葉銘 汲色人 畫冊試閱

葉 銘 JOE

汲色填夢的少年 葉銘 Yeh Ming: A Youth Weaving Dreams with Colors

眼睛 有一天，眼睛說：”我看見這些山谷外有座被藍霧遮掩住的山，它很美麗，不是嗎？” 耳朵聽見了，專心的聽了片刻說：”哪裡有甚麼山啊？我聽不到啊! ” 手開口說：我試著去摸它或感覺它，都是徒勞。” 鼻子也說: ”沒有山，我聞不到它。” 然後，眼睛轉向別的方向，他們全都開始討論眼睛的奇怪錯覺。 他們說: ”眼睛肯定出了甚麼問題。” 卡里˙紀伯倫

The eye Said the Eye one day, “I see beyond these valleys a mountain veiled with blue mist. Is it not beautiful?”

The Ear listened, and after listening intently awhile, said, “But where is any mountain? I do not hear.”

Then the Hand spoke and said, “I am trying in vain to feel it or touch it, and I can find no mountain.”

And the Nose said, “There is no mountain, I cannot smell it.”

Then the Eye turned the other way, and they all began to talk together about the Eye's strange delusion.

And they said, “Something must be the matter with the Eye.”

Khalil Gibran

窗外的夏季滂沱大雨 ，讓眼前一片灰濛 ， 但思及葉銘的創作，腦海

怯眼神的模樣依稀在眼前，那時的他幾乎無法與剛認識的人對視，

即刻被無透明度的繽紛色彩和趣味性的奇幻畫面所充滿。

連一秒都不可得，當他從我身邊走過時，感覺到自己像是一片熱情

JOE的眼睛一直在這個世界旅行，所見所聞的景色，被記憶在一張

又好奇的雲，雲有意的對著他移動，而他卻是無意的直接穿過，葉

張畫布上，但那畫面並非你我所想像的模樣，他的眼睛如同紀伯倫 的詩句般，不是凡俗世界的你我可以看見他所看見的；多主題式的 創作方式，內鍵的繪畫密碼，顯見他的創作方式是可以生活化的， 也可以是自由想像的，或者是他對世界更美好的期待，這其中透露 出他的探索及成長過程，真真切切的經歷了許多的發現和轉折，很 高興在這些轉折中我們能參與其中，發掘、關懷、協助、期待、驚 喜、興奮和與有榮焉。

銘好像無視於我的存在，其實不然，這是自閉症孩子人際溝通能力 的缺乏表徵，他不知用甚麼方法跟你問好，可是他其實知道你的來 意，甚至是你心中的想法，他友善和認真執著的態度，在日後多次 的相處後才了解，然而，因為人際溝通的社會能力不顯著，就不太 花時間社交的生活方式，反而更可以顯出葉銘創作上的純粹和表現 主義；初見葉銘的自畫像約有6,7幅，也畫了外公、外婆和姐姐葉 涵，那些自畫像讓我直覺地感受到葉銘那時的處境，因為自己有一 個重度身障的兒子，在九年國教和三年的高中生涯，我自己也經歷

2010年協會舉辦，第一屆光之藝廊創作獎徵件比賽，在新秀組出 現了一位16歲的中度自閉症的參賽者，其作品以極重近乎泥濘的油 畫顏料厚厚的堆疊在畫布上，人群的景像以半抽象的形式呈現，若 隱若現的輪廓中，似乎有話要說，那些不平順的顏料，簡略的人物 五官，代表著畫家對人群與創作的探索，其餘的參考作品更不亞於 主要的參賽作品，深深的吸引所有的評審委員，一致認為他深具潛 力，經過複審的二輪投票，成為新秀組創作獎的得主，這就是葉銘 和我們的第一次接觸。

了所有身心障礙家庭都面臨過的問題，青春期的葉銘在學校的學習 生活，不再是小學時代，讓媽媽的陪讀和同學間單純友愛的環境緊 緊保護著，他必須在很多時候獨自處理最棘手的溝通問題和自己青 春期有時並不明顯但確實存在情緒問題。一張張自畫像，在我看來 是記錄了許多他所不解的人際關係，或在尋找較清晰的自我意識， 也描述著種種的挫折與不安。在翻閱他的速寫簿時，又讚嘆於其線 條的流暢，記錄的現場或事物顯出葉銘純真、趣味和略帶優雅時尚 的氣質的筆觸，真是精采!令人驚豔的是30號及50號的油畫作品，

2011年春天第一次造訪位於竹東鎮的美式家園，在葉銘媽媽的引領

其題材、構圖和創新的顏色配置的畫面，讓我不由得佩服當初評審

下，由車庫進入家門，眼前約三坪大小的隔間是葉銘畫畫的地方，

委員的眼光，JOE在得獎後的創作更顯信心大增，我們在2011年春

50號的油畫作品可以在這個小空間誕生，旁邊十多坪的開放空間是

天開始積極的籌畫在光之藝廊個展，也是JOE的第一個個展，十七

運動健身房，外圍是花木扶疏的小庭院，初見葉銘，俊秀卻帶著羞

歲靦腆青澀的青少年，第一次以新秀畫家的身分跟大家見面。

葉 銘｜3

『聽我說你們』這個展名，是我們對畫家的驚奇和仰望，好奇在他

的上課、下課。葉銘可以跟人達成共識，而且信守承諾，是很大的

對眼前人們的觀察，在畫家的心中到底是甚麼?他喜歡我們嗎?對我

進步，老師在媽媽來接他下課時，談論到今天發生的事情，他們共

們的喜怒哀樂也是相同的感覺嗎?他對人們生活的點點滴滴有甚麼

同的感受。日後，我常開玩笑的說，那天葉銘媽媽說得好像他兒子

看法?好像一切都躲不過藝術家的眼睛，畫作中，信心充滿的直觀

中了狀元似的。

用色和趣味性構圖，讓我們在猜測畫家創作意圖和內在想望時，提 供了甚多的線索，總是讓人驚喜連連。

葉銘的奶奶從南部來看畫展，安安靜靜的看完展覽，我想，他們母

展場純白高雅的蘭花配上自然造型的枯木，是在美國的親人遙遠的

子倆都所獲得了些許的安慰和歡喜。不多久後，葉銘爸在一次的談

祝賀，很難忘記葉銘的父親，踏進光之藝廊的一霎那，許多不同的

話中，說到：「我無法用言語形容，心中對光之藝廊的感謝。」葉

感受迅速的在他的臉上轉換，驚奇、疑惑、欣慰、驕傲與放心，當

銘在個展開幕後，對很多日常的人事物開始有很具體的應對，多數

然這是我的觀察，因為同樣身為父母，養育一個有特別需要的孩

有問有答，雖然通常只是回答一、兩個字，但這些看在平日忙碌的

子，像是玩闖關遊戲一般，關關考驗關關過，解題似的找方法找答

父親眼中，十分欣慰，也感念妻子這些年的辛苦付出。應該是2012

案，這一路上母親的角色非常重要，幾乎是相濡以沫也相互成長。

年夏天，我們為了台北亞洲青年藝術博覽會(YAT)和上海的展覽事

開展後第一個週末，媽媽帶著葉銘和葉涵再次來到光之藝廊，除了 再來看看展場外，還有要買到葉銘喜歡的台中正牌長崎蛋糕的任 務，讓我感到驚奇的事情是，葉銘媽以欣喜萬分的語氣，夾帶著她 爽朗的笑聲，告訴我們葉銘前幾天在學校發生了一件事情，我們大 家從她說話時的表情心境上判斷，都認為一定是一件大好事，她和 著笑聲說：葉銘在學校跟人家打架了！這是好事嗎?同學像往常一 樣惡作劇，在JOE的背後用橡皮筋彈射他，以前他會因為無能為力 轉成若無其事地默默走開，但是這次他迅速轉身看見正準備彈射第

4｜汲色人

在展覽開幕後的第三個週末，葉銘爸爸特地帶年邁的母親，也就是

宜，到新竹享受葉銘媽媽的好手藝，品嚐一桌既養生又美味的佳 餚，驚訝的發現昔日的運動健身房，已經佈置成葉銘的畫室，顏料 架、畫筆、各類用品一應俱全，那三坪大的斗室卻變成健身房和畫 作的儲藏處，自此，80、100號的油畫作品成了家常便飯，越加自 信的放膽創作，經常提出主題，邱老師和媽媽陪著找相關圖像，但 是葉銘畫出來的永遠都和照片完全不相同，在媽媽和老師時而皺眉 時而驚喜的過程中，一件件作品就誕生了，家裡的每個牆面都掛著 親愛的兒子的作品，百看不厭，越看越喜歡。

二次的同學，他立即反擊一拳就揮過去，接著扭打成一團，兩個都

2013年秋天去探訪葉銘時，爸爸又跟我們分享一個感動的小故事：

掛彩；媽媽說，這是葉銘開始對自己有信心了，他的自我認知清晰

有一天早上他準備出國洽公，太太喊著快點出門不然會趕不上飛

的產生了：他是一個會畫畫的人。媽媽繼續說，最難得的是，跟他

機，他匆匆下樓急著出門，沒想到葉銘在門口等著他，一碰面開口

扭打的同學，在上課鈴響時，趕緊找葉銘商量說：「葉銘，可不可

就問：「爸爸你要去哪裡?」葉銘爸頓時愣住了，因為這孩子從來

以不要報告老師，說我們打架了。」葉銘點點頭。老師來上課也發

沒有單獨的對他說出完整的一句話，這短短的七個字等了十八年，

現了他們臉上瘀青的傷痕，但是一切就在好像沒有發生任何事情似

心中的欣喜和安慰真是不可言喻。曾經在分享這個故事給一位頗具

才華和社會經驗的男性朋友時，他靜靜的聽，也靜靜地流下淚來，

與展覽，兩年前鄭老師學成歸國在東華大學任教，特別引介日本

我們不再就這個故事進行對話，只是會心的各自感動。

滋賀縣 NOMA 美術館的一行人到協會來，那是我第一次見到鄭老

個展期間，巧逢佘日新老師安排北京大學藝術學院一行人到光之藝

師，卻也是最後一次見到她。關於這位在十幾年前就致力於教導和

廊訪問，副院長向勇老師，看見葉銘一件很獨特的畫作(衣服上有

啟發這些特殊孩子藝術創作的老師，雖然她英年早逝，但我想開始

兔子的人)，立刻表示願意購買收藏，我次年到北京大學藝術學院

蒐集相關資料，想紀念她的貢獻。

拜訪時，這張作品就掛在他辦公室，十分醒目。

詩人伊士曼說，藝術家最具特色的功能，就是珍愛意識。葉銘的創

2012年我們一起去上海，參加在海上文化中心舉辦的『藝在言外』

作日漸進步，哈佛大學心理學教授艾倫.蘭格(Ellen J. Langer)，本

的展覽，葉銘參展的作品幾乎全數被上海的朋友們收藏了。同年的

身也是素人畫家，她指出：「受規則引導，但不受規則控制，是創

台北亞洲青年藝術博覽會(YAT)，作品受到藏家的喜愛，是葉銘大

意的由來。」我曾經擔心葉銘學習規則的過程會不會掩蓋了他獨特

放異彩的一年。2013年主要的展覽YAT依然燦爛，到日本旅行21天

的創意，但是我是多慮了，藝術家擁有甚麼我們欠缺的條件呢，艾

對他的身心有很大的幫助，原本有點擔心他是否可以完成旅程，但

倫說：「沒有，其實藝術家只是〝減去〞了一些創意的阻礙。」，

是媽媽告訴我們，一切超乎預期的順利，回台之後也陸續完成了關

葉銘每天早上三公里和下午五公里在跑步機上運動，五個小時的創

於旅行所見的作品，其中一幅『烤麻糬』的100號創作，生動地把

作時間，規律的生活作息，單純的心性和不受控制的創意，是成為

一起旅行的親人都放進圖畫裡，放大前景的構圖方式加上他一貫奇

一位藝術家最佳條件。

幻的色彩處理，2014年協會將此作品送件至文化部藝術銀行參加甄 選，日前獲得入選的通知。

這次『汲色人』的個展，四個空間同時展出同一個人的創作，是光 之藝廊的創舉，以2013~2014年的作品為主，再集合一些未展出

這些故事和成果，成了我在推動協會工作感到灰心怯懦的時候，最

過作品，一個前哨展再加上三個藝術空間同日開幕，並發表葉銘的

能鼓勵我繼續前進的動力。每每思及，像葉銘一樣具備創作才華，

第一本個人畫冊『汲色人』，規則性的整理圖檔，展覽的安排，邀

能以畫家的專業身分，以其作品和社會對話，融入社會並成為傑出

稿，書寫數千字的序文，都是一個繁複的工程，在舉辦第四屆光之

的人，這樣的成果讓我非常非常的感動和欣喜。

藝廊創作獎徵件比賽的同時，又處於人力青黃不接的狀態，兒子俊

音樂科班出身的葉銘媽媽，陪伴孩子經歷了許多才藝的學習和療育

瑋年初出院後採取居家照護，經常要做醫護的處理，對我而言也是

課程，其中最傑出是薩克斯風的吹奏和圖案串珠的創作，在決意培

一個極大的考驗，但我們不輕言放棄，日本文學家遠藤周作曾說：

養這個小畫家前，有一個緣由，讓葉銘媽媽真正開始行動，一位即

「良善與公義只有在界限上才真正顯出意義。」為了光之藝廊的使

將赴日修習藝術博士學位的鄭梃甄老師，臨行前給葉銘媽一個非常

命和宗旨，大家全力以赴。謹此，祝福葉銘在藝術生涯能夠繼續發

積極的建議，強烈建議讓葉銘朝繪畫方向學習，是識得葉銘具有繪

光發亮，為所有特殊身心樣貌的族群立下標竿，成為一顆溫暖又閃

畫天賦的伯樂，她也帶走一些葉銘的紙張創作在日本進行學術研究

爍的星星。 台灣身心障礙藝術發展協會

光之藝廊 創會理事長

陳翠華 葉 銘｜5

It is summer and the pouring rain

I first visited Yeh’s family, who live in an American-style house

outside the window makes the world

at Choudung County, in the spring of 2011. Yeh’s mother led

grayish and misty. Nonetheless,

me into the house from the garage, and there was Yeh’s 3-ping-

whenever I think about the works of

large studio. The No. 50 oil painting was created in that small

Yeh Ming, the world again is filled

room. Next to it, there was a 10-ping gym in an open space style.

with fun and fantasy-like images in

Outside the house, you can see a small garden filled with many

lots of opaque colors.

flowers and trees. Finally, I met Yeh Ming, handsome and shy, and I still remember his face then vividly. It was very hard for him

Yeh Ming eyes are constantly traveling around the world and

to meet people with eye contact, not even for a second. When

everything he sees are remembered on the canvas. Those

he passed me by, I felt myself a piece of cloud, enthusiastic and

images he reproduced are beyond our imagination. Like the eye

curious, floating toward him but was cut right through by him

in the poem of Gibran, Joe sees what the mundane cannot and

without noting. He seemed to ignore my existence, but it is not

much more. The use of multiple themes with built-in codes allows

true. As an autism kid, he lacks the skill to communicate with

Yeh Ming approach to creativity be easily linked to our daily life.

others. He has little or no idea on how to say hi, even though he

This approach of Joe not only encourages free association but

knows the reason you are here or your thoughts. His friendliness,

also may reveal his expectation for the world to be a much more

seriousness, and dedication can only be recognized after getting

beautiful place and his personal exploration and development,

together with him for a while. Nevertheless, because of this lack

which are indeed filled with countless discoveries and transitions.

of social communication skills, he is kind of “spared” from social

We are delighted to witness his transitions, to discover, care, help

influences, which explains the simplicity and expressionistic style

and expect together with Yeh Ming, to be surprised and excited by

of his artworks. I saw about six or seven self-portraits of Yeh as

his achievement, and to be proud of him.

well as portraits of his grandparents from the mother’s side and his elder sister, Yeh Han. I instinctively experienced Yeh’s situation

6｜汲色人

In 2010, the association held its first Art Award Contest of Luminance

from those portraits because I myself have a severely physically

Art Space, and in the rising star group there was a 16-year-old boy

disabled son and I have to deal with problems confronted by all

with moderate autism who presented a muddy looking with layers of

families with physically or mentally disabled children during the

paint of painting that portrays a crowd of people in a semi-abstract

nine years of complementary education followed by three years

way. The looming contour seems to have a hidden message, while

of high school education. In his teens, Yeh’s school life became

the unsmooth paint and the simple facial features of people imply

quite different from the time in elementary school, where his mom

the artist’s attempt to explore people and creativity. Other referential

can stay with him and classmates are more willing to be friend

works of the artist are as good as the main contesting one; they

with him and to protect him. At this learning stage now, he has to

all grasped the attention of the judges, and they unanimously

handle many difficult communication issues as well as emotional

considered him an artist with a great potential. After the second

problems, unapparent but surely exist, himself. For me, the many

round of voting in the second examination, the artist, Yeh Ming, won

self-portraits of Yeh Ming actually record those inter-personal

the prize. This is our first contact with Yeh Ming.

relationship issues puzzling him. These portraits are also a means

he uses to search for clearer self-awareness and to express the

The first weekend after the opening of the exhibition, Yeh Ming’s

assorted failures and uneasiness experienced by him. When I

mom brought Yeh Ming and his sister Yeh Han to visit us at

flipped through his sketchbook, I was amazed by the smooth

Luminance Art Space. Aside from looking around in the exhibition,

flowing lines and the pure, fun looking and a little bit elegant

they also want to buy the real castella (honey cake) from

strokes Yeh used to portray an event or a place. They are brilliant,

Taichung. Excited with bright laughter, Yeh Ming’s mom told me a

especially the No. 30 and 50 oil paintings. The themes, the

recently happened story at school. From her facial expression, I

composition and the innovative color arrangement make me want

thought that must be something good, but then she said that Yeh

to compliment the excellent taste of the judges in the contest.

Ming had a fight at school. I was surprised. Is that good?

After winning the award, Joe became more confident in painting.

We started to prepare for his personal exhibition at Luminance

As usual, Yeh Ming’s classmates made fun of him, like shooting

Art Space in the spring of 2011, which is not only Yeh Ming first

him with rubber bands from his back. Before, what Yeh Ming

personal exhibition but also the debut of our new rising star, Yeh

would do and could do was to leave these kids alone in silence,

Ming, a shy 17-year-old boy.

feeling weak and powerless, but this time, he quickly turned to face the student who is preparing to shoot him again. Yeh Ming

The name of the exhibition, Listen to Me shows our amazement

hit the guy immediately and then the two wrestled and both got

and admiration of artists. What is in the mind of artists when they

hurt. The mother said that this is the evidence that Yeh Ming

are observing us? Do they like us? Do they feel what we feel, like

has gained confidence about himself and a clearer sense of self

happiness, anger, sadness, and joy? What do they think about our

identity—He is a person good at painting. What is important is

everyday life? Nothing can be hidden from the eyes of artists, and

that when the bell rang and the class was to start, the student

in their paintings, the interesting composition and the confident

wrestling with him immediately negotiated with Yeh Ming and

and straightforward color application give us lots of clues and

asked him not to tell the teacher about the fight. Yeh Ming nodded

surprises when we guess and wander about the intention and

and agreed. Nonetheless, the teacher found it by discovering

inner thoughts of the painter.

their bruises on the face. The teacher pretended that nothing had happened and gave the lecture. For Yeh Ming, what he did implies

The white and elegant orchid arranged with wither barks is a gift

a significant progress: He can reach consensus with others and

from his relatives in the US. It is hard to forget the moment Yeh

keep his words. When picking him up from the school, the teacher

Ming’s father walked into Luminance Art Space, from looking

informed the mom what had happened, and they shared the

surprised and puzzled to pleased, proud, and assured. Of course,

same idea. Since then, I often joked about Yeh Ming’s mom; She

this is my personal observation. I also have a child with special

sounded like a mom in the ancient time with a son selected as the

needs. It is like participating in a challenge contest; we have to

nationwide academic champion.

search for solutions to pass the challenge. The mother plays a very important role here; it is intimate and enabling mutual

On the third weekend of the exhibition, Yeh Ming’s father brought

development.

his own mother, the grandmother of Yeh Ming, from southern Taiwan to see the exhibition. The grandmother went through the

葉 銘｜7

entire exhibition quietly. I guess, the mother and son both felt

down to leave the house, he suddenly realized that Yeh Ming

pleased with joy. Not much later, I met Yeh Ming’s father, who

was waiting for him next to the door and asked him where he

said “Words are not enough for expressing my appreciation for

was going. Yeh Ming’s dad was too shocked because the kid had

Luminance Art Space.” Since the opening of the exhibition, Yeh

never talked to him using a complete sentence. He had waited

Ming started to demonstrate tangible responses to people and

for 18 years for this short sentence composed of seven words.

matters in his everyday life. Most of his responses were questions

It was hard for him to describe how pleased and happy he was

and answers, and only few words were used in the responses.

then. I once shared this story with a talented male friend with

Nevertheless, his father, who is often busy at work, was very

lots of social experiences. He listened to the story, wordless, and

pleased with such a progress and thankful to his wife for her great

tears dropped from his eyes. We were moved by the story but

dedication. Later, in the summer of 2012, on our business trip for

exchanging no more words about it.

planning YAT and the Shanghai exhibition, we went to Hsinchou to visit Yeh Ming. We enjoyed a delicious and nutritious meal

During the personal exhibition, Mr. She Rixin brought a group of

prepared by Yeh Ming’s mom. We were also surprised to find out

visitors from the School of Arts, Peking University to Luminance

that the home gym was renovated into Yeh Ming’s art studio, and

Art Space. Xiang Yong, the Vice President, saw a very interesting

it was filled with paint racks, brushes and other items. The small

painting of Yeh Ming (a guy wearing a bunny picture on his

3-ping-large room on the other hand became a storage space for

clothes) and expressed an interest in purchasing the artwork.

paintings as well as the gym. Since then, working on No. 80 and

Next year when I visited the School of Arts, I saw the eye-catching

100 paintings has become a routine for Yeh Ming. Yeh Ming has

painting in his office.

demonstrated great confidence and become more daring to try.

8｜汲色人

He often proposes new themes and his mom as well as his art

In 2012 we went to Shanghai together to join the exhibition ART

teacher Chiu would help him look for relevant photos or pictures.

and BEYOND held at Hai Shang Culture Center. Nearly all of

What he created on the canvas, however, was totally different

Yeh Ming’s artworks displayed there were bought by people in

from the original photographs. Sometimes worried while other

Shanghai. In the same year, Yeh Ming’s artworks exhibited at

times surprised, Yeh Ming’s mom and teacher have witnessed

YAT were again loved by collectors. This is definitely a year in

the completion of each artwork of Yeh Ming, and his paintings are

which Yeh Ming starts to shine. For the major exhibition of YAT in

hanged everywhere in the house. Instead of getting bored with

2013, Yeh Ming took a trip to Japan and spent 21 days there. The

Yeh Ming’s paintings, Yeh Ming’s mom likes them more and more.

trip was helpful for him, both mentally and physically. Initially we

When I visited Yeh Ming in fall 2013, his dad shared with us a

worried whether he can complete the trip, but his mom told us that

heart-touching story. One morning, Yeh Ming’s mom was hurrying

everything went smoothly well. When he came back to Taiwan,

up the dad, who is going to take a business trip abroad, and

he worked on paintings one by one that are inspired by the trip. In

reminding him not to be late for the flight. When the dad came

No. 100 Mua chee, he put all his relatives joining the trip with him

into the painting in a very lively way. In this painting, he magnified

not controlled by the rules. I once worried that Yeh Ming’s learning

the front view and handled the colors as uniquely as usual. In

of rules would compromise his unique creativity, but now I know I

2014, the Association sent the work to the contest held by the Art

worry too much. What makes an artist different from us? According

Bank of Ministry of Culture and was recently informed that the

to Ellen, nothing! Artists do nothing special but removing blocks

artwork has been selected.

hindering creativity. Every morning Yeh Ming would jog on the

These stories and outcomes have acted as an important driving

treadmill for three kilometers and another five kilometers in the

force spurring me to move forward whenever I feel despaired or

afternoon. A daily routine, a simple mind, and uncontrolled creativity

fragile at work, namely, promoting the Association. Every time I think

are key factors for making an artist.

about Yeh Ming’s blending into the society with his creativity and talents, becoming a successful professional painter, and conversing

In this personal exhibition Color Catcher, four spaces

with the society through his works, I feel delighted and touched.

simultaneously exhibit the work of one artist, and that is very Luminance Art Space original. The focus of the exhibition is on

A music major, Yeh Ming’ mom has taken many talent learning and

artworks from 2013 to 2014 as well as some never exhibited ones.

therapeutic classes, saxophone playing and beadwork are two most

On the same day, an outpost exhibition with three art spaces will

impressive ones, with her kids. There was one person who gave

be opened simultaneously, and Yeh Ming’s first personal album

her very positive suggestion and made her determined to send Yeh

Color Catcher will be presented. The album, including well-

Ming to learn painting, and that person is Cheng Ting-chen, who at

documented image files, arrangement of exhibitions, articles

that time was going to pursue a doctoral degree in art in Japan. Dr.

invited, and a more than thousand words of introduction, is

Cheng recognized Yeh Ming’s talent in painting and she brought

definitely a complicated work. While holding the fourth annual

some of Yeh Ming’s drawings on paper to Japan for academic

artist contest of Luminance Art Space, we are also facing a

research and exhibition. Two years ago, Dr. Cheng came back to

challenge due to a manpower shortage. My son Chunwei was

Taiwan and taught at National Dong Hwa University. She introduced

discharged from the hospital early this year and switched to in-

us to a group of visitors from NOMA at Shiga of Japan, but that

home care. In this case, I not only have to handle work from the

was the first as well as the last time I met Dr. Cheng, because such

job but also deal with my son’s medical treatments. Nevertheless,

a dedicated researcher and educator in inspiring art creativity in

I won’t give up. Shusaku Endo once said that the meaning

special kids passed away at a young age. I would like to start to

of kindness and just can only be revealed at boundaries. For

collect information about her and to record her contributions.

the mission and statement of Luminance Art Space, let’s work

Poet Max Eastman said that “the defining function of the artist is

together. I also wish Yeh Ming the very best and hope that he can

to cherish consciousness.” Yeh Ming’s artworks have progressed

shine continuously in his career of creativity, act a model of people

significantly. Ellen J Langer, who is also an amateur painter,

with special mental or physical needs, and become a warm and

pointed out that the origin of creativity is to be guided by rules but

dazzling star.

葉 銘｜9

汲色人 Colors Ingester 色彩是甘泉、是美味，可以讓人快樂，讓人活起來。 - 畢卡索 Colors are sweet water, are dainties, make you happy, and liven you up.

- Picasso

10｜汲色人

很年輕的時候，偶爾讀了夏宇的詩集，在一段文字中她這麼描述，

當時心裡蓋棺論定的想法，卻又再經過了這麼些年，看過更多葉銘

「塞尚畫靜物-那些水果充滿了取捨決定。」當時自己熱愛的是文

的新作之後，慢慢的這麼動搖瓦解了。這些畫作與圖像對我而言，

學，卻沒想到多年後藝術卻變成了自己主要的工作。五年前因為光

顯得越來越迷濛，我也越來越無法理解，對於葉銘來說，那些「取

之藝廊的第一屆徵件比賽，當我有機會接觸到葉銘的作品的時候，

捨決定」究竟是什麼？如果圖像是一種傳達的工具，那麼葉銘，究

我想起了多年前讀到的這一句話，那種文字與圖像的同時共鳴，足

竟想要告訴我們些什麼？幸運的是，因為工作頻繁接觸的關係，我

以讓我心震顫不已。從那個時候起，與葉銘以及其畫作的接觸，是

經常有機會到葉銘家作客，聽著葉銘的父母談論起葉銘這些作品開

我一段印象深刻的發現之旅。

始的原因，以及完成後的狀態，這些總引發我深刻的興趣。

葉銘是個貼心、和善，但並不多話的青年，但相較於現在，五年前的

因為自己有機會在大學院校的美術科系擔任講師，因此經常有機會

他，恐怕是更不容易與人以一般言語進行傳達與溝通。那時候，只要

參與所謂的「評圖」教學。這是美術科系甚為傳統的一種教習方

不是家人的陌生人們試圖與他親近，總會惹得他一陣緊張，並且慢慢

式，透過學生們對於自我作品的脈絡解析，更深入的去指導學生發

的避開。可是，在光之藝廊第一屆徵件比賽的評審過程中，我心裡其

展創作的脈絡與發現各種可能性。於是，「事出必有因」變成了我

實已經非常確知，這個不擅表達的青年，其實有著與眾不同的創作能

們習以為常的理解方式，每個人的創作，一定來自於每個人對生活

量，並懂得用繪畫性的語言傳達自己所見的一切。四年前，我為葉銘

某部分的感悟或體驗。可是對於產生在畫面(如果我們是就一位繪

策畫了「聽我說你們」的個展，當時的我試圖站在葉銘的角度，去看

畫創作者而言)的最終結果，那些「取捨決定」可能來自於非常複

在他眼中的世界，那些他畫筆下的人物與風景，慣於以美術學院訓練

雜而且細微的心理與身體狀態，無論是關乎技術面、情感面、意識

系統看待作品的我，很容易就將之歸納為某種風格化的表現，好像那

甚至潛意識層面。

些圖像是他非常直覺的，對於這個世界的轉譯。

葉 銘｜11

很可惜的是，我們無法與葉銘進行如美術科系學生般的評

再者，幽默感與同理心。我經常反覆的看著葉銘作品的創作，對於他思

圖，但是，我們也很幸運的，對著葉銘，我們不用面對言語

考的方式以及對於世界的見解感到震撼，「天使之家」裡面展開著翅

帶來的狡詐、欺瞞、加油添醋與模擬兩可。(相信我，美術

膀，優雅跳著芭蕾舞的男男女女，「鬥牛」裡面專注的鬥牛士卻面對著

科系的學生經常會有這樣濫用語言的情況)。圖像，在某些

一隻悠閒的在身旁散步的可愛小乳牛，抑或是「呼呼大睡」中人與狗仰

方面來說，可以是最精準的傳達。這幾年下來，我親眼看過

著天，排成一列躺在床上睡得不省人事的愜意。看著這些作品，總讓我

葉銘絕大多數的畫作，在油畫創作的技巧上，因為美術科班

不由得會心一笑，這正證明了葉銘有顆非常柔軟的心，以及善於開玩笑

出身的邱老師帶領之下日臻成熟，無論是透視、構圖或調色

的個性。在他的創作中，看不見負面的憂傷情緒、看不見暴力、爭執或

等都有非常長足的進步，但是最引人入勝的還是，你永遠也

者是自我認同的困境。取而代之的，是一派自然的輕鬆，無論在他的生

不知道葉銘的下一張畫作，到底會畫出一些什麼？

活或他的畫作當中，都是那麼的悠然自得。

是的，最終我們還是要回到「取捨決定」這件事情上，在大

最後，回到作者本身，對葉銘而言，繪畫是一種解放自身的行為。據葉

千世界當中，葉銘究竟汲取了什麼當作他畫布上的色彩，這

銘媽媽說，葉銘曾經在一段時間中，希望找到一本已經絕版的畫冊，可

些汲取對於他而言又有何意義？從這些年的觀察來看，我可

是市面上似乎早已找不到這本書，但是葉銘的堅持讓媽媽束手無策，只

以談談我看到的三個變化。首先，原本看似直覺性的表達，

好讓葉銘將這件事用繪畫來做一個完結，就在葉銘完成了作品之後，似

變成了結構化的表達，在早期葉銘的人物畫中，我們總能看

乎讓這整件事就這樣淡化了下來，由此可見，繪畫除了作為表達的工具

到非常多類似照片般的擷取片段，那些像是電影裡視覺暫留

之外，它也是一種自我滿足的過程。

的一幕幕，你幾乎無法理解他們的前因後果，當時的葉銘只 是忠於本意的將之記錄下來。但是到了2012年左右，葉銘 有機會隨家人到日本旅遊，他卻可以在回國之後，將他感受 的各種片段風景，用他自己的方式組合成特定的畫面，比如 在「黃昏的稻草人」當中，我們可以看到那些稻田、房舍、 竹架上的蔬菜以及田中的稻草人們，那是一種「意義」的構

「念念不忘，必有迴響。」這是出自於電影「一代宗師」裡的一句話， 葉銘的創作，在這幾年當中，已經從一個「再現」事物的工具，轉而成 為一種呈現思維的方式，這每一個畫面裡面，都有一個個關於葉銘的， 深刻動人的故事在其中，這些都是葉銘念念不忘的一些東西，我們有 幸，可以看到這些葉銘經過了「取捨決定」之後，所汲取關乎世間的色 彩，而這些，相信也能夠透過畫筆與顏料，產生出諸多的迴響。

成，另外還有如同「烤麻糬」那些人物的動作與表情，都是 經過精心安置的，從這個起點開始，葉銘真正是創造了一些 有寬藝術 藝術總監

事物。

台灣身心障礙藝術發展協會 理事

劉士楷

12｜汲色人

I once read Hsia Yu’s poetry anthology when I was young, and

Over the years however, the confidently concluded idea then

she made this description in a paragraph – In Paul Cézanne’s

becomes shaken and crumbled after having viewed more new

portraits of still-life – the fruits are filled with choices and decisions.

works of Yeh Ming. These artworks and images seem increasingly

I loved literature then, without expecting that arts become the

obscure, and I become increasingly confused about what those

main subject of my work years later. Five years ago, I had the

“choices and decisions” are for Yeh Ming. If images are kind of

opportunity of getting in touch with Yeh Ming’s works when I dealt

a communication tool, what indeed is Yeh Ming trying to convey

with the entries to the first Luminance Art Space competition, and

to us? Fortunately, with frequent contacts due to work, I have

this sentence I read years ago came into mind. The simultaneous

abundant opportunities to visit Yeh’s family, and listen to Yeh’s

resonances of text and image are sufficient to shock my heart.

parents sharing about the reasons behind his works and the

Since then, the contact with Yeh Ming and his works becomes an

status after completion. These arouse my profound interest.

impressive journey of discovery.

As a lecturer at the art department in a university, I am often Yeh Ming is a considerate, friendly, but taciturn young man.

involved in the “jury system” approach of teaching. This is a

However, he had even greater difficulty in expressing himself

conventional teaching method in the art department, through

or communicating with others in words five years ago than

which students are given in-depth instructions in the threads of

now. At that time, anyone other than his family members trying

developing their creative works and in finding out the variety of

to approach him would tense him up, and make him retreat

possibilities through their self-interpretation of the threads in their

gradually. However, during the process of the first Luminance Art

works. Consequently, “everything has a cause” becomes our

Space competition, I was deeply convinced that this young man

habitual way of understanding. A person’s creative works must

who is not good in expressing himself has extraordinary creative

come from his/her feeling or experience in relation to certain

energy in him, and is capable of communicating everything he

aspects of his/her life. Nonetheless, the final result of producing

sees with his brushwork language. Four years ago, I planned the

the picture (as a creative artist), those “choices and decisions”,

“Listen to Me” personal exhibition for Yeh Ming. I tried to stand in

may probably come from highly complicated and delicate mental

his shoes and see the world from his eyes. As a person who is

or physical status, whether in terms of the technique, emotion,

used to viewing artworks from the perspective of the art school’s

consciousness, and even sub-consciousness.

training system, I’d easily conclude the characters and scenes under his brush as a certain artistic style of expression. It seems

Unfortunately, we cannot apply the jury system on Yeh Ming

that those images are his interpretation of this world from his very

as we do on the art students, but we are fortunate on the other

instinct.

hand that we do not need to face the guile, trick, exaggerated

葉 銘｜13

embellishment, or ambiguity of language in the case of Yeh Ming.

look over Yeh’s works again and again, and am shocked by his

(Trust me, such abuses of language are often what happens

way of thinking and his view of the world, as expressed through

among art students.) Images, in a sense, may be the most

the male and female ballet dancers with wide-spread wings who

precise expression. Through all these years, I have the honor of

are dancing elegantly in the Angels’ Home, the focused matador

witnessing most of Yeh Ming’s artworks. Under the lead of Ms.

facing a cute milk veal that is taking a leisurely stroll by his side

Chiu who graduated from conventional fine arts program, Yeh has

in the Bull Fight, and the cheerfulness of the slumbering person

matured gradually, showing remarkable progress in skills such as

and dog lying on bed in a row facing the sky in the Snoring Away.

perspective, picture composition, and toning, etc. However, what

These works always make me smile, and these prove Yeh Ming’s

remains most attractive is that you never know what Yeh Ming’s

tender heart and joking character. In his creative works, there

next work will be, what his brush will produce!

is no sorrow, no violence, no dispute, or self-identity difficulty.

Instead, his naturally endowed easiness is the only thing we can

Yes, we are going back to the issue of “choices and decisions”

see; he is so very carefree and relaxed no matter in real life or in

eventually. What did Yeh Ming ingest from this kaleidoscopic

his paintings.

world to make it the colors on his canvas? And what does this ingestion mean to him? From years of observation, I would like

A final word on the artist himself – drawing is itself a self-liberating

to talk on three changes I’ve observed. First of all, the originally

behavior for Yeh Ming. According to his mother, Yeh once wanted

instinctive expression has changed to structural expression. In

to find an out-of-print album of paintings, but it could not be found

Yeh Ming’s early works, we can always notice a lot of photo-like

in the market. Yeh’s insistence had left his mother helpless, and

snapshots, something like the persistence-of-vision scenes in

so she asked Yeh to bring this to an end by means of drawing.

a movie. The context of such snapshots and scenes is almost

This matter faded out eventually after Yeh completed the drawing.

incomprehensible, and Yeh Ming was only trying to capture them

It can thus be seen that drawing is not only an expressive tool, but

loyally. Then, around 2012, Yeh Ming followed his family to travel

also a process of self-satisfaction.

Japan. When he returned, he was able to assemble the pieces of scenery he felt into pictures that are specially composed in his

“Keep it mind, and there will be echo.” – this is a sentence from

own way. For example, in the Evening Jackstraws, we may see

the movie The Grandmaster. Yeh Ming’s works have grown from

the paddy field, cottages, vegetables on the bamboo frames, and

a tool of “representation” to a way of presenting thoughts in these

jackstraws in the field; they form the composition of a “meaning”.

years. In every scene of these pictures, there is a deeply touching

Besides, the characters’ acts and expressions in the Mua Chee

story about Yeh Ming. These are things that Yeh keeps in his

are also meticulously designed. From this point onwards, Yeh

mind. We are lucky enough to witness these colors of the world

Ming has genuinely created something.

that he ingests after making the “choices and decisions”, and these, I believe, may bring about many echoes through his brush

Humor and empathy are other features in his works. I always

14｜汲色人

and paints.

打開 葉銘 Opening –Yeh Ming 假如你看到的世界和我看到的不一樣 假如我的世界和你想的不一樣 假如人與人的世界充滿著「不一樣的一樣」與「一樣的不一樣」

What if the world you see is different from the one I see?

What if my world is not what you think it is?

What if the world of human beings is filled with different similarities and similar differences?

葉 銘｜15

無拘束的揮灑

或合理性的問題，時而出現的裝飾性圖騰，或不知為何的各種形狀

沒有刻意性技巧所散發的自由，是在面對葉銘畫作的第一個感受，

漸層，所謂透視的理解，時而運作，時而瓦解，不時筆觸與紋路的

具有一種自發性屬於人類原始心靈的創造力，無所遁形的色彩，劃

加深，搭配短且密集的長條形平口筆觸，未明的深度所帶出的視覺

開了寫實性線條與輪廓的約束，面對世界周遭的一切，再轉化進入

經驗，指向寓意式想像的人物，神話寓言或生活敘事的轉化昇華，

他的畫面裡，童趣般的奇異幻想世界，塗鴉式的隨意性塗抹，伴隨

種種語彙所引發觀者思考的，不只是垂直性的觀察被繪製目標的可

些許抽離與邏輯世界的疏離，在葉銘所營造詭異卻又開心的氛圍

被閱讀性，更是水平性超越一般理解的跳接式斷裂思考，超越座標

中，作品傳達出一種有別於一般閱讀世界的視覺邏輯，觀者所面對

式解讀的方式，亂串性的符號元素與顏色使用，不斷的流露於葉銘

的彩色世界是創作者心中風景的呈現—屬於心靈底層的異國情境。

的畫面之中。

葉銘在繪畫上所擁有的自由，不受約束於一般對於形體認知的再現

16｜汲色人

理解，以輪廓線條的使用來說，粗細不是問題，顏色似乎也與對象

非學院式的刻意顛覆

物沒有絕對的關係，無法歸類於寫意式的勾邊，或是版畫風格式的

有別於針對社會議題，藝術現象的反思等，葉銘或許沒有去顛覆，

分割區塊，輪廓邊界的確認，在畫作中一直扮演著雙重位置，有時

或是衝擊藝術史裡種種美學的企圖，創作者所關懷或思忖的，並非

輪廓是框住角色的邊緣線，宛如運用了掐絲 瑯彩的技巧，並混合

對傳統學院式的反叛，不是理性的在制度中找尋切入點，更非在藝

著後期印象派畫家與日本浮世繪的味道，然而有時邊緣是如此的模

術領域裡，計劃式的實施策略攻擊，相反地，在其自發性的感受世

糊，僅是顏色與顏色間所留下的微小交界，略帶有光影所造成顏色

界中，根源於自我所散發的熱情與差異邏輯，反而使得一般創作者

變化的暗示，兩者間的搭配使用，在創作者獨有的認知體系中自成

所容易遭遇的鴻溝與困境，在其作品中，順勢地被破解或跳躍。原

一格。相同地，顏色的應用也是多元邏輯的，與描繪對象的相似性

先寄存於視覺的慣性，沒有造成葉銘對創作的約束，關於視覺中一

並不是創作者在考量使用顏色的唯一標準，色彩與描繪物的抽離，

般所遵循的所謂規則，像不像的問題，美不美的問題，議題不議題

無意指性的混搭顏色，伴隨著對比色的應用，有如野獸派或表現主

的問題，都非創作者在創作或構思其作品時的考量範圍，自發性樂

義般恣意的揮灑迥異於現實生活的色感，螢光色與高彩度顏色的搭

趣，一個屬於最原始的生命喜悅，似乎才是創作者記載他生命各片

配，非協調性的佈局與色塊的分配調整，在一系列的作品中散發著

段的主要源頭。這種未受到現實社會干擾，一直將自己維持在某種

野性的氛圍，帶有一種未知且無法確定的神秘感。就在顏色與輪廓

純真的狀態，從早期創作接近鄰家小孩的塗鴉，在葉銘不斷的努力

的搭配之下，筆觸與肌理所形塑的空間順理成章的將觀者帶入一個

下，作品的發展與提昇是顯而易見的，其作品不加掩飾得將心靈裡

混雜的情境中，拼貼式的人物與背景，放棄了一般人視野中的立體

的意象直接顯現出來，跳脫形狀、比例、相似等影響畫作產生的傳

統條件，其面對環境世界的回應轉換為自身所創造的符號，某種色

世界，如果去除指涉性明顯地輪廓線，整張圖彷彿色塊流轉的抽象

彩繽紛的幻象空間，自由度的追求與感情的流露，是如此的自然與

語言，就在這好像可以解讀與似乎與預期有所差異的觀賞經驗下，

自發。

觀者面對的是對於熟悉事件下，某種放空的感受。又如作品「橘子 色的好彩頭」，在葉銘的筆下，一顆顆的橘子成為色彩繽紛的各色

從自身到無限

果實，脫離了現實的再現邏輯，轉身變為寶石，亮麗而閃閃發光，

初期繪畫的發展，主要在描繪身邊的家人。那自身接觸最為密切，

而其背後俱有裝飾性質又如壁紙的花朵，彷彿讓這虛擬又現實的畫

在血脈上有緊緊連結關係的至親，由最最熟悉家庭所建立的世界開

布空間，多增加了幾分神秘感，觀者可以感受到，創作者眼裡的一

始重新理解自我，被繪者涵括了爺爺，奶奶，姊姊等，當然還有每

切，並不僅是一般將橘子當作靜物般聚合在一起，而是以異于常人

天必然面對的自己。發展初期的作品，單純的主角搭配背景的組

的視覺感重新詮釋他所觀察到的世界。關於事件性的敘事，可以在

合，有些許的扭曲與變形，已經可以觀察出有別於相同世代所追

其作品，「爸爸背妹妹吹泡泡」、「熱氣球」、「星球」等作品中

求的藝術表現方式，以「自畫像＃1」，「自畫像＃4」與「自畫

觀察到，主角與背景的組成，有如片段的記憶，在腦海裡分析與重

像＃7」為例，交雜的顏色與分佈，並不涉及所謂合理化的顏色配

組，然後轉換為節奏性的音樂色彩，充滿了情緒與感觸，如實地呈

置，臉龐不一定要用皮膚色來描繪，身體不一定要合乎真實中的比

現在畫布之上。接承片段記憶的訴說與呈現，其2012與2013的作品

例，然而，作品所帶出的那羞怯、無助與彷徨感，清晰可見。這直

更為豐富與充滿趣味，這一時期的作品寓言式與劇情性的語言越顯

接投與觀者的氛圍，並非借由任何暗喻與轉喻或任何迂迴策略所達

強烈，故事的主角與背景間的關聯，呈現如童話故事般的寓言風

成，而是真真實實，明明白白的平鋪直述，不帶心機的展現在觀者

格，在作品「飛天鞋」裡，非單一視點構圖，伴隨鮮明的色彩，

的面前，雖然這時期的作品，略帶生澀與非果斷的線條不時會有意

想像世界裡的飛天鞋，或許是葉銘的幻想，但又何嘗不是觀者心

無意的出現於畫面之中，然而，這些在平時被認定為干擾或笨拙的

裡某種象徵原型。而作品「情人節」放鬆與不拘的人物變形與宛如

筆法，似乎不影響觀者面對與閱讀葉銘的作品。

分飛落葉的愛心佈滿四周，觀者不難感受到某種親密式的歡欣與愉

葉銘創作的發展，對油料的掌握、線條的力道與色彩分佈，在2010

悅，另外，「穿梭時空的騎士」，彷彿把唐吉珂德般的騎士記憶與

與2011的作品逐漸成熟。相較於發展初期的作品，構圖呈現了複雜

當代街景做了一番幻象式的結合，變形的城市與時空交會的場景，

性的發展，隨著人物主角的增加，背景的逐漸複雜化，畫面開始呈

故事的主角頗有要不顧一切，往前大步邁進之姿。最後在作品「飛

現一種神秘感與事件性的敘事語言。在作品「姊姊的生日蛋糕」

天鞋」中，彷彿感受到葉銘的昂首闊步，充滿自信地大步的向前動

中，介於抽象又帶幾分具體的背景，主角們身處於略帶扭曲變形的

態，前往那未知、不熟悉的另一個時空境地。

葉 銘｜17

心靈世界的溝通 創作者所繪製的畫面，總是心裡最底層的真實與充滿無限想像空間 的總和，轉換自葉銘其心靈世界的總總，或許帶有一些意識流的成 分，在其所創造的世界之中，觀者可以忘卻理性世界加於每個人身 上的限制，可以跳脫因果關係的必要連結，畫面所呈現的，不僅是 夢境裡超現實的景象，也不只是流動的色彩分佈，真切感人的情緒 流露，在葉銘一路創作的歷程中清晰可見，而寓意深遠的創作也在 近期的作品裡，更顯成熟。

後記 葉銘身為一位自閉症的創作者，與外在世界失去了語言溝通的連 結，當精神與肉體被束縛於某種當下時，畫面出現的鮮明色彩與不 拘小節的形象，或許是心中難以從口中說出的吶喊，亦或是其探索 與認知世界的方式。先天的不同並沒有給葉銘的創作帶來任何的阻 礙，反倒是這不同的起點，使得他的作品有著獨樹一格的活力、任 意性與魅力，帶給觀者愉悅與鮮明的視覺感受。

元智大學 藝術與設計系 專任助理教授 英國羅浮堡(Loughborough)大學 創作理論博士

李明學

18｜汲色人

Painting the world unbridled

real object is never the only concern bothers Yeh when applying

A sense of latitude conveyed without deliberated skills is the first

colors. The dissociation between colors and the drawing object by

impression I receive from the work of Yeh Ming, who possesses

adopting unintentionally blended colors, as well as the application

spontaneous creativity raised from a very original human mind.

of color contrast, enables Yeh to unscrupulously create a fauvism

Yeh Ming breaks away from constraints built by practical lines

or expressionism type of style that is very different from our

and contours by using powerful and eye catching colors. He

normal sense of color. The use of fluorescent colors or highly

introduces you to things around the world before leading you

saturated colors, the uncoordinated layout, and the arrangement

into his work, which is fun, child-like, eccentric, and imaginarily

of various color blocks are key elements in the series of Yeh’s

bricked by spontaneous and free strokes mingled with a trace

artworks that elicit a wild and unbridled vibration with a mysterious

of distance, caused by detaching oneself from the logical world.

touch of unknown and uncertainty. With the uniquely coordinated

In the joyously bizarre atmosphere woven by Yeh Ming, a visual

colors and contours, it becomes too easy and is pretty natural

and logical distinctiveness standing out from the common world

too for the space shaped by strokes and grains to bring the

is the message that the artist wants to deliver to his viewers. Yeh

viewer into chaos: the collage-style characters and background

brought the viewers into a colorful world to have a glimpse of the

are free from the stereoscopic and rationality rules applied on

picture hidden in his mind, and what is unveiled in front of his

normal human vision. Sometimes there are decorative totems

audiences is an exotic land dug out from the very bottom of his

and other times there are assorted gradient shapes coming out

heart.

of nowhere. Perspective representation is not always applied here. The frequent and sudden enhanced strokes and grains

Yeh’s latitude in painting lies in his capability of staying away from

intertwined with short and intensive strokes of long strips create

the common understanding and rules of reproducing of entities.

an immeasurable depth in which a visual experience associated

Take his contour lines as an example; it is not about the thickness

with allegorical or imaginative characters, myths, fables, or even

or the color of the lines, i.e., there appears to be no absolute

an everyday life kind of narration is introduced. The all sorts of

association between the object and the color or the line. It is

vocabulary stimulates the viewer not only to contemplate about

hard to categorize whether it is an impressionistic type of contour

not only the readable drawing object presented from the vertical

drawing or a print style using split areas, but by all means, a

observation but also to adopt a horizontal, jump cut, unconnected

defining contour has a dual function in paintings and that cannot

thinking beyond normal comprehension. A decoding approach

be ignored. Sometimes, it is an edge framing the characters,

much more sophisticated than the conventional coordinate style

like the applying the filigree enamel skill with a hint of post-

and application of disarrayed symbolic elements keep popping out

impressionism or the ukiyo-e of Japan. Other times, the contour

from Yeh’s artworks.

is so fuzzy, leaving only a very fine borderline between colors and relying on the trace of illumination to imply the switch of colors.

The use of these two techniques is what makes the schema of

Non-academic and deliberate subversion

Compared to other artists focusing on social issues or reflecting

our artist here distinctive. What is also unique is that Yeh applies

art phenomena, Yeh Ming shows no attempt in subverting or

colors with multiple logic rules, and the level of similarity to the

challenging the term “aesthetic” defined in the history of art. It is

葉 銘｜19

not about revolting the traditional academic style or searching

grandparents, sister and of course, himself. At the beginning, his

for a portal in the rational system, and it is definitely not related

artworks are mostly composed of a character and the background,

to implementing strategic, well-planned attacks in the realm of

in a slighted twisted and deformed way. You can easily tell that

art; what Yeh cares and contemplates about is a type of logic

his approach differs distinctively from the approach of other

originated from passion and differences radiated from the self

artists of the same generation. Take self-portrait # 1, 4 and 7 as

in a spontaneously experienced world. This way, those traps

examples, the blending and spread of colors are definitely far

or dilemmas bothering other artists can be easily escaped or

away from what is commonly judged as rational. He would not

resolved by Yeh Ming. Similarly, inertia embedded in vision cannot

only choose a color that others would never do for the skin but

block Yeh’s flow of creativity, while those so-called visual rules,

also mind little about whether the size and proportion of the trunk

like whether it is aesthetic or not or an issue or not, complied by all

is realistic or not. Nonetheless, a sense of shyness, helplessness

others are never a concern for Yeh when creating or brainstorming

and hesitation leaks out from his work and that can be clearly

about his work. For Yeh, spontaneous fun is not only a very

and unambiguously detected. The atmosphere projected onto

original type of pleasure of life but also the source prompting

the viewer is so straightforward and is without any metaphors,

him to record the various moments in life. Undisturbed by the

metonymies or any complicated strategies. The direct statement

pragmatic faith practiced in the real world, Yeh has successfully

is true and real as well as clear and definite. Yeh simply and

preserved some innocent sides of him. On the other hand,

plainly presents the image to his viewers free of manipulation or

compared to his initially kid-like drawings, the artworks of Yeh also

preservation. Although his work at that stage is slightly immature

demonstrate a significant progress and development because

and once in a while the lines would appear to be vague, which

of his continuous effort and devotion. He never tries to hide or to

normally suggests interfering or clumsy, the viewers would

embellish images captured from his mind or his heart; he simply

encounter no problem in reading the work of Yeh Ming.

expresses them directly. While rejecting any rules on shapes or proportions, he has successfully transformed feedbacks from

Yeh’s use of oil paint, the strength of the lines, and the distribution

interacting with the world and the surroundings into self-invented

of color become more mature between 2010 and 2011. Compared

symbols and a rich color-coded imagine world. The pursuit of

to his work from the early stage, the plot also became more

latitude and the release of affection are natural and instinctive.

sophisticated, while the number of characters increased and the background got more elaborated. Moreover, a mysterious and

20｜汲色人

Extending from oneself toward the unlimited

storytelling kind of narration flows out from his paintings. In the

At the initial stage, Yeh’s paintings are mainly about his family;

work The birthday Cake of My Sister, the background is abstract

namely, those who are close to him or related to him by blood.

but concrete, and the characters are placed into a slightly twisted

Like us all, Yeh built his kingdom from familiar family members

and deformed environment. If we take out those apparently

and it is also a way to understand himself. He painted his

referential contours, the entire painting seems like an abstract

language with flowing blocks of colors. While experiencing

space and time. Looking like letting go of everything, the main

success in decoding the painting, the viewer at the same time is

character in Yeh’s story walks forward boldly and fearlessly. In the

also puzzled by a gap from reality; it is like the feeling of emptying

last work of Yeh Ming, Flying Shoes, we feel that Yeh Ming too

oneself in a very familiar event. Take The Orange Color Good

walks forward with head up and confidence toward the unknown

Luck as another example, the oranges under the brush of Yeh

and unfamiliar realm of another space and time.

became colorful fruits. Abandoning the pragmatic reproducing rule, Yeh transformed the reality into jewels, bright and shine. As for the

Communicating with the inner self

background, there are decorative, wallpaper-like flowers that give

A picture painted by an artist can be seen as a sum up of reality

the imaginative but realistic space an enigmatic feeling. Viewers

and unlimited imagination from the bottom of the artist’s heart.

can recognize that what the artist sees is no longer a pile of

While the stream of consciousness may be involved in this

oranges arranged into a still-life object; there is something special

transformation of Yeh’s inner world, the viewer is given the key

about his vision that enables him to reinterpret the world under his

to escape from the confinement built by the rational world and to

observation. About narration of matters, one can find from his work

break away from the indispensible caustic relation. What is shown

Little Sister Blowing Bubbles on Dad’s Back, Hot Air Balloons,

in Yeh’s painting is not only surrealistic sceneries captured from

and Planets that they are filled with emotion and feelings, which

dreams or the spread of flowing colors but the unveiling of true

are so real. Connecting, telling and expressing pieces of memory

and heart-touching emotion; they can be easily observed from

has enriched his work between 2012 and 2013 and made the

Yeh’s artworks since the very beginning of his journey of creativity.

work fun to read. The dramatic, fable-like language that he uses

In his more recent artworks, he has started to be given a more in-

gets stronger and stronger and can be easily observed by the

depth connotation to the paintings.

clear association between the main characters of the story and the context. The work has a fairytale, allegorical style. In the work Flying Shoes, which has a multi-perspective composition

Postscript

An autism artist, Yeh Ming lacks a verbal linkage to the external

and bright colors, the shoes flying in the sky may exist only in the

world, but the confined body and spirit cannot hinder him from

imagination, but in a sense, it can be interpreted as a prototype

creating colorful and easy-going images; this may be a way for

hidden in our hearts. Another work Valentine Day has deformed

him to shout out words kept in his heart or to explore or to learn

characters looking relaxed and free and there are hearts all over

about the world. Instead of blocking Yeh Min from applying his

the painting like leaves falling everywhere. The viewers can easily

creativity, this inborn difference has actually provided him with

detect the intimate and pleasant feeling embedded in the painting.

a unique starting point and made his artworks special for their

In the work A Time Traveling Knight, Yeh incorporated his memory

vitality, free flow and charm, which for the viewers are a great and

about Don Quixote into contemporary street scenes imaginatively.

colorful visual delight.

There are, for example, a deformed city and a church ruling the

葉 銘｜21

談Joe 2010至2014的創作 2010年第一次見到Joe是在他的工作室，跟著他先前的老師凱嫈在

這種極其直覺的繪畫語彙恰好顯現出Joe所帶有的原初/原始性，

他旁邊坐下，邊做著交接的工作，邊陪他畫圖。同樣身為藝術創作

而原始性向來都是帶有能量的，好比一個連結地下水的水井不會乾

者的我當下著實地被他裡面所存有對繪畫的直覺和天分所震懾，一

涸，我想那是上帝所預備的一個美好禮物。Joe未曾受過學院體制

直到四年後的今天，每次帶著Joe畫圖的過程中，仍不時被他所擁

對繪畫的訓練，直接從兒童彩繪進入油畫創作，沒有既定的方法

有的藝術的能量深深吸引著。

論，而是以直觀的視覺經驗來描繪事物，更加深了其原初/原始性 的特質。

繪畫對於Joe似乎是一種面對外在世界的溝通形式，一種自我表達 或者是自我完滿的方式，畫布成為一個媒介，透過此，他能夠自在

最後，繪畫對Joe而言是什麼? 縱使以一個老師的身分在每個星期

且自信的與世界連結。而題材的選擇，月球、河馬、天使和騎士冒

帶著Joe畫圖，仍覺得在他身上得到的創作能量和自身對藝術本質

險，再再都指涉了他心之所向，同時也給了我們一個介入其世界的

的思辨等等都不少於我所給出去的。在當代藝術的範疇裡，我們或

線索，如此一來，繪畫像一個孔縫，使我們得以拋下自身的既定框

許視藝術為提供反思的平台，或透過藝術建立集體潛意識，都是包

架，試圖漫步在其想像的遊樂園中。

含著許多計畫、草圖與反覆思考。而Joe正好相異於此，繪畫僅作

Joe的創作形式向來以照片為參考對象，但有趣的是，照片對他而

為繪畫而存在，繪畫的目的從來就不是獻給他者，繪畫純粹是一件 充滿直覺且再自然不過的事，享受其中，並在每一次地完成之中得

言僅只是一個參考媒介，目的從來不是忠實地再現照片，而是透過 到更多更多的自信。對我而言，最單純的事物，往往最直指人心。 照片再現其內在世界，包含內在對於環境的色彩感知和細節注視。 Joe喜歡用大量對比、相異、原色的組合完成畫面，在直覺地選色 與造型下，看似衝突的顏色並置在一起卻成了和諧的風景，在讚嘆 Joe的色感能力同時，也反映出他所接收的色彩資訊從電視卡通和 Joe遊戲中。對他而言，現實世界似乎並未與卡通世界存有一條清 晰的界線，換句話說，卡通(藝術創造的物件)在他的定位裡，已成 為現實的一部分。這是一個非常有趣的假設，於是很自然的，人物 肌膚能夠被賦予各種色彩(且幾乎是原色)，以或大或小的色塊組 合，畫面空間的扁平化，一一都陳述了他內在的卡通式風景。 新竹教育大學 藝術創作研究所

邱君婷 寫於2014/05/17

22｜汲色人

On Joe’s Creative Works 2010 to 2014 It was in 2010 when I first met Joe in his studio. I followed his

of the reality in his eyes. This is an interesting assumption; it

previous teacher Kai-Ying and sat down beside him, working on

follows naturally that the characters’ skin may be given different

the hand-over and accompanying him drawing. As an artist myself,

colors (almost all are primary colors), consisting of combinations

I was shocked by the artistic instinct and talent he is endowed

of bigger or smaller color blocks, and characterized by flattened

with. Today, four years later, I am still deeply overwhelmed by his

space. These all point to the cartoon landscape inside him.

artistic energy when I am with him on the artistic journey.

This extremely instinctive artistic vocabulary demonstrates Joe’s For Joe, drawing is a way of communicating with the external

ingenuity/originality just right. Originality has always contained

world, and a way of self-expression and self-realization. The

energy, like a well connected to groundwater that never dries up. I

canvas is a medium through which he can link up with the world

think it is a fine gift endowed by God. Joe has never received any

freely and confidently. The choice of themes – the moon, hippo,

institutionalized training on drawing, but jumped into the realm of

angel, or a knight’s adventure… – points to the thoughts in his

oil painting directly from cartoon drawing, without any established

mind, and gives us a clue to probe into his world. Thus, drawing

methodology. He draws from his instinctive visual experience,

is like a keyhole through which we may break off our own

which further highlights his ingenuity/originality character.

established frame, and try to stroll in his imaginative playground.

One final question is what drawing means to Joe? Even as a Joe has always referred to photographs for his creative works,

teacher who meets Joe every week for drawing, I can feel the

but interestingly, photographs are no more than references for

creative energy and the thoughts on artistic nature that he inspires

him; he never tries to reproduce the photos loyally, but represents

me no less than what I gives out. In the domain of contemporary

his inner world through the photos, including his color sense of

arts, we may see arts as a platform that facilitates reflection, or try

the environment and his attention to details. Joe prefers to fill

to build collective consciousness through arts; all of these involve

his tableau with numerous combinations of contrast, diversity,

a great deal of planning, drafting and thinking over and over

and primary colors. With his instinctive choice of colors and

again. But for Joe it is different; drawings exist just as drawings.

profiling, conflicting colors are put together to form harmonious

He never draws for others; rather, drawing is just an instinctive

landscape. While admiring Joe’s color sensing ability, we may

and spontaneous thing that he enjoys, and from which he gets

also get a glimpse of the color information he receives – from

greater and greater confidence upon completion of each piece of

TV cartoons and iPad games. For Joe, there never seems to be

work. For me, the simplest thing is always the most touching to

a clear boundary between the real world and the cartoon world.

our hearts.

In other words, cartoons (the object of artistic creation) are part

葉 銘｜23

目錄 Contents 02

汲色填夢的少年-陳翠華

10

汲色人-劉士楷

15

打開-李明學

22

談Joe2010至2014的創作-邱君婷

25

2009年創作

33

2010年創作

45

2011年創作

63

2012年創作

81

2013年創作

105 2014年創作 111 鉛筆速寫 118 光之藝廊簡介

26｜汲色人

自畫像#1 Self-Portrait#1

自畫像#4 Self-Portrait#4

油畫、畫布 Oil on canvas 30X30cm 2009(私人收藏)

油畫、畫布 Oil on canvas 30X30cm 2009

我是誰 Who am I 油畫、畫布 Oil on canvas 90.5x72.5cm 2010

34｜汲色人

餐桌上的蛋糕 Cake on the Table 油畫、畫布 Oil on canvas 116.5x91cm 2010

42｜汲色人

水中彩鯉 Colored Carps 油畫、畫布 Oil on canvas 100x100cm×2 2012

葉 銘｜65

哈哈大笑 Laughing 油彩、畫布 Oil on canvas 91x72.5cm 2013

82｜汲色人

部落母親與她的孩子 Tribal Mother and Her Children 油畫、畫布 Oil on canvas 145x112cm 2014

106｜汲色人