2010年後的告白 吳炫三˙ 池上鳳珠創作展

每個人的成長背景 就是他獨一無二的護照

Late 2010 Confessions A-Sun Wu and Paloma Chang Exhibition

目次 Contents

壹

貳

序 Preface

04

2010 年後的告白 Late 2010 Confessions

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空間的分配與創造：吳炫三與池上鳳珠的藝術語言 參

肆

Distribution and Creation of Space: The Artistic Language of A-Sun Wu and Paloma Chang

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吳炫三 A-Sun Wu

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伍

池上鳳珠 Paloma Chang

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2010 年後的告白

吳炫三 ˙ 池上鳳珠創作展

超越時代的藝術！

Art that Transcends Time !

築空間這幾年策辦的「台灣 50 現代系列」展覽，最大的特色是以數位導覽科技展現具「時代性」

In the “Taiwan 50 Modern Art” series exhibitions held at Arki Galéria over the past few years, the

的作品，呈現台灣戰後至今的時代軌跡與庶民精神！不同世代的藝術家用個人的風格及語彙，詮 釋他們眼中所觀察到的社會現狀及時空脈動， 讓我們得以藉由作品拼湊窺見過去的時空面貌。 而不可諱言的，隨著時間推移，有些表現形式及內容會被時間浪潮淘洗，能在歷史洪流中脫穎而 出的，往往是以獨特的觀點及手法捕捉到當代主流沒有意識到的「未完成」部分，發掘「突破口」

distinguishing feature has been making use of digital guides and science and technology displays to put on the work of art “Epoch”, which illustrates the trajectory of Taiwan from war to the present day, along with the spirit of the people inhabiting this island. Different generations of artists have used their own personal style and vocabulary, interpreting how they saw the realities of society and the sensations of the world around them, and through whose art we are gifted an insight into snapshots of time and space.

的藝術家。例如，當眾人習以急促樂章作為交響樂結尾，莫札特以緩慢流入尾聲的樂式驚豔世人；

It should be mentioned that as the years pass, some expressions of form and content are gilded with time and

香奈兒以清教徒般簡單舒適的質料與俐落剪裁，解放女性的身體，告別了繁複的巴洛克禮服。

artists take time to break through. The currents of history illuminate true talent, often unique viewpoints and skills which could not be fully appreciated by popular culture of the time. For example, rejecting the fast-

唯有真正超越時代的藝術作品能留存下來！而在「台灣 50」 之後的「台灣 50 Plus」，我們想要

moving flourishes which ended symphonies of the time, Mozart’s musical style of slow and patient codas

呈現能夠超越時代的藝術，這也是我們邀請吳炫三大師舉辦展覽的主因。旅居法國的吳炫三在藝

alarmed people who heard it. Likewise, Chanel’s puritan use of simple and cosy materials, along with the tight

壇耕耘多年，透過不斷的努力躍上國際舞台，將自己從台灣的代表性藝術家變身成為國際藝術家， 這是讓我們非常欽佩的！

tailoring, in time came to liberate female bodies from the complicated Baroque style.

Art that transcends time should be preserved, and in Taiwan 50 Plus, which follows after Taiwan 50s, we want to demonstrate the ability of art to transcend time. This is the main reason we have invited master A-Sun

我與吳炫三結識三十年，當他在國外奮鬥打拼時，我有幸參觀他在北京奧運的展覽，也到過巴黎

Wu to hold an exhibition. France-based A-Sun Wu has for many years spread his roots within the art world,

拜訪他的工作室。在我眼中，總是像個農夫殷勤耕耘的他，不論個人特色、視野心胸、豐沛的創

constantly working hard to bridge the international stage, and his transformation from Taiwan’s representative

作能量以及在藝術創作上的哲思，始終領先群倫、超越時代。

artist to international artist is surely worthy of our admiration.

A-Sun Wu and I have known each other for 30 years, and as he was struggling abroad, I had the good fortune

吳炫三的作品沒有上下左右，不是抽象也不是具象，直

to look around his exhibition during the Beijing Olympics, as well as pay a visit to his Parisian workshop.

線為陽，曲線為陰，強烈的五官與肢體，展現強烈的原

Regardless of his personal style, his breadth of vision, his majestic creative energy, and his artistic philosophy;

始生命力！新銳藝術家池上鳳珠以水及顏色為主題，捕

in my eyes, he has always had the appearance of a farmer working diligently to grow the finest groups – from

捉在自然中觀察到的各種現象，帶領觀者進入自然幻化

start to finish he has always been out at front, transcending time.

世界。這次創作聯展，兩位藝術家從法國帶回過去台灣 沒有看過的新作，並敞開工作室的大門向世人告白。 藝術家的思想、生活態度、工作情境以及生命歷程如何

In Wu’s work, there is no concept of up and down, of left and right, of concrete or abstract. Instead, curved lines become Yin to the Yang of his straight lines, facial features and bodies become strong, and a powerful primitive vitality emerges. Cutting-edge artist Paloma Chang takes water and color as the main subject, capturing all kinds of phenomena observed within nature, which guide the viewer to enter into a natural world.

孕育其獨特的創作語彙，將在此次展覽中如實呈現。我

This creative pairing brings back to Taiwan from France unseen works of art by the two artists, opening up the

個人非常期待兩人將如何以不同以往、敞開私領域式的

wide doors of their workshop and revealing themselves to the public.

展覽形式，呈現這五年來的創作心境，也敬邀您一同聆 聽他們 2010 年後，更為自由揮灑的藝術告白！

The ways in which the artist’s thoughts, their way of life, their working environment, and life course can nurture their unique creative vocabulary are presented within this exhibition. I am personally very excited to see these two artists with very different pasts open up their private domains for display, demonstrating five

台灣土地開發 ( 股 ) 公司董事長

邱復生

years of creative thinking. You are invited to be a part of this public reveal of post-2010 art!

Fu-Sheng Chiu, Chairman of the Taiwan Land Development Corporation

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2010 年後的告白

吳炫三 ˙ 池上鳳珠創作展

2010 年後的告白

吳炫三 ‧ 池上鳳珠創作展 策展人｜羅健毓

「藝術的根基為人，人是藝術表現的主體。所以人們繪畫，亦或被畫，人們在繪畫中體驗生命，

天涯之後的告白

更在生命歷程中涵養繪畫。最後，人與藝術同為一體，或在藝術形式中表現自我生命，在生命裡

實至名歸的世界行腳，足跡跨越了歐洲、非洲、南美洲、亞洲與太平洋島嶼，兩位藝術家經過長

滿溢藝術的氛圍。」

時間的累積，進而找到自己的創作演繹法則，在落座於巴黎的工作室，返回內心深處，持續探索 人類如何將自我形象、造型，化成雋永的精神與過程。巴黎市中心的工作室，位於隱匿的巷弄內，

探 ‧ 尋 — 創作之源

扇形大面開窗引進了自然光線，山型木樑營造出高挑明亮的室內體驗，男女主人在各自分隔的空間

最初的開端，緣起於兩位擁有純真性格的藝術家，各自從熟悉的原生沃土走向世界。

中經營出截然不同的工作氛圍：工作室中各式在旅行中搜集的文物是池上鳳珠靈感來源之一，以乾 燥花點綴的工作室，點出了女主人的柔美氣質。男主人的工作室，隨意擺置的顏料與器具可嗅出

在經歷紮實的學院派洗禮後，青年吳炫三以人類學家的精神流浪非洲、亞馬遜河流域與南太平洋

吳炫三灑脫的個性—既定的空間印象無法框住他的創作慾，工作室牆面或地板都是他的創作支點。

等處，為那些我們所陌生、未見於世的文明做見證；在看似世界盡頭之處建構出一套自己的繪畫

兩位藝術家以家鄉回憶為創作種子，以異鄉生活灌溉滋養。對於創作者而言，藝術沒有邊界；對於

語言。幾十年的歷練後，這些孕育於大自然的真實力量，幻化為吳炫三創作中人物或動物的形變

游牧者來說，處處皆是生活的本體。而今，象徵創作者心中烏托邦的工作室大門敞開了，那些關於

主題 — 有別於矯飾的繪畫語彙，無論在繪畫或雕刻中皆整納灑脫且直覺性地筆法，根植於中國

昔日遊歷所累積的情感以及在創作生涯成長蛻變中的衝突與矛盾，早已成為生命中的日常風景。

書法變化多端的起承轉合；畫面上生動、充滿野性的線條，在吳炫三敏捷俐落的動勢之間，毫不 在「2010 年後的告白—吳炫三 ‧ 池上鳳珠創作展」中，我們試著拋開艱澀困難的理論文字，或是

保留地傳遞藝術家奔放的情感。

矯揉做作的評論觀點，因為不管是站在國族論述或符號形象的分析，都無法、也都過於狹隘地討論 在台東鄉野中的童年回憶成為池上鳳珠創作的靈感基底：池上鳳珠將植物的輪廓、蝶舞的路徑、

這兩位自天涯歸來、以藝術做為生命唯一方向的藝術家。本次展覽以兩位藝術家在巴黎工作室的

光影的推移，轉換成有機的律動線條，躍動於她的繪畫與立體創作之間。走訪天涯的旅程讓池上

場景為舞台，引領觀眾走進兩位的創作旅程。於場景一中呈現池上鳳珠 2013 年至今，包含繪畫與

鳳珠的作品中除了女性的柔美與濃厚的東方主義外，更多了份堅毅的姿態與跨越文化藩籬的藝術

瓷器逾 60 件的作品，游走於具象與抽象、柔美與剛強的線條和色塊是她生命旅程的縮影。吳炫三

語彙，並使她在嚴苛的巴黎藝壇中獨樹一格。在「螺旋之舞」系列作品中，帶有強烈色彩的線條

近年來的立體與平面創作作品呈現於場景二，即便早已於藝壇奠定地位，藝術家不曾停過對於創作

宛如擁有自己的意識般攀滿漆黑的畫布 ; 於「眼簾裡的幻化世界」系列，藝術家重新解構世界的

的探索。充滿張力的線條、野性的色彩呈現著吳炫三源源不絕的藝術活力。透過這些空運回臺的

樣貌，神秘的線條時而如同水路蜿蜒伸展著；時而如同草履蟲般無限地繁殖。強烈且對比的色彩

創作物件，觀眾可以直接感受到吳炫三與池上鳳珠對藝術無悔的追求，一景一物，都是先於語言、

以快速的節奏在畫布上交織、互擊、爭鳴，池上鳳珠遊歷四海所累積的強韌特質於「水晶看世界」

先於任何藝術形式的創作觸動。

之中展現無遺。具有東方靈性的曲線在淨白的瓷上蔓延、呼吸著，池上鳳珠的瓷器創作除了現代 青花的姿態外，也有以樸質的色塊組成的萬花幾何圖騰，成為她遊歷原始部落的證明。池上鳳珠 透過敏銳的創作語言演繹宇宙萬物的奧妙與姿態，透過色彩與線條混織出屬於她的藝術國度。

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於是，在 2010 年後的告白中，我們得以窺見兩位藝術家在個人創作的實現中，以未曾消弱的藝術 生命，向你我傾吐。

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2010 年後的告白

吳炫三 ˙ 池上鳳珠創作展

Late 2010 Confessions

A-Sun Wu and Paloma Chang Exhibition Exhibition Curator ｜ Natasha Lo

subtlety and appearance of life and the universe; and her mixed use of lines and color belongs to her own artistic tradition.

Confessions of Another World

“Art is constructed for people, and people are art’s main subject. Therefore, whether people are painting, or being painted, people experience life in art, and in the course of life they preserve art. Ultimately, art and people become at one with each other, or they express their lives within art, and life itself ends up overflowing with an artistic ambience”

With fame following on from years of wandering the world, traversing Europe, South America, and the Asia-Pacific islands, these two artists spent long periods of time in pursuit of the logic of their creations.

And then, sitting in a Parisian workshop, soul-searching, continuing to probe how mankind might take its own figure and form and turn it into something with a meaningful spirit and path. In a studio in Paris city centre situated in a covered alley, a broad open window brings in natural rays of light, with high

Exploring and Searching – The Origin of Creativity

beams creating the experience of a bright indoor space. Within their own spaces, man and woman operate completely different working environments. Within the workshop, relics collected on Paloma’s journeys

At the beginning there existed two artists sincere in nature, each of whom set off from their native land

provides sources of inspiration. The workshop is adorned with dry flowers, hinting at the female occupant’s

striking out for the world.

charming and delicate temperament. The workshop of the male occupant, with pots of paint and implements

Leaving behind his baptism in academism, a young A-Sun Wu drifted around places like Africa, the Amazon river basin, and the South Pacific, all the while taking an anthropological gaze and bearing witness to strange and unfamiliar civilizations, and upon reaching the ends of the world, he gave forth his own form of artistic language. After several decades of experience, these people and animals, filled with the great power of the natural world and transformed in the work of A-Sun Wu, become the main subject. With a creative style distinct in manner, no matter whether within drawings or engravings, each and every one is composed of unaffected and intuitive handiwork, rooted in the vivacious variety of traditional Chinese calligraphy. The scenes are always vivid, overflow with wild streaks and lines, and under A-Sun Wu’s nimble movements they retain and pass on the artist’s bold and unrestrained emotions.

arranged at will exhibits A-Sun Wu’s unaffected personality -- the fixed confines of the space are incapable of framing A-Sun Wu’s creative desires, and the workshop’s walls and floors are also an extended part of his creativity. The two artists take their hometown memories as the seeds of their artistic creations, and nourish them with life in a foreign land. As creators, their art has no bounds. As nomads, everything becomes a perfect embodiment of life itself. At this moment, the door to this workshop that symbolizes each artist’s utopia is cast wide open. Those feelings, accumulated during travel, and which were once a source of conflict and contradiction, have matured creatively and already transformed themselves into a rich part of the scenery of everyday life.

In “Late 2010 Confessions – A-Sun Wu and Paloma Chang Exhibition”, we try to dispel rigid characterisation and theory, and pretentious commentary and points of view; because no matter whether

The childhood memories of the wild Taitung countryside became the inspirational foundations for the work

we stand by theories of nationalistic discourse or analysis of symbols and images, everything is too limited

of Paloma Chang : she takes the silhouette of plants, the fluttering paths of butterflies, and the evolution of

and nothing is truly capable of discussing these two artists’ journey to the edges of the earth and back, and

sunlight and shade to become rhythmic renditions of the organic world, leaping and bounding within her

through which art becomes the meaning of life itself. This exhibition takes the scene of the artists’ Paris

2D and 3D works. Excursions to the far end of the world give Paloma’s work a stronger appearance and

studio as the backdrop, leading the viewers to enter into a creative journey of these two individuals. In

more multicultural artistic vocabulary to sit alongside her gentle and encapsulating Oriental rendition of the

scene 1 we are presented with more than 60 works of art by Paloma, created from 2013 to the present day,

woman, all of which helped Paloma stand strong in Paris’s harsh art circles. In the “Dancing Helix” series

and which include drawings and porcelain works, both abstract and defined, with subtle and strong uses of

of works, the intense coloration of lines are as if the artist‘s consciousness has been dragged onto a pitch

line and colour, and which are a miniature versions of her life journey. In scene 2, we are presented with

black canvas. Within the “A World Transformed Before My Eyes” series, the artist once again deconstructs

recent 2D and 3D works from A-Sun Wu, and even though the artist has long been well established within

the appearance of the world, with the mysterious lines occasionally viewed as waterways meandering and

art circles, the artist has never once stopped creative exploration. Brimming with lines of tension and wild

stretching; or cells reproducing and multiplying unbounded, over-and-over. The intense and contrasting use

coloration, we are presented with the source of A-Sun Wu’s unending artistic energy. Through these works

of colour weaves a high-tempo rhythm onto the canvas as the colours strike and fight against each other.

of art, which have been air freighted back to Taiwan, viewers can directly sense A-Sun Wu and Paloma

The resilient character traits built up by Paloma during her visit to the four corners of the world uncloaks

Chang’s unrepentant artistic pursuits. Scene-by-scene, object-by-object, all hark back to an age before

itself within the work “Crystal View of the World”. With curved lines of Eastern spirituality breathing,

language, and an age before the creation of artistic formality.

extending their way around Paloma’s plain white porcelain, not only do we see a contemporary blue and white porcelain appearance, but we the formation of a plain and simple totem, which becomes a testimonial

That is to say, in “Late 2010 Confessions – A-Sun Wu and Paloma Chang Exhibition”, we are immersed

to the primitive tribes of her journeys. Through her sharp creative vernacular, Paloma is able to infer the

entirely into each artist’s personal creations and never before seen artistic life.

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2010 年後的告白

吳炫三 ˙ 池上鳳珠創作展

空間的分配與創造： 多種材料拼接而成，通常都附加上風格獨特的彩繪，比如在〈等待主人的貓咪〉、〈少女〉等作品

吳炫三與池上鳳珠的藝術語言

中，臉孔與表情都源於塗繪的效果。在池上鳳珠的作品中，同樣考慮作品載體的性質，〈眼簾裡的 幻化世界〉系列作品是以壓克力顏料繪製的紙上作品，並將若干顏料圈圍出的區域挖空。雖然我們

文｜簡麗庭

可以立即聯想到 1940 年代末封塔那（Lucio Fontana）切穿畫布，或者 1960 年代末的支撐物／表 面（Spports/Surfaces）運動拆解畫框和畫布等前例，不過，池上鳳珠對於紙本作品的鏤刻並未

藝術作品既是物質，也是精神；既是形式，也是內容。

── 亨利福西永（Henri Focillon）

追隨前述的藝術觀念，因為這些穿透的區域並不是為了標明底基物的性質，而是依照顏料暈染痕跡 造形的再次加工，這與她自身的繪畫經驗或陶瓷劃花的概念更加相關。

畫家的天才總在模式（scheme）和瑣事（anecdote）之間，在於將內在和外在的知識、存有和生成

其三是關於視覺經驗的混融。由於吳炫三與池上鳳珠都熱愛旅行，足跡遍及各洲，其作品也因此反

統一起來，在於以畫筆生產出不同於一般存在的物件，然而他知道如何在畫布上創作：正是對於

映出文化交融的面貌。在吳炫三的創作中，他一方面對特定文化題材深感興趣，比如〈中國門神〉、

一或多個人工和自然結構，對於一或多個自然和社會事件的穩定綜合。

〈賣水果的西非洲女孩〉、〈A-Sun Wu 和 Asmats 族的對話〉等主題。另一方面，他對於形式的取

── 克勞德克列維 - 史特勞斯（Claude Lévi-Strauss）

捨也與這些視覺經驗密切相關，來自原始藝術的影響更是不言而喻。例如他的作品中經常使用紅、 白、黑等顏色，顯然與原始藝術中顏料往往來自較容易取得的氧化鐵（紅）、石膏（白）、氧化錳

正如在歷史中可觀察到的，所有偉大的藝術家都具備優異的技術，他們往往也是形式的開拓者，

或碳（黑）有關；又如他的雕塑經常出現鏤空和垂直的長條形組合，〈父親母親和小孩〉、〈A-Sun

透過藝術語言的淬煉，將創造性的修辭賦予尋常事物。也正因為許多藝術家致力於此，才使得歷

Wu 和 Asmats 族的對話〉、〈解鎖的女孩〉等作品可算是例證，這亦取法原始藝術的木雕形制，後

史中被無數次「宣告死亡」的繪畫一再以新的面貌復生。這使我們格外關注吳炫三與池上鳳珠作

者因受限於木材的長條形，往往以形體的壓縮變形來符合材料。池上鳳珠的作品也融入了特定文化

品中的形式面向，他們的創作由繪畫出發，不僅思考繪畫本身的課題，同時也將繪畫的概念擴展

的視覺經驗，比如植物為主的生物形象和線描勾勒的形式，在東亞繪畫傳統中並不陌生。在她的陶

向三度空間，在雕塑和陶瓷作品中施加塗繪。他們各自有一些長期探索的造形語彙，不拘泥於形

瓷作品中，更可以看到這些生物形象、線描和深青色所召喚的青花瓷文化典範。

體的完整，也不固守特定的藝術傳統，而是在創作的過程中不斷探問空間的可能性。我們可以從 藝術家作為形式的創造者，對於所使用的藝術語言往往慎重其事，他們必需在底基物與顏料層的材

幾個方向來看待他們的研究：

料性質中、在造形的構成中、在符號的象徵中、在與傳統典範的對話中、在概念的純粹性與實踐過 首先是線條與形體的開放關係。吳炫三作品中最為人熟知的特色在於粗獷的線條和大量的筆觸，

程的偶然性中予以取捨與決斷，才能成就其心血。吳炫三和池上鳳珠不僅在既予的材料中分配空

並且這些線條和形體之間往往是曖昧的：一方面，這些線條本身就具有強烈而獨立的造形，有些

間，也透過變更材料去創造空間，從而建構起關於形式的深刻提問，引人持續思考，細細品味。

線條非常寬闊並環繞著輪廓線，猶如瘦長的形體；另一方面，它們在整幅畫作中又構成了另一個 巨大的造形，比如吳炫三經常描繪佔據整幅畫面的臉孔，〈清晨獨步的少女〉、〈純樸的鄉村姑 娘〉、〈艷陽下的情侶〉、〈臉的故事〉等作品都是此類例證。池上鳳珠的作品也反應了線條與 形體的交錯，並且混用了壓印、水性顏料的自然流動等自動技法。比如在〈螺旋之舞系列〉中圈 圍出來的造形大量並置，並且經過數次重疊，構成了整體豐富的層次；〈眼簾裡的幻化世界〉系 列作品以及〈傳播生命的種子〉、〈魔樹的細胞〉、〈彩虹細胞系列〉等瓷器上的描繪則較為具體， 運用細緻的線條描繪彎曲的條狀造形和並排的曲線，構成猶如細胞或植物的生物形象。 其次是關於繪畫載體的思索。除了畫布，吳炫三也使用具有特殊肌理的木拼板作為繪畫的底基物，

註 Henri Focillon，《形式的生命》，陳平譯（北京：北京大學出版社，2011），頁 37。翻譯請參考原文“(L’œuvre d’art…) elle est matière et elle est esprit, elle est forme et elle est contenu.”

Claude Lévi-Strauss, La Pensée Sauvage (Paris: Plon, 1962), p. 37. 翻譯請參考原文 “Toujour à mi-chemin entre le scheme et l’anecdote, le genie du peintre consiste à unir une connaissance interne et externe, un être et un devenir, à produire, avec son pinceau, un objet qui n’existe pas comme objet et qu’il sait pourtant créer sur sa toile: synthèse exactement équilibrée d’une ou de plusieurs structures artificielles et naturelles, et d’un ou plusieurs événements, naturels et sociaux.”

以鑿刻和塗繪的方式製作線條。他對於雕塑也有類似的思考，這些雕塑作品無論使用單一材料或

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吳炫三 ˙ 池上鳳珠創作展

Distribution and Creation of Space:

The Artistic Language of A-Sun Wu and Paloma Chang

Next, let us look at the considerations that have gone into medium of composition. As well as canvas, A-Sun Wu also makes use of laminated wood, which has a particularly unusual texture, as the base material for his work. Lines are applied through carving and chiselling as well as through paint and drawing. He

Li-ting Jian

has similar ways of thinking about statues, and regardless of whether a statue work makes use of one material or perhaps multiple kinds of material amalgamated together, on all of them he applies stylistically

The work of art: it is of material but also spiritual form, it is about shape, but it is also about content

unique coloring, as in works of art such as “Kitty Waiting for its Owner” and “Young Girl”, where faces

─ Henri Focillon

and expressions all have their origins in a painted finish. In the work of art of Paloma Chang, the same consideration has gone into the particular characteristics of artistic medium. The “A World Transformed

Always half way between the creation and the story, the genius of the artist is to unite internal

Before My Eyes” series therefore uses acrylic paint on paper, creating numerous rings of paint that create

and external knowledge, of being and of becoming, to produce with his brush an object which does

a hollowed out appearance. Even though we may immediately recall the inscribed canvases of 1940s artist

not exist as merely an object, and yet it is something he knows how to produce on his canvas: it is

Lucio Fontana, or the disassembled canvases and pictures frames of the 1960s, Paloma Chang’s engravings

a finely balanced synthesis of one or more artificial and natural structures, of one or more events,

do not follow from any previous artistic notion because the aim of hollowed out areas is not to reveal the

natural and social.

characteristics of the original material, but rather it is to create a blurred effect through multiple applications ─ Claud Levi-Strauss

of paint. This and her own experience of drawing or ideas of engraving on pottery are more relevant to the discussion.

As history testifies, all great artists are possessed with outstanding technique. They are also frequently

The third thing worth looking at is the mixing of visual experiences. Due to A-Sun Wu and Paloma

pioneers of form, and through refined artistic language, they are able to assign the rhetoric of creativity to

Chang’s love of travel, with footprints in every continent, the appearance of their works of art also reflect

quotidian objects. Because many artists struggle for this, many of histories great works of art find themselves

this cultural blending. In the works of A-Sun Wu, one aspect of note is his particular interest in specific

repeatedly brought back to life. It is for this reason that we should pay particular attention to the composition

civilizations, for example in “China Door God”, “West African Fruit Seller” and “Dialogue Between A-Sun

of work by A-Sun Wu and Paloma Chang – their creations start off as drawings, but they do not only

Wu and the Asmats”. Another point of note is the close relationship between choice of form and visual

consider the issue of drawing in itself, rather they simultaneously expand the concept of drawing into the

experience, which is, it goes without saying, an influence of primitive art – for example his works of art

third dimension and even in works of sculptures and pottery they apply paint and draw lines. Each has spent

constantly make use of red, white and black colours, which were frequently found in primitive art due to

much time exploring their constructed vernacular, limiting themselves not only to mere clay, and not adhering

the ease in which they could be obtained through oxidization of iron (red), gypsum (white), and oxidization

fixedly to artistic traditions. Rather, in the process of creation, they unceasingly inquire into the possibility of

of manganese or carbon (black). Furthermore, in his statues we frequently see fretwork decorative design

space, and from multiple perspectives we can see the results of such studies.

and perpendicular strips assembled together, as in “Father, Mother and Son”, “Dialogue Between A-Sun Wu and the Asmats”, and “Girl Unlocks the Lock”, all of which are a cases in point. Some of his other

First of all, let us look at the blossoming relationship between lines and form. The distinguishing feature of

work also takes the wooden statue form of primitive art, the latter of which often finds itself deformed and

A-Sun Wu’s works of art with which one may be most familiar lies in his rough lines and large amount of

morphed in accordance with the material used. Paloma Chang’s works also blend the visual experiences of

brushwork calligraphy. The relationship between these lines and form is frequently vague: on the one hand

particular cultures, for example her organic images relying on plants with a sketched line appearance, which

these lines have an intense and independent construction, with some of the lines so expansive as to create

is not entirely unfamiliar in Eastern Asian drawing tradition. In her pottery work, it is even more possible to

a surrounding silhouette as if a slim figure in itself. On the other hand, in his portrait work, the lines come

observe these living figures, whilst thin threads and deep blue-green colours summon up the image of a blue

together to create a huge constructed shape, and as such we often see A-Sun Wu making portraits of faces

and white porcelain culture.

as in works such as“ Young Girl Walking Alone in the Early Morning” · “Pure Village Girl”, “Lovers Under the Hot Sun” and “Story of a Face”. Works of art by Paloma Chang also react to the intertwining of lines

The artist acts as a creator of form, and he often pays careful attention to the artistic language to be used. He

and form, as she mixes together natural engravings and water-based paint as a technique. For example, in

must select and decide upon the materialistic quality of base layer and paint, upon the form of composition,

the “Dancing Helix” series, the repeated use of rings, overlapping time-and-time again, constitutes a rich

upon the signification of symbols, upon the dialogue with tradition, upon the purity of concept, and upon

arrangement of ideas. In the “A World Transformed Before My Eyes” series, along with “Spreading the

the chance of successful execution. Only then can meticulous care lead to accomplishment. A-Sun Wu

Seed of Life”, “Cells of the Devil Tree” and “Rainbow Cells” series, the portrayal on the porcelain is fairly

and Paloma Chang do not only distribute space through their use of materials, but through manipulating

concrete and defined, making use of curved lines and parallel lines, which constitute a form similar to

materials they create space, thereby constructing a profound question about form in itself, and about which

a biological cell or perhaps a living organism.

people continue to ponder with relish.

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吳 炫 三 A-Sun Wu

2010 年後的告白

吳炫三 ˙ 池上鳳珠創作展

吳炫三 A-Sun Wu

「失物招領」吳炫三雕塑個展 ,Vallois 藝廊 , 巴黎 , 法國 "Lost & Found Sculpture Exhibition", Vallois Gallery, Paris, France 臺中創意文化園區 , 臺中 , 臺灣 Taichung Creative and Cultural Park, Taichung, Taiwan

吳炫三，1942 年出生於臺灣。1968 年畢業於國立臺灣師範大學，於 1971 年赴西班牙皇家藝術學院就

臺東美術館 , 臺東 , 臺灣

讀並於 1973 年畢業後於西班牙國家博士班進行研究。1974 年起，前往美國、非洲、中南美洲亞瑪遜

Taitung Art Museum, Taitung, Taiwan

河及巴西研究。1991 年起，居於巴黎與臺灣之間。2003-2008 年於印尼爪哇進行一系列雕塑創作。作 品長期於法國尼斯 Sapone 畫廊、義大利貝羅納 Sapone 基金會、法國巴黎 Lebon 畫廊以及巴黎 Vallois

2010

"The Form and Color of Fire International Ceramic Exhibition: Pablo Picasso, Hans Hartung, Manfredo Borsi, Kim En Joong, A-sun Wu", Mondovi, Italy

畫廊展出。 A-Sun Wu was born in Taiwan in 1942. He graduated from National Normal University in 1968, and continued

「火的形與色 : 畢卡索、哈同、波西、金恩中、吳炫三」陶藝聯展 ,Mondovi , 義大利

2009

「Jungles: Inspiration Revealed」, 聖彼得堡國家美術館大理石皇宮 , 聖彼得堡 , 俄羅斯

his study at the Real Academia de Bellas Artes de San Fernando in Spain in 1971. After graduating in 1973,

"Jungles: Inspiration Revealed", The Marble Palace Museum, Saint Petersburg, Russia

he entered the PhD program to continue his study. Since 1974, Wu travelled to the United States, Africa, the

應日本創價學會邀請在臺灣舉辦巡迴展 Taiwan Touring Exhibition by the invitation of Taiwan Soka Association

Amazon regions in Central and South America, and Brazil for his research. He has been living in Paris and Taiwan since 1991. During 2003 and 2008, he created a series of sculptures in Java, Indonesia. His works

2008

我們都是一家人「都會叢林

綠色奧運 」藝術展 , 奧運會 , 北京 , 中國

"Jungle Metropolitan - We Aare Family", Chaoyang Park , Beijing, China

have been in long-term display in art institutions, such as Sapone Gallery in Nice, France, Antonio Sapone

環鐵時代 Art, 北京 , 中國

Foundation in Bellona, Italy, and Lebon Gallery and Vallois Gallery in Paris, France.

Huantie Times Art Museum, Beijing, China 尚元素美術館 , 北京 , 中國

經歷 Exhibitions

Shang Element Museum, Beijing, China 橋藝術中心 , 北京 , 中國 Bridge Art Center, Beijing, China

2015 「吳炫三繪畫創作展」, 行天宮附設玄空圖書館 , 臺北 , 臺灣 "A-Sun Wu Art Exhibition", Hsing Tian Kong Library, Taipei, Taiwan

「生活在叢林」, 20 號倉庫 , 臺中 , 臺灣 "Living in the Jungle", Art Stock 20, Taichung, Taiwan

陽明山國家公園雕塑展 , 臺北 , 臺灣 Sculpture Exhibition, Yangmingshan National Park, Taipei, Taiwan Yohann 藝廊 , 巴黎 , 法國 Yohann Gallery, Paris, France

2007

Sapone 藝廊 , 尼斯 , 法國 Sapone Gallery, Nice, France

2006

Daniel Duchoze 藝廊 ,Rouen, 法國 Daniel Duchoze Gallery, Rouen, France

2014 「叢林之舞」, Maison des Arts, 巴黎 , 法國 "Dance in the Jungle", Maison des Arts, Paris, France

明圓文化藝術中心 , 上海 , 中國 Ming Yuan Art Museum, Shanghai, China

「狂墨」, 學學文創志業 , 臺北 , 臺灣 "Wild Ink", Xue Xue White, Taipei, Taiwan

Vallois 藝廊 , 巴黎 , 法國 Vallois Gallery, Paris, France

陽明山國家公園雕塑展 , 臺北 , 臺灣 Solo Sculpture Exhibition, Yangmingshan National Park, Taipei, Taiwan

Sparts 藝廊 , 巴黎 , 法國 Sparts Gallery, Paris, France

「穿越叢林」, 多明尼加共和國國家藝廊 , 多明尼加共和國 "Traverse the Jungle", National Museum of Art, Dominican Republic

Ville de Brive-la-Gaillarde, Chapelle Saint-Libéral , 法國 Ville de Brive-la-Gaillarde, Chapelle Saint-Libéral, France

2013 「南太平洋的傳說」,Friedman Vallois 藝廊 , 紐約 , 美國 "Legends of the South Pacific", Friedman Vallois Gallery, New York, US

2005

Vallois 藝廊 , 巴黎 , 法國 Vallois Gallery, Paris, France

2004

明圓文化藝術中心 , 上海 , 中國

Momentum Art Gallery, 克諾克 , 比利時 Momentum Art Gallery, Knokke, Belgium 喬凡尼當代美術館 , 加埃塔 , 義大利

Ming Yuan Art Museum, Shanghai, China

La Pinacoteca Comunale d’Arte Contemporanea “Giovanni da Gaeta,” Gaeta, Italy 2012

Sapone 藝廊 , 尼斯 , 法國 Sapone Gallery, Nice, France

Baudoin Lebon 藝廊 , 巴黎 , 法國 Baudoin Lebon Gallery, Paris, France

國立國父紀念館 , 臺北 , 臺灣

「穿越自然…」, 臺中港區藝文中心 , 臺中 , 臺灣

National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan

"Through Nature", Taichung City Seaport Art Center, Taichung, Taiwan 2011

2003

Sapone 藝廊 , 尼斯 , 法國 Sapone Gallery, Nice, France

Pierre Marie Vitoux 藝廊 , 巴黎 , 法國 Pierre Marie Vitoux Gallery, Paris, France Antonio Sapone 藝術基金會 , 貝羅納 , 義大利 Antonio Sapone Foundation, Bellona, Italy

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2010 年後的告白

吳炫三 ˙ 池上鳳珠創作展

A-Sun Wu

吳炫三

NOMAD

游牧者 作者｜秀拉格拉 Gérard Xuriguera ﹙法國知名藝評家﹚ 譯者｜李佩盈 ( 巴黎第一大學電影學博士 )

Wandering as a nomad through one Oceanic culture after another, A-Sun Wu has never stopped moving and drawing inspiration from within. From his early beginnings in Taiwanese forests through to the island of Papua New Guinea, and then on to Africa and the Amazon River basin, this is one person’s interaction with nature, and the characteristic images within his work are a coming together rather than any form of conflict.

游牧於各大洋洲和諸多文化之間 ，吳炫三從未間斷地遊走並從中汲取養分，從台灣的森林開始 ，

In fact, we can discuss his work from two aspects. The first is related to this sense of unification, and “Family

繼而是巴布瓦紐幾內亞一帶島嶼、以及非洲和亞馬遜河流域，這因而是一個人與自然相遇的標記，

Gathering”, “Lovers Tryst”, “Mother and Son”, ”King and Empress” or any of his other pairings develop

然而我們必須強調的是，銘刻在他作品中的圖像特性是相會式的融合，並非衝突。

this sense of bond. The second aspect is related to his conception of animal images, as seen in “Owl”, “Water Buffalo”, “Young Elephant”, and “Bull” amongst others. These two aspects illustrate that the dividing line

事實上我們可以從兩個面向來談他的作品，其一是關於結合，如家族聚會、愛侶關係、母親與兒子、

between humans and animals is in fact somewhat obscure. No matter what the theme is, we are always

國王與皇后或是其他配對等聯繫，都呈現出聯結的概念；另一個面向則是想像性的動物圖景，像

able to see the image of lush vegetation twisting within, interweaving with the work’s dense themes and

是貓頭鷹、水牛、幼象、公牛…等，只是兩個面向之間所展現的人獸分野事實上是充滿孔洞性的， 然而不論主題是什麼，我們總可以看到繁茂的植物圖像纏繞在其間，交織出盤根錯節的帷幕。 在男人 / 女人 / 大自然 / 動物的相遇之喧鬧中，總帶有粗獷但不具侵略性的味道，這把我們拋回一

concepts.

In the noisy clash between man, woman, nature and animal; there is a feeling of friction, but not necessarily of encroachment. We are thrown back into a world before language, into a world before art. It emits a feeling of power, of raw bodily experience sitting as a counterpoint to the artist’s innermost urges. We are

個前語言時代、一個先於藝術的世界，它發散出一股強大的象徵威力，在這裡純粹的行動肢體經

forced to declare in the face of such insolent power, that not only does it contain some of the tempered

驗對位著藝術家內心的衝動。而我們必須再度申明，在這粗野的力量中，事實上還蘊含著大自然

strength of nature, not only does it embody a feeling of tension, but it also allows the work of art to send

中某種節制的力道，其不但體現在角色的線條張力之中，並讓作品本身挾帶著特殊的情感涵量。

forth a strong kind of emotion that interacts with the viewer. Far from adhering to standard commercial

遠不同於媚俗的優美套路，吳炫三的句法是帶有稜角的粗澀，他所刻畫的身體和臉龐呈現出極為

gloss, A-Sun Wu’s compositions have a rough and bitter edge, and the bodies and faces he portrays all seem

精簡的樣貌，構組出一系列緊張僵直的線條配置，在此我們看不到完好的體態，反之，我們只見

incredibly simplistic in appearance, comprised of a series of nervously sketched lines. We are not viewing

到簡練和凹凸不平的綻裂式相貌，戲虐的面孔、突起的眼框、肢解的形體…等似乎趨向表現主義 的呈現，但不同的是，他的畫作更凸顯出一抹濃厚的原始主義色彩。

perfect figures, but instead we are seeing rough and bumpy broken appearances, with caricatured faces, protruding eyes, and disconnected physiques. It is almost like a form of Expressionism, but the difference is that A-Sun Wu is more compelling in expressing a primitive and atavistic tint.

同樣地，吳炫三的雕塑作品也保有這樣的風格，不管是木雕還是金屬雕塑，我們都可看到這位藝

A-Sun Wu’s works of sculpture possess a similar sense of style, and no matter whether the work is in wood

術家介入的專斷線條，在充滿象徵的紋路中，絲毫不給予裝飾性的語調，色彩也僅限定於紅與白，

or metal, we can see the artists’ same insouciant use of streaks and lines. Within this veined pattern there

這些雕塑不經意的洋溢出一股幽默感，總映射出動物的特性，其間繚蕩著藝術家游走於世界的迴

isn’t the slightest hint of over-embellishment, and with colours limited to red and white, these statues spill

響。此外，那些經由窯火耐心燒製的瓷器作品，其弧狀造形和不多加潤飾的色調，給予或平滑、

out an almost unintentional humour, resembling animal characteristics and echoing the artist’s worldly

或粗糙的自然質地，其樸實的形式就足以讓作品講述自身的材質、表達自身的意涵。

wanderings. Furthermore, A-Sun’s kiln fired ceramic works are not excessively adorned with colour, and whether of rough or smooth natural texture, their simple form allows the work’s material to speak for itself,

我們無需再為吳炫三多做介紹，身為一個全方位的藝術家，他早已為亞洲和歐洲人所熟知，其作 品獨特，嚴肅，卻同時深具遊戲意味。他的作品並不運載生命，因為他的作品即是生命本身。

and create its own message.

We need give no further introduction to A-Sun Wu, to his capacity as an all-round artist, to his familiarity with both Asian and European cultures, to the uniqueness, conscientiousness, but also sense of playfulness in his art. A-Sun’s works of art not only convey life, but they are life.

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平面繪畫 Painting

2010 年後的告白

平面繪畫

咀嚼生命的時間 Time Thinking About Life 壓克力於畫布 Acrylic on Canvas 204 x 393 cm 2011

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2010 年後的告白

平面繪畫

清晨獨步少女 Young Girl Walking Alone in the Early Morning 壓克力於畫布 Acrylic on Canvas 72.5 x 60.5 cm 2014

中國門神 China Door God 壓克力於畫布 Acrylic on Canvas 100 x 80 cm 2012

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2010 年後的告白

平面繪畫

三人組曲 Three Person Suite 壓克力於畫布 Acrylic on Canvas 91 x 116cm 2014

叢林的符號 Symbol of the Jungle 複合媒材 Mixed Media 116.5 x 91 cm 2015

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2010 年後的告白

平面繪畫

秋日遊 Autumn Day Stroll 壓克力於畫布 Acrylic on Canvas 119 x 184 cm 2012

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2010 年後的告白

平面繪畫

風起 雲湧 生活 Wind Rises, Clouds Bubble, Life 壓克力於畫布 Acrylic on Canvas 200 x 250 cm 2014

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2010 年後的告白

平面繪畫

臉的故事 Story of a Face 複合媒材 Mixed Media 97 x 130 cm 2014

等待 Waiting 壓克力於畫布 Acrylic on Canvas 164 x 195 cm 2014

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2010 年後的告白

平面繪畫

賣水果的西非洲女孩 West African Fruit Seller 壓克力於畫布 Acrylic on Canvas 97 x 130 cm 2013

想念青草的牛 Cow Longing for Grass 壓克力於畫布 Acrylic on Canvas 53 x 65 cm 2013

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2010 年後的告白

平面繪畫

純樸的鄉村姑娘 Pure Village Girl

艷陽下的情侶 Lovers Under the Hot Sun

複合媒材 Mixed Media 91 x 72.5 cm 2015

複合媒材 Mixed Media 116 x 91 cm 2015

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木拼板 Wo o d e n P u z z l e

2010 年後的告白

木拼板

MEIYI &DALI 複合媒材 Mixed Media 183 x 183 cm 2007 - 2012

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2010 年後的告白

木拼板

BABA & SASA 複合媒材 Mixed Media 183 x 183 cm 2007 - 2012

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立體雕塑 Sculpture

2010 年後的告白

立體雕塑

寰宇 The Universe

父親母親和小孩 Father, mother, and child

複合媒材 Mixed Media 166 x 87 x 53 cm 2015

複合媒材 Mixed Media 133 x 59 x 42 cm 2011

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2010 年後的告白

立體雕塑

羊 Goat

滑雪冠軍 Ski Champion

複合媒材 Mixed Media 130 x 63 x 45 cm 2006

複合媒材 Mixed Media 87 x 126 x 25 cm 2000

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2010 年後的告白

立體雕塑

少女 Young Girl 複合媒材 Mixed Media 68 x 33 x 6 cm 2015

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2010 年後的告白

立體雕塑

金礦五猴 Five Monkeys of the Gold Mine

解鎖的女孩 Girl Unlocks the Lock

複合媒材 Mixed Media 118 x 46 x 13 cm 2015

複合媒材 Mixed Media 284 x 28 x 25 x cm 2015

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2010 年後的告白

立體雕塑

等待主人的貓咪 Kitty Waiting for its Owner

達陣的喜悅 Joyful Achevement

複合媒材 Mixed Media 23 x 10 x 6 cm 2010

複合媒材 Mixed Media 51 x 16 x 7 cm 2015

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2010 年後的告白

立體雕塑

A-SUN WU 和 ASMATS 族的對話 Dialogue Between A-Sun Wu and the Asmats

黑武士 Black Samurai

複合媒材 Mixed Media 146 x 24 x 20 cm 2010

複合媒材 Mixed Media 57 x 60 x 38 cm 2015

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池 上 鳳 珠 Paloma Chang

2010 年後的告白

吳炫三 ˙ 池上鳳珠創作展

池上鳳珠 Paloma Chang

2011

「如影相隨」個展 , 臺中文化創意產業園區 , 臺中 , 臺灣 "As Shadow Follows the Form", Taichung Cultural & Creative Industries Park, Taichung, Taiwan

池上鳳珠，1975 年生於臺東池上。2004 年旅居巴黎至今。1997 年起，前往南太平洋、非洲、中南美洲、

2010

Art en Capital, Grand Palais, Paris, France

等原始部落旅行創作，曾榮獲第 57 屆臺陽美展油畫銀牌獎，2010-2015 年於法國巴黎大皇宮 「 首都

應巴黎 Lombrail-Teucquam 拍賣公司之邀參與拍賣 Invited by Lombrail-Teucquam Auction, Paris, France

藝術 」展出，並在 2015 年獲得法國泰勒藝術家基金會泰勒獎，亦首次於義大利加埃塔當代美術館舉 2009

辦個展。

「亞洲當代繪畫聯盟展」, 淡江大學文錙藝術中心 , 臺北 , 臺灣

since 1997, has been travelling and creating art as she visited primitive indigenous tribes in the South Pacific, and has participated in Art en Capital at the Grand Palais in Paris from 2010 to 2015. In 2015, she received an award from the French Fondation Taylor, and held her first solo exhibition at Pinacoteca Comunale di Arte Contemporanea "Giovanni da Gaeta” in Italy.

造訪俄羅斯聖彼德堡 Visited Saint Petersburg, Russia

Paloma Chang was born in Chishang Township, Taitung, Taiwan in 1975. She settled in Paris in 2004, and Africa, and Central and South America. Chang was awarded Silver Medal of the 57th Tai-Yang Art Exhibition,

「首都藝術」, 法國巴黎大皇宮 , 巴黎 , 法國

Joint Exhibitions of Asian Contemporary Paintings, Carrie Chang Fine Arts Center of Tamkang University, Taipei, Taiwan 2008

參與吳炫三於北京奧林匹克邀展企畫執行 Exhibition Executive for A-Sun Wu in Olympic Fine Arts Exhibition, Beijing, China

2007

首都藝術中心聯展 , 臺北 , 臺灣 Group Exhibition, Capital Art Center, Taipei, Taiwan

2006

經歷 Exhibitions

「藝術風華」展 , 臺北 101, 臺北 , 臺灣 "Art 101", Taipei 101, Taipei, Taiwan 福華沙龍雙個展 , 臺北 , 臺灣

2015

Duo Exhibition, Howard Salon, Taipei, Taiwan

「微觀水的律動」個展 , 加埃塔當代藝術館 , 義大利 "Rhythm of Microscopic Water", Pinacoteca Comunale di Arte Contemporanea "Giovanni da Gaeta,” Gaeta, Italy

「部落才藝小達人」, 東森文教基金會 , 臺北 , 臺灣 "Young Aboriginal Talents", Eastern Foundation, Taipei, Taiwan

「流動的線條」個展 , 陽明山國家公園 , 臺北 , 臺灣 "Flowing Lines", Yangmingshan National Park, Taipei, Taiwan 泰勒藝術家基金會三人聯展 , 巴黎 , 法國

2005

La chapelle de la Salpetriere, Paris, France

Paloma CHANG, A. SUN WU, Émeline PIOT Exhibition, Fondation Taylor, Paris, France

「生生潮澗蟲」個展 , 首都藝術中心 , 臺北 , 臺灣

獲法國泰勒藝術家協會繪畫獎 「EDDY RUGALE MICHAILOV」Awarded the Prix EDDY RUGALE MICHAILOV

"Pullulement des insects du marais—Paloma Chang Solo Exhibition", Capital Art Center, Taipei, Taiwan 2004~

「首都藝術」, 法國巴黎大皇宮 , 巴黎 , 法國

2000

臺北藝術博覽會 Lux Art , 臺北 , 臺灣

非洲旅行研究 「青花水漾」個展 , 陽明山辛亥光復樓 , 臺北 , 臺灣

Travelling and researching in Africa

"Watery Blue and White—Paloma Chang Solo Exhibition", Yanmingshan Xinhai Kungfu Building, Taipei, Taiwan 1999

「青花隨風飄」瓷器個展 , 新旺集瓷 , 鶯歌 , 臺灣

南太平洋群島旅行研究

「陶農｜青花雅集」吳炫三與池上鳳珠陶瓷聯展 , 總統府藝廊 , 臺北 , 臺灣 "Potter˙ Blue and White Porcelain Collection-The Joint Exhibition of A-Sun Wu and Paloma Chang", The Presidential Office Gallery, Taipei, Taiwan

臺東縣立文化中心個展 , 臺東 , 臺灣 Solo Exhibition, Cultural Affairs Bureau of Taitung County, Taitung, Taiwan

"Free-flowing Blue and White—Paloma Chang Porcelain Solo Exhibition", The Shu’s Pottery, Yingge, Taiwan

Travelling and researching in “Irianjaya” South Pacific Islands 1998

六十一屆臺陽美展優選 Quality Award of 61st Tai-Yang Art Exhibition

「首都藝術」, 法國巴黎大皇宮 , 巴黎 , 法國 Art en Capital, Grand Palais, Paris, France

鶯歌陶瓷博覽會油畫展 , 鶯歌 , 臺灣 Yingge Ceramic Fair—Oil Painting Exhibition, Yingge, Taiwan

「水的意識 --- 線條」個展 , 臺東國立生活美學館 , 臺東 , 臺灣 "Consciousness of Water—Lines", National Taitung Living Art Center, Taitung, Taiwan

赴南太平洋原始藝術研究創作、巴黎進修研究 Study aboriginal arts in the South Pacific region and advanced study in Paris

「比較沙龍」, 法國巴黎大皇宮 , 巴黎 , 法國 Le Salon Comparaisons, Grand Palais, Paris, France 2012

遊歷歐洲寫生創作 Living and working in Europe

Art Taipei, Taipei, Taiwan

2013

巴黎藝術學院深造 Advanced study in École des Beaux-Arts, Paris, France

Art en Capital—Salon, Grand Palais, Paris, France

2014

巴黎現代藝術家聯展 , 巴黎 , 法國

1997

「原始的脈動 」雙人聯展 , 新北市政府文化局 , 臺北 , 臺灣

「鄉旅之歌」, 國立國父紀念館 , 臺北 , 臺灣 "Songs of Travelling in Countryside", National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan

"Primitive Rhythm", Cultural Affairs Department, Taipei, Taiwan

巴布瓦新幾內亞“西比克河”原始部落研究

西非洲布吉納法索旅行研究

Research of primitive tribes, Sepik River, Independent State of Papua New Guinea.

Travelling and researching in West Africa, Burkina Faso

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吳炫三 ˙ 池上鳳珠創作展

池上鳳珠 華，更是一種召喚：無法以一種固定完滿的形狀框住，藉此投射出具象形狀的局限。花兒代表希望，

作品賞析

是來自另一個世界的預示。

文｜ Marcello Carlino

生命的循環確實是生生不息，池上鳳珠以近乎禪意的手法，將之揮灑出來，由此開拓了另一個疆 界。自從遷移到陸地後，這些海洋生物所構成的微宇宙成了繽紛多彩的花花草草，在林場中定居 下來後，成就了光明的恩賜。而這些花兒隨著蝴蝶飛舞的形式，又自成一個微宇宙，展現美妙絕

繽紛的色彩幻化，巧妙地將所有的構圖融為一體。時而生機盎然，如煙火迸放，時而柔和靜謐，

倫的存在本質。不管誕生出的是動物類的植物，還是植物類的動物，在在都呼應了一點：即生命

包覆環繞。眼前充斥海洋風韻的藍色調，又霎時轉為陸上暖暖的土黃色調。不一會兒出現的流光

全然跨越了那一條物種的分界線，宛如銜接的橋，通往另一個象徵性的道路。這是大自然的勝利，

波紋，下一秒只見縷縷飄散，直至成了漏斗型缺口，或幻化為蟲子的複眼，依序排列，偶爾又濃

也是對美妙生命的喝采。

密地糾結在一處。 隨著越來越俐落細緻的流線構圖，當中的一些形跡，使人直截了當地想及小蟲或蟲翅，彷彿給安 著重色彩運用與巧妙技法的主流畫風，在二十世紀國際的主要經驗流派中展現無遺，其歷史發展

了眼睛或機身般的軀殼。反映傳統正是其靈感所在，藉由這些反映，喚醒對傳統的記憶，彷彿是

成二大趨勢：抽象與無形式──這種風格與巧思，正是池上鳳珠最為人讚賞之處，也最能啟人深

從遠年而來的對話。至於花叢蝴蝶本身，好似即將動起來，振翅飛散而去，卻寧以棲息在瓷瓶上

省。如樂音般美妙的和諧，加上多變的調性律動──然往往伴隨意義深遠的訴求，將之投注在波

頭的方式，點綴其上，輕描淡寫地刻畫故事。於是乎，飛逝的隱喻隨著那股情感與記憶的波瀾搖

濤盪漾間，娓娓道來。同時在形狀圖像的詮釋可能下，將意義深埋其中，有如弦外之音，讓人從

曳，展現出一股強大的感染能量。

畫面的明顯呈現中去捕捉，就好比解讀字裡行間的言下之意，從而心領神會。是可能性，是跡象， 在花瓶上重建中國風藝術，是其靈感的來源，並以嫁接堆疊的樹木與插枝植物為題材。此種藝術

也可以是啟示，或是某種形狀圖像的速寫。

表現，須維持一貫輕巧優雅的手勢才能描繪圖案，含苞待放的花蕾，配合墨色的明暗深淺勾勒線 這不禁令人聯想到一些單細胞生物，齊頭並進似地向上攀爬，它們強而有力的尾端牢牢緊貼；又

條，加上寫意的題詞。這種內斂輕柔的筆法是世界的觀感，隨後卻不斷引發迴響──事實上，是

彷彿原生動物，在淡藍蒼茫的羊水內匍匐前行；也宛若分子鏈，似乎找到一個有充分關聯的理由，

在歐洲大陸尚未造成轟動的迴響──在自由所展現的畫風中，植物的根莖如此綿延纏繞，觀之令

可以在某個怡人的舒適環境定居下來；又像成串的隊伍，在 DNA 的基因組合中輪番上陣；也可以

視覺感官享受極致的樂趣，構圖細膩巧妙，予人深刻的感受，寫意不拘形跡，筆法極富創造力。

是華麗綻放的藻類，是蟄伏的矽藻，燦爛奪目；或說是人魚孩子的幼嫩身軀，在不間斷的變動下，

幾抹暈染效果，加上跳脫形狀的線條，打破慣有的型式框架，不但生趣盎然，還寄予強烈的寓意，

最終成功蛻變。

藉由傳統與創新二種價值觀之間的交流激盪，傳達作品意境。並利用一條跨文化的經緯線，在畫 面中緊湊地穿梭堆疊，融入東西方的意境。池上鳳珠的瓷器作品 《繪畫》當中，畫面之細膩，在

在畫中常見的水元素，維繫了生命，從水可進而追溯生命之源。水元素正是象徵在史前混沌時， 如黎明揭開了一切的序幕。是參與宇宙創始的聖子，是物質生成不可或缺的要素，並開始邁向跨 越與繁複的演變過程。此即存在的循環階段，在孕育生物的黎明時刻，顯然在畫中以水作了這一 層隱喻。因此這些構圖總以發展的意境為題 : 它們即將成形，它們隱隱驅動，它們暗示任意突變 的自由，而在當中又賦予多重意象，以及吸引人目光的異象預示。 它們即將綻放，適時地，宛如蒙上神秘面紗的矽藻，形似植物的結晶過程，令人驚艷，而它們的 盛開使畫面迎向另一種狀態的更新。恰似取材自生命的循環，畫中的幾何構圖逐漸化為一個渦旋， 藉由水到陸地的進展，以強力兼而優雅的表現藝術，躍然於池上鳳珠的畫布上：這些生物為海中 的溫床增添色彩，頓時幻化成花床，和諧一致地奔放，圓滿地相互呼應，呈現如萬花筒般的花朵 奇觀，上演這位台灣藝術家的其他戲碼。融入這些花朵的東方傳統，並非矯飾，而是要展現千年 哲學的精神，這種極其古老的智慧，是透悟大自然而來的意境。於是乎，在畫中借助如此奔放豔

營造孤絕的氛圍下，成功映現抽象的概念，這些如眼瞳般的飾邊線條綿密纏繞，像是彼此唱和著， 並朝瓶頸繚繞而去。而裝飾圖案以肉眼尚可分辨的細膩限度，斷續歪斜地烘托出不對稱的美感。 當中的小面具，像是荒謬劇裡的佩飾。而龜裂線條可比那廟宇屋椽的穿簷走飾，像是墓碑上的裝 飾，又像裂口的紋路。某些安了瓶塞的花瓶，有格外逗趣的姿態 ──彷彿是手舞足蹈的小丑動作。 而其作品最終所呈現的效果，如遠近時空相互交織，令人玩味無窮：一股延續中的藝術潮流，著 重意象與色彩。 池上鳳珠崇尚自然的天性，融入跨文化的生活體驗，成為她自身能量的泉源，在心靈中構築出生 態美。不同文化的美學基準與差距、傳統與創新，彼此如鏡面般相互輝映，同時躍然於池上鳳珠 的藝術表現上。她是銜接西方與東方的橋樑：從畫布到磁器，再從磁器到畫布，藉由意象與色彩 的交融，將水引渡到陸地上。這仍不脫生命的循環，而生命就繫於無止盡的循環渦旋中自我表述。 深具說服力，又不失優雅，融入覺察的意識。

麗的色彩，令這些花朵觀來不僅僅是花朵，也不再是嫩芽、蓓蕾以及白蓮，而是生命的純粹與菁

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吳炫三 ˙ 池上鳳珠創作展

Paloma Chang as decoration but as the substance of a millennial philosophy, of a very ancient wisdom influenced by nature,

Art Critic

it is to the colors here to blossom, so much so that the flowers are more than the flowers and the buds are more than the buds and the white lotus, purity and elixir of life, are ones of presence and evocations: not being able

Marcello Carlino

to keep a stable and accomplished form, projected beyond the limits of definitive forms, they are promises, announcements of another world.

The images are united by a talented chromatic fascination. Sometimes vivid and pyrotechnic, sometimes

And the cycle of life, indeed, doesn’t stop itself; Paloma Chang draws, to the closest of her poetry, an

with a tenuous enveloping warmth, sometimes blue of marine substance, sometimes moving towards warm

additional circumference from it. Having migrated from the earth, the maritime microcosm has become

earth-brown colors, sometimes becoming a fringe, a radius and a wake, sometimes appearing on evanescence

multicolored flora, which lives in the woods and in the fields, donating light; and the flowers with the

pushing against the vacuum of crater-shaped gaps or of eyespots in sequence, sometimes concentrated in a

butterflies become one, surprising and wonderful existences, a kind of miraculous zoological vegetation

more narrowed emergence.

or botanical animals, to which correspond, on a borderline absolutely surmountable, a bridging allowing a passage from symbolic state, the triumph of nature and the beauty of life.

The dominant taste for the color and the wisdom of its treatment fits into the wake of the international major experiment of the 20th century, of which the history is split in two directions: abstraction and informal –it is a

Bit by bit, the images acquire precision and clarity, as brief as are these evidences, whether they are elytron or

taste and a wisdom which is particularly enjoyed in Paloma Chang’s work, because they are capable of musical

wings with eyes or slender bodies, the reflections of the tradition create illuminations and, with the reflections,

suggestion and harmonization, of tonal rhythmic variations – are yet always accompanied by a proposition of

the reminders, remote dialogues. Even the flower-butterflies themselves appear to still be permitted to move

meaning given in a continuous wake of sense, which finds its roots in one possibility of forms-figures as well,

and spread while flying, in order to land on the ceramics to subtly print stories. This is a metaphorical flight in

that we grasp, implicitly, in the transparencies of the painted surface, and that we read in a watermarked way.

the wake of emotion and memory, of powerful expressive energy.

These are possibilities or clues or traits or outlines of forms-figures.

The Chinese art of vases is here rendered as a source of inspiration, akin to grafting trees and plants by taking Whether we think about the unicellular organisms that look like they are coming up to using their prehensile

cuttings; of this art, we retain the elegance of the graphical gesture, the flower buds, the density of several

appendages; or about the protozoa that give the impression of moving the whitened, faded blue amniotic

types of inking, the writing of ideographic notes, the extenuated and soft style that is a world vision then

fluid, or about the molecular channels, which seem to have found one first associative reason in a welcoming,

repeated in echoes – in truth, a pale echo in the European continent – in the vein of liberty. The rhizome is so

adapted habitat; or about the channels that are made to be DNA genomic relays; or about the flowering

tight and extended that it seems to be culminating in the essential, penetrating and subtle pleasure, free and

seaweed, splendid potential diatoms; or about bodies that bring to mind the children of mermaids, which are

aniconic, of the creative gesture. Yet still, the contamination with this going beyond the form, and that breaks

the result of uninterrupted metamorphosis in action.

up with the usual form, is vivid and highly significant; and it is translated by an active exchange of values between tradition and innovation; it intertwines with the context, between East and West, a tight intercultural

The element of water, common here, binds to life and, in the beginning, is the symbol of life, the epiphany

framework. Inside of the ceramic “painting” of Paloma Chang, with the preciousness of the images, which

of dawn that precedes all history, the symbol of the beginning of the universe, of something vital that is just

comes to be reflected in pure absolute of abstraction, combine, like in reverse angle, the thick and obvious

born and begins to follow its course by growing and enriching itself. It is the cycle of existence, in its dawning

moldings that hem the connectors, and the decoration is barely visibly discontinuous and distorted and

moment in which it prepares for the appearance of each and every being, which seems to be alluded to. And

dissonant, and the small masks of a grotesque theater, and the cracks that wave to pierced walls of the temples

that is the reason why the images still fit into an incipit context: they are on the verge of becoming, they

when they form columbarium and the start of tiny fissures, and the ironically forced positions – like a clown’s

suggest movement, they imply a capacity to mutate and give multiple and seductive announcements.

gestures – of certain bottles covered with a cork. The result is a fascinating interlacing of the far and the near in time and space: a direct current in the sign and the color.

They are precisely about to blossom, as mysterious diatoms, as a stunning formation of vegetal crystals, and their blossoming gives the images the ability to change state. What precisely comes under the cycle of life,

Multiculturalism lives naturally as the clean energy and ecology of the spirit, the norm and difference, tradition

of which the geometrics is resolved with one circle, on the paintings of Paloma Chang arises with force and

and innovation presented to reflect one another and simultaneously in Paloma Chang’s art, which is a link

elegance at the same time, going from water to earth: the creatures that color and transform the seabed into

between East and West: from canvas to ceramics and from ceramics to canvas, from earth to soil through the

gardens soar up accordingly, ideally correlated, with a kaleidoscopic show of flowers, with their theatre plays

sign and the sign and the color, it is yet still a cycle of life which, in this context, expresses itself and ties itself

in other works of art of the Chinese artist. And if the flowers are as adapted to oriental traditions as can be, not

into the infinity of a circle. It is with persuasive force, with elegance and with consciousness.

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65

螺旋之舞 Dancing Helix Series

2010 年後的告白

螺旋之舞

螺旋之舞系列 - PT 25 Dancing Helix Series Part 25

螺旋之舞系列 - PT 61 Dancing Helix Series Part 61

壓克力於畫布 Acrylic on Canvas 60.5 x 50 cm 2014

壓克力於畫布 Acrylic on Canvas 182 x 238 cm 2014

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2010 年後的告白

螺旋之舞

螺旋之舞系列 - PT 37 Dancing Helix Series Part 37

螺旋之舞系列 - PT 20 Dancing Helix Series Part 20

壓克力於畫布 Acrylic on Canvas 130 x 162 cm 2014

壓克力於畫布 Acrylic on Canvas 80 x 100 cm 2014

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71

2010 年後的告白

螺旋之舞

螺旋之舞系列 - PT 35 Dancing Helix Series Part 35

螺旋之舞系列 - PT 19 Dancing Helix Series Part 19

壓克力於畫布 Acrylic on Canvas 91 x 116 cm 2014

壓克力於畫布 Acrylic on Canvas 80 x 100 cm 2014

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73

水晶看世界 C r y s t a l Vi e w o f t h e Wo r l d

2010 年後的告白

水晶看世界

水晶看世界 - 26 Crystal View of the World-26

水晶看世界 - 27 Crystal View of the World-27

壓克力於畫布 Acrylic on Canvas 65.5 x 50 cm 2013

壓克力於畫布 Acrylic on Canvas 65.5 x 50 cm 2013

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77

2010 年後的告白

水晶看世界

水晶看世界 - 34 Crystal View of the World-34 壓克力於畫布 Acrylic on Canvas 50 x 65.5 cm 2013

水晶看世界 - 36 Crystal View of the World-36 壓克力於畫布 Acrylic on Canvas 65 x 58 cm 2013

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79

2010 年後的告白

水晶看世界

水晶看世界 - 6 Crystal View of the World-6

水晶看世界 - 5 Crystal View of the World-5

壓克力於畫布 Acrylic on Canvas 60 x 72 cm 2013

壓克力於畫布 Acrylic on Canvas 60 x 72 cm 2013

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81

2010 年後的告白

水晶看世界

水晶看世界 - 4 Crystal View of the World-4

水晶看世界 - 48 Crystal View of the World-48

壓克力於畫布 Acrylic on Canvas 60 x 72 cm 2013

壓克力於畫布 Acrylic on Canvas 65 x 80 cm 2013

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83

2010 年後的告白

水晶看世界

水晶看世界 - 49 Crystal View of the World-49

水晶看世界 - 43 Crystal View of the World - 43

壓克力於畫布 Acrylic on Canvas 65 x 80 cm 2013

壓克力於畫布 Acrylic on Canvas 58 x 65 cm 2013

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85

2010 年後的告白

水晶看世界

水晶看世界 - 46 Crystal View of the World-46 壓克力於畫布 Acrylic on Canvas 61 x 73 cm 2013

水晶看世界 - 45 Crystal View of the World-45 壓克力於畫布 Acrylic on Canvas 73 x 61 cm 2013

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87

眼簾裡的幻化世界 A Wo r l d T r a n s f o r m e d B e f o r e M y E y e s

2010 年後的告白

眼簾裡的幻化世界

眼簾裡的幻化世界 B 62.63,64,65,66,67,68,69,70

A World Transformed Before My Eyes B 壓克力於畫布 Acrylic on Paper 50x66cm x 9 張 2015

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91

2010 年後的告白

眼簾裡的幻化世界 D

眼簾裡的幻化世界

108,109,110,111,112,113,114,115,116,117,118,119,120,121,122

A World Transformed Before My Eyes D 壓克力於紙上 Acrylic on Paper 50 x 66 cm x 15 張 2015

92

93

2010 年後的告白

眼簾裡的幻化世界

眼簾裡的幻化世界 - 71 A World Transformed Before My Eyes - 71

眼簾裡的幻化世界 - 72 A World Transformed Before My Eyes - 72

壓克力於紙上 Acrylic on Paper 39 x 54.5 cm 2015

壓克力於紙上 Acrylic on Paper 39 x 54.5 cm 2015

94

95

2010 年後的告白

眼簾裡的幻化世界

眼簾裡的幻化世界 - 73 A World Transformed Before My Eyes - 73

眼簾裡的幻化世界 - 123 A World Transformed Before My Eyes - 123

壓克力於紙上 Acrylic on Paper 39 x 54.5 cm 2015

壓克力於紙上 Acrylic on Paper 39 x 54.5 cm 2015

96

97

2010 年後的告白

眼簾裡的幻化世界

眼簾裡的幻化世界 - 124 A World Transformed Before My Eyes - 124

眼簾裡的幻化世界 - 125 A World Transformed Before My Eyes - 125

壓克力於紙上 Acrylic on Paper 50 x 70 cm 2015

壓克力於紙上 Acrylic on Paper 50 x 70 cm 2015

98

99

2010 年後的告白

眼簾裡的幻化世界

眼簾裡的幻化世界 - 126 A World Transformed Before My Eyes - 126

眼簾裡的幻化世界 - 127 A World Transformed Before My Eyes - 127

壓克力於紙上 Acrylic on Paper 50 x 70 cm 2015

壓克力於紙上 Acrylic on Paper 50 x 66 cm 2015

100

101

2010 年後的告白

眼簾裡的幻化世界

眼簾裡的幻化世界 - 128 A World Transformed Before My Eyes - 128

眼簾裡的幻化世界 - 129 A World Transformed Before My Eyes - 129

壓克力於紙上 Acrylic on Paper 50 x 66 cm 2015

壓克力於紙上 Acrylic on Paper 50 x 66 cm 2015

102

103

2010 年後的告白

眼簾裡的幻化世界

眼簾裡的幻化世界 - 130 A World Transformed Before My Eyes - 130

眼簾裡的幻化世界 - 131 A World Transformed Before My Eyes - 131

壓克力於紙上 Acrylic on Paper 50 x 66 cm 2015

壓克力於紙上 Acrylic on Paper 50 x 66 cm 2015

104

105

2010 年後的告白

眼簾裡的幻化世界

眼簾裡的幻化世界 - 132 A World Transformed Before My Eyes - 132

眼簾裡的幻化世界 - 141 A World Transformed Before My Eyes - 141

壓克力於紙上 Acrylic on Paper 39 x 54.5 cm 2015

壓克力於紙上 Acrylic on Paper 39 x 54.5 cm 2015

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107

水 痕

水 恆

E n t e r n a l Wa t e r M a r k

2010 年後的告白

水痕 水恆

水痕 水恆 Enternal Water Mark 複合媒材 Mixed Media 150 x 200 cm 2015

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111

瓷器 Porcelain

2010 年後的告白

瓷器

律動萬花之森 Forest of Flowers 瓷器 Porcelain Φ 120 x 14 cm 2013-2015

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115

2010 年後的告白

瓷器

傳播聲生命的種子 Spreading the Seed of Life

彩虹細胞系列 - 09 Rainbow Cells series - 09

瓷器 Porcelain Φ 45 x 51 cm 2015

瓷器 Porcelain Φ 28 x 41cm 2014

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2010 年後的告白

瓷器

作品局部 A part of work 魔樹的細胞 Cells of the Devil Tree 瓷器 Porcelain Φ 40 x 39 cm 2015

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藝術家訪談 Interview

2010 年後的告白

藝術家訪談

2010 年後的告白 藝術家

吳炫三 ˙ 池上鳳珠

Late 2010 Confessions Artists

A-Sun Wu and Paloma Chang

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2010 年後的告白

藝術家訪談

A-Sun Wu and Paloma Chang in studio scene

吳炫三、池上鳳珠老師於工作室情景

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125

2010 年後的告白

藝術家訪談

藝術家們平時的創作生活 Artist's usual creative life

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國家圖書館出版品預行編目 ( CIP ) 資料 「2010 年後的告白」吳炫三 . 池上鳳珠創作展 / 沈欣穎 , 每個人的成長背景 就是他獨一無二的護照

林洧辰主編 . -- 初版 . -- 臺北市 : 築空間 , 民 104.11 128 面 ;21 x 28 公分 ISBN 978-986-91144-4-8 ( 平裝 ) 1. 美術 2. 作品集

Late 2010 Confessions A-Sun Wu and Paloma Chang Exhibition

902.33

104024390

發 行 人

邱復生

Publisher

Fu-Sheng Chiu

總 策 劃

吳炫三 池上鳳珠

Art Supervisor

A-Sun Wu, Paloma Chang.

Arki Galéria, Art Happening Production Ltd.

築空間 宜東文化創意有限公司 策展執行

沈欣穎 戴惠珍 林洧辰

Curatorial Team

Hsin-Yin Shen, Huei-Jen Dai, Wei-Chen Lin

主

編

沈欣穎 林洧辰

Chef Editor

Hsin-Yin Shen, Wei-Chen Lin

文字撰述

沈欣穎 羅健毓

Copywriter

Hsin-Yin Shen, Chien-Yu Lo .

Marcello Carlino, Gérard Xuriguera

Marcello Carlino Gérard Xuriguera 特別邀稿

簡麗庭

Curatorial Essay

Li-Ting Jian .

照片提供

吳炫三 池上鳳珠

Photo Taken From

A-Sun Wu, Paloma Chang.

人物照片

藝術家提供 李奕儒

Artist Photos

Provided by the artists, Yi-Ru Li

採訪錄影

陳詩文

Videographer

Shih-Wen Chen .

採訪攝影

李奕儒

Photographer

Yi-Ru Li .

美術設計

宜東文化股份有限公司

Art Design

Art Happening Production Ltd.

封面設計

密志齊

Cover Designer

Zhi-Qi Mi .

文字校對

沈欣穎 林洧辰 郭瑜瑛

Proof-reading

Hsin-Yin Shen, Wei-Chen Lin, Yu-Ying Kuo.

翻

何郁慧 萬象翻譯股份有限公司 黃亮融

Translator

Yu-Hui He, Linguitronics Co., Ltd, Liang-Jung Huang

設計印刷

里昂視覺製作有限公司

Printed by

Leon Visual Production Co., Ltd

佈展單位

山水藝術有限公司

Art Handler

Shan-Shui Art Ltd.

出版發行

築空間

Published by

Arki Galéria

出版日期

民國 104 年 11 月初版

Date of Publication

Nov,2015

定價

NTD 800

Price

NT $ 800

ISBN

ISBN 978-986-91144-4-8 ( 平裝 )

ISBN

ISBN 978-986-91144-4-8

譯

文字圖片，版權所有 All Rights Reserved