東方水墨媒材表現當代生活情境，洪千惠對環境是敏感的，作品卻並非以情緒的反應為表現重 點，反而是她對理想之境的揣摩，同時存在著對生活的盼望，紙筆水墨就是書寫日記的媒介，記 載自身對生命的觀照。於是畫中人物出現各種百無聊賴的姿態，在不知今夕是何年的場景中或站 或臥，質華而淡然的神情幽幽地傳遞訊息。

「在創作的過程中其實也是在紙上創造一個心靈空間，暫時逃離生活上的瑣事，在繪畫的過程中 也得到了很多精神上的聊慰。」洪千惠說，創作對她而言，是隨時可以提起畫筆，抒發心情與療癒 感受的方式，日積月累就在畫面上逐步搭建出一個心靈空間。採用水墨媒材這般簡單質樸的形式， 塑造一種散文式的風格，鋪陳她對自身以及外在環境的觀察。她也喜歡老物件的樣式和陳舊感， 例如對攝影的迷戀，特別是底片相機拍攝的影像所散發出來的韻味。同理可證，她的作品就散發 著沉穩老派的氣質，是一種認真生活，從中尋找生活的平衡的模樣。

"The secluded refuge exists on the square paper."

Using Eastern ink and wash materials to portray contemporary life scenarios, Hong Qianhui is sensitive to her surroundings. However, her works do not primarily reflect emotional responses; instead, they explore her contemplation of ideal states while carrying a sense of hope for life. Paper, pen, and ink serve as the medium for recording, akin to keeping a diary of self-reflection. Thus, various characters in her paintings assume leisurely postures in scenes of timeless ambiguity, transmitting messages with a subtle, delicate demeanor.

"Throughout the creative process, I'm essentially creating a mental space on paper, temporarily escaping the minutiae of daily life. In the act of painting, I find solace and spiritual consolation." says Hong Qianhui. For her, art is a means to pick up the brush at any moment, express emotions, and find healing. Over time, this accumulation of art gradually constructs a mental sanctuary on the canvas. By using the simple and unadorned medium of ink and wash, she shapes a prose-like style that lays out her observations of both herself and the external environment. She also has an affinity for the aesthetics of old objects and a sense of nostalgia, such as her fascination with photography, especially the charm emitted by images captured on film cameras. Consequently, her works exude a composed and vintage temperament, representing a commitment to living life earnestly and seeking balance within it.

印德拉·多迪

Indra DODI 1980 Indonesia

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歷經學院嚴格的專業訓練，尤其是在日惹，國立印尼藝術大學競爭激烈的環境中，從超過上萬名 創作者聚集之地脫穎而出，印德拉的繪畫技巧已臻純熟的境界，但在發展個人創作語彙的過程 中，他選擇使用最初始的繪畫技巧，捨棄古典繪畫豐富的層次感，呈現如同孩童塗鴉般的視覺風 格，也就是人類表達自我最原始的方法。

印德拉的繪畫奠基於爪哇地區的原住民文化，並放眼全球各地的街頭塗鴉風格，糅雜成為個人的 繪畫語言，其筆觸及線條充滿活力甚至是野性，帶有一股孩子的叛逆。雖然與傳統審美角度相違 背，但總是能夠帶領觀眾回到童年，在觀畫的片刻重拾純真的心靈。其作品既有圖像又充滿文字， 但這些文字往往無法辨讀，甚至與畫中圖像並無關聯，卻通過這種屬於他自己的表達方式獲得無 比的自由，並成功將觀眾引入到其想像的空間當中。用社會觀察者的視角，向觀者報導有關日常 生活的軼聞。每一幅作品都有背後隱藏的故事，而這些故事經過觀者的詮釋也會出現許多不同的 版本。

"Everyone has the desire to create, and painting is the most primitive form of expressing this desire." –

Indra DODI

After undergoing rigorous academic training, especially in the competitive environment of the National Indonesian Institute of the Arts in Yogyakarta, where he stood out among over ten thousand artists, Indra DODI has achieved a high level of proficiency in his painting skills. However, in the process of developing his personal creative vocabulary, he has chosen to employ the most basic painting techniques, discarding the rich layers of classical painting to present a visual style reminiscent of childlike doodles –the most primal form of self-expression.

Indra DODI 's painting is rooted in the indigenous culture of Java while embracing street art styles from around the world, blending them into his own unique artistic language. His strokes and lines are dynamic and even wild, carrying a sense of youthful rebellion. Although at odds with traditional aesthetic perspectives, his art always manages to take viewers back to their childhood, allowing them to rediscover their innocence in a moment of observation. His works feature both imagery and text, although the text is often unreadable and unrelated to the images. Yet, through this uniquely personal form of expression, he attains unparalleled freedom and successfully leads viewers into the realm of his imagination. With the perspective of a social observer, he reports anecdotes from everyday life to the audience. Behind each piece, there is a hidden story, and these stories can take on various interpretations from viewers, creating multiple versions of the narrative.

「所有人都有創作的慾望，繪畫則是表達這種慾望最原始的手法。」

歡樂時光 Happy Day Story

175

2023

x 165 cm

壓克力、畫布 acrylic on canvas

No.11 Happy Couple No.11 來跳舞 Dance With Me

No.9 Romantic Moment No.9

以上四件資訊

100 x 100 cm 壓克力、畫布 acrylic on canvas

2022

No.7 Romantic Moment No.7

浪漫時刻

浪漫時刻

歡樂伴侶

美好的一天 A Nice Day 150 x 150 cm

壓克力、畫布 acrylic on canvas

2023

藍色標誌 Blue Sign 120 x 120 cm

壓克力、畫布 acrylic on canvas

2022

1. 高端遊戲 High End Game

2. 晚餐系列 #27 Dinner Series #27

3. 主角 Leading Role 100 x 100 cm

壓克力、畫布 acrylic on canvas 2023/2022

4. 歡樂騎士 Elephant Happy Riders 90 x 100 cm

5. 永遠的傳奇 Legend Forever 90 x 70 cm

壓克力、畫布 acrylic on canvas 2022

凌空矗立的樓閣

大衛·莫雷諾

DAVID Moreno

1978 Spain

查看完整藝術家簡歷

來自西班牙的藝術家莫雷諾原是一名建築師，為了成就更具思想性的作品，選擇成為一名藝術家 2006年開始，在世界各地的畫廊和美術館展出。其雕塑作品就像建築設計的手繪草圖，讓這些雕 塑產生輕盈的視覺效果，有無限想像的空間藏於其中。“我正在嘗試用繪畫來表現雕塑”，莫雷諾 這麼說。採用木材、塑料和鋼琴弦，創造出類似塗鴉的線條結構，再組織成立體的空間。

因為沒有放棄建築師的夢想，以及打造理想中的建築。莫雷諾的作品試圖引發我們對於建築與空 間的想像，也許是寓言裡的空中樓閣、堂吉訶德的風車，或是旅人在途中所看見閃閃發光的海市 蜃樓，這些題材都促使他不斷嘗試各種材料，編織成一幢幢人們心中的夢想之屋。

Standing tall in the sky, the edifices of imagination.

Originally an architect from Spain, artist Moreno made the choice to become an artist in pursuit of more thought-provoking creations. Since 2006, he has exhibited his works in galleries and museums around the world. His sculptures resemble hand-drawn sketches of architectural designs, imbuing them with a sense of weightlessness and infinite space for imagination. 'I am attempting to use painting to express sculpture,' Moreno explains. Employing materials such as wood, plastic, and piano wire, he constructs structures with graffiti-like linear forms, reassembling them into three-dimensional spaces.

Never abandoning his dream of being an architect and crafting ideal buildings, Moreno's works seek to ignite our imagination about architecture and space. They might evoke the floating castles of fables, Don Quixote's windmills, or the shimmering mirages travelers glimpse on their journeys. These subjects prompt him to continuously experiment with various materials, weaving together the dream houses that reside in people's hearts.

46 x 20 x 60 cm

carbon steel, silver, paint

2019

58 x 28 x 78 cm

carbon steel, silver, paint

2019

家庭關係 II Family Connection II

碳鋼、銀、油漆

朋友關係 II Friend Connection II

碳鋼、銀、油漆

門永哲郎 TETUROU Kadonaga

1959 Japan

精準地臨摹形體，即是鳥類雕刻的真義。

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門永哲郎從小就喜歡觀察自然界的生物，成年後成為一位鳥類學者，運用攝影觀察並記錄鳥類生 態。婚後則以眾多的鳥類生態影像為臨摹對象，開始學習木雕與繪畫技術。師事鳥類雕刻藝術家 遠藤升 (Noboru Endo)，學成後便從事專職雕刻與教學的工作。1997年參與成立日本鳥類雕刻 協會並於2001年至2003年擔任協會理事，致力推廣當地的鳥類生態保存與藝術創作。

門永哲郎透過攝影、雕刻以及文章記錄鳥類生態，他認為要完成一件鳥類雕刻作品，必須經歷長 時間仔細地觀察，包括這些鳥類所處的環境，才能將其神韻與環境的氣氛充份表現出來。因為長 期的觀察，每一次與野鳥相遇都隱藏著不同的故事情節，他會用文字記錄這些內容，而這些文字 紀錄便是他創作時，構成作品姿態的重要關鍵。

Accurately capturing form is the true esse nce of bird sculpture.

From a young age, Teturou Kadonaga had a penchant for observing the natural world's creatures. As an adult, he became an ornithologist, using photography to observe and document bird ecology. After marriage, he turned to the art of bird sculpture, drawing inspiration from his extensive collection of bird ecology images. Under the tutelage of renowned bird sculptor Noboru Endo, he honed his skills in woodcarving and painting. Upon completing his training, he dedicated himself to the profession of sculpting and teaching.

In 1997, he co-founded the Japan Bird Sculpture Association and served as a board member from 2001 to 2003, actively promoting the conservation of local bird ecology and artistic creation.

Teturou Kadonaga uses photography, sculpture, and writings to document bird ecology. He believes that creating a bird sculpture requires prolonged and meticulous observation, including the environment in which these birds dwell, to fully capture their essence and the ambiance of their surroundings. Thanks to his long-term observations, each encounter with a wild bird hides a unique narrative, which he records in writing. These written records serve as a crucial key in shaping the postures of his artworks during the creative process.

30 x 30 x 15 cm

桂木 cassia 2023

鯨頭鸛 No.2 Shoebill No.2

42 x 17 x 20 cm

cassia wood, burmese rosewood, ebony wood, titanium wire 2023

36 x 8 x 6 cm

2023

青腳鰹鳥 Sula Nebouxii

桂木、紫檀木、黒檀木、鈦線

日本山茱萸 Japanese Dogwood

斧折樺、圖珀洛 Onoore birch, tupelo

小貓頭鷹 Little Owl

17 x 8 x 7 cm

桂木 cassia 2023

世界上最小的豆蜂鳥和櫻桃鼠尾草

World's Smallest Bean Hummingbird and Cherry Sage

35 x 20 x 15 cm

茶花、玉蘭、野櫻桃、山毛櫸

camellia, magnolia, wild cherry, beech 2023

姜東見 KANG Dong Hyun

1977 Korea

地球上所有物種，都是生命共同體，彼此緊緊相繫。

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一反雕塑的沉重厚實感，韓國藝術家姜東見將雕塑帶入靈巧輕盈的境界，以不鏽鋼為主要創作媒 材，融合了生物的柔軟及金屬的強韌。模擬植物生長的姿態，使用繁複的焊接技術結構成動物的 外觀，旨在表現物種之間的連結，以及生命凝聚的力量。在焊接的過程中，能夠靈活地表現枝條 的形狀，不鏽鋼拋光後亮的表面折射，在光線之下有虛實交錯、光澤多變的視覺效果。金屬光澤 也能表現如水一般的流動感，因此作品顯得更加靈動有致。其作品不僅具有視覺美感與藝術價值， 更帶給觀眾對自然界的思考和感悟。

All species on Earth are part of a shared community, intricately interconnected.

Breaking away from the weighty solidity often associated with sculpture, South Korean artist Kang Dong Hyun ushers sculpture into a realm of grace and lightness. Employing stainless steel as his primary creative medium, he blends the softness of biology with the toughness of metal. Mimicking the postures of plant growth and employing intricate welding techniques, he structures the appearance of animals, aiming to depict the interconnectedness between species and the cohesive force of life. Throughout the welding process, he displays a remarkable ability to adapt and shape the forms of branches. The polished surface of stainless steel reflects light, creating a play of light and shadows with diverse visual effects under varying lighting conditions. The metallic luster also conveys a fluidity reminiscent of water, lending his works a sense of agility and vivacity. His creations possess not only visual beauty and artistic value but also prompt viewers to contemplate and appreciate the natural world."

“All life on Earth may lead to an unseen thread.”

與森林共存 Forest of Coexistence 23-4 117 x 100 x 50 cm

不銹鋼、PU 漆 stainless steel, urethane paint 2023

與森林共存 Forest of Coexistence 23-6

128 x 86 x 55 cm

不銹鋼、PU 漆 stainless steel, urethane paint

2023

與森林共存 Forest of Coexistence 23-5

105 x 84 x 13 cm 不銹鋼、PU 漆 stainless steel, urethane paint 2023

台北國際藝術博覽會 2023 圖錄 ┃

ART TAIPEI 2023 Booklet

陳如鈊 多納藝術有限公司 106 台北大安區基隆路二段 112 號 100 台北市中正區八德路一段 1 號紅磚區西 7-2 館

02-7746-7463 · 02-3343-3654

art@donnaart.com.tw

https://www.donnaart.com.tw/ 民國 112 年 10 月 5 日

Publisher

Main Address Branch Address Telephone Email Website

Donna Art Inc.

7F, No.112, Keelung Rd. Sec. 2, Da'an Dist, Taipei, Taiwan 106 No.1, Bade Road Sec.1, Zhong Zhen District, Taipei 100 02-7746-7463 ㆍ 02-3343-3654

art@donnaart.com.tw

http://www.donnaart.com.tw/