「40」- 王董碩 2016~2018 作品集

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王董碩

作品

WANG Tung-Shuo Works 2015-2018

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目 次

Contents

你會如何描述？

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蔡 佳政

What would you say?

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四十

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Danny TSAI

江 偉華

Forty

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關於作品

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Chiang Wei-hua

王 董碩

About Works

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WANG Tung-Shuo

簡歷

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Artist’s Biography

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作品清單

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Works List

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你會如何描述？

文：蔡 佳政 | 科元藝術中心

你總是如何描述事物呢？是直白的照時序敘述？隨興按照喜愛的部份 剪貼拼湊？或是只說部份，留下空白讓人自己去解讀？ 藝術形式的表現也是如此，人因襲生活背景接收訊息的方式不同，為 了傳達一個概念，像是愛情、親情、怨念、仇恨而用上各種方法。有 時幾行詩句、幾分鐘的歌曲、幾十分鐘的歌劇、2 個小時的電影，三百 頁的鋪陳只為了讓受眾能體會作者想說的一句話。 而我會怎麼敘述王董碩的作品？ 對我而言，王董碩的作品投射了我，我認為他抒情，如同那低調多層 次的底色，尖銳四射的線條表達了狂野，而色塊的筆觸透露出低潮或 茫然。王董碩總是減少觀眾的刺激，不欲煽動，在一片靜謐的畫面上， 讓通透如實的自己，逐漸地浮現出來。 面對一位這樣給與觀眾詮釋空間的藝術家，若你願意進入他給的空間 去感受，你會怎麼敘述這些透露出自己生命演化的感受呢？會開誠佈 公的說出來，還是只願意讓自己知道？

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What would you say?

By Danny TSAI (Ke-Yuan Gallery)

How do you usually d escribe th ings? Is it directly d escribed in chron ological ord er? Feel free to piece together your favorite parts? Or jus t say some parts and leave the blank to let peo ple interpret?

The same is true of the form of art. Peo ple use different ways of receiving messages in the context of life. In ord er to convey a concept, such as love, affection, resentment, hatred, various methods are used. Sometimes a few lines of verses, a few minutes of songs, dozens of minutes of o pera, two hours of fil m, three hundred pages of paving only to let the audience und ers tand the words the author wants to say.

And how would I describe Wang tung-shuo's work?

For me, Wang tung-shuo 's work projected me, I think he is lyrical, like the low-key multi-layered background, the sharp lines express the wild, and the s trokes of the color blocks reveal the low or bleak moments of life. Wang t ung-shuo always reduces the visual s timuli of the audience, does n ot incite emotions, and gradually reveals a true self-consciousness on a quiet picture.

Face the paintings that give viewers the rig ht to interpret, if you are willing to enter the space he gives, how would you d escribe these feelings that reveal the evolution of your life? Will it be open and honest, or will it only remain in your heart?

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四 十

文：江 偉華 | 獨立紀錄片導演

狹長的廚房裡。 安靜厚重的木砧板平躺著，一旁瓦斯爐上的鑄鐵爐架持續吸收鎢絲燈 泡的黃光。冰箱的壓縮機只發出微弱的聲響，但聽起來就像來自某個 風浪不大的寒冷岩岸，沒有間斷地低鳴。木架上的各式香料、調味， 造型相近的瓶罐裡，內容物以不同的密度，或說被研磨分解再製存放 的面貌一起陳列，沾染些許油煙，圖書式地各自講述著歷史。也可能 什麼都沒有講，不被使用地使用著。 看似下刀乾脆地去掉洋蔥頭，其實在那之前也快速斟酌了 3 到 5 毫米， 平整的切面滲出光澤，立在牆邊的不銹鋼餐具對那微爍做了一點回應。 餐具上方懸掛著兩面平底鍋，尺寸有些許差距，鍋底都以同心圓的方 式嵌入了茶褐色的污漬。那污漬看起來很容易以略帶快感的形式刷除， 但其實它們沒有被除去的任何機會，它們早已成為平底鍋的一部分， 共同存活下去。處理雞胸肉之前想再往馬克杯裡注入一些咖啡，結果 拿起摩卡壺的重量顯示裡面已經沒有任何黑色液體。那金屬的八個鈍 角像是某種暗示，不用再傾斜了，平穩地放回原處吧。 因為空間太壓縮，即使逐漸有光線從方窗斜射進來，也無法在地板拉 出一個完整的暖色塊，那本該率直的光的輪廓，被空氣中的隨機訊息 遮掩，轉換成深紅土色的 3D 渲染效果，最後被地磚承接的仍然是曖昧 的墨的斑駁。一直都有文火在那不明材質的沉甸甸的鍋子底下，鍋蓋 的一邊溫和節制地冒出熱氣，數百年溫泉般沒有人知道已經過了多久， 寧可繼續看著那景象也不願知道鍋裡煨的是什麼。 回過身想從冰箱取出肉塊時，男人終於注意到牆角有些微的變化。 準確地說是看不見兩面牆所構成的那個直角的立線。因為那角落在方 窗帶入的光線之後，視覺上失去空間感，對比之下以一種接近混沌的 黑的狀態存在。稍微偏移視角的話，偶而還會覺得那黑將要凝結成一 個平面，但隨即又被前方的光線干擾視野。原本應該有張木製的高腳 圓凳立在那角落。

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會來到這裡並不感到意外，就像也可能從狹長的廚房走到一直以來的臥 室一樣自然。在試著踏入那混沌的黑的狀態之後，面前是一片灰色調的 原野。其實只是多雲的陰天吧，能見度不高，從背後往前吹去的風有點 大。遠方的色階更暗沉，好似有個模糊的天際線剛剛往上升了一點。試 著往前走幾步，腳步比平常重，或說舉起步來沒有過去俐落。一種稍微 勾到了什麼細線，童年時自己做的陷阱之類的東西的感覺。結果每一步 都如此，這點可以說比較意外。森林緩慢但確實地逼近過來。說是緩慢， 大概是因為缺乏時間感，又要顧著腳下，又要看著前方的時候，高大密 集的林木群已經來到數十公尺遠的地方。森林不是以一種駭人的姿態前 來，但明明自己也沒有走得那麼快。地面不算平整，而且應該是些微的 上坡，草大概長到小腿的高度，意識到草的觸感，然後才意識到赤著腳 在行走，腳底軟軟涼涼的。想不起來在廚房時是否也赤著腳。進入森林 以後，喘息開始變重變長了，再往深處走了一段，才發現森林裡沒有任 何聲響，因此每一口呼吸聲都被放大了，胸腔收縮擴張的細微變化都能 以聽覺的方式接收到，這樣的訊息終於轉換成疲累感。林間不只沒有聲 音，沒有風，光線也很稀散，大概是原始的針葉林，卻完全感覺不到其 他動物的存在，只有不斷堆疊的深黝色塊，將樹的形狀往上無盡地延伸， 而那些高聳到底是不是樹也愈來愈沒有把握。 必須匍匐下來。腳底的觸感還在，表示地面還在，讓身體和這個地方有 更多的連接，才能再確認一次自我的樣貌。背脊有些痠痛。側臉感受那 不平整的柔軟，還有一些細緻的紋理。用手掌撫觸那纖細的質地，然後 將指腹放到臉頰上。有短硬的鬍渣，沒有到需要刮除的長度，但也沒有 任何妥協地存在臉上。身體的量感，或是地心引力，在這個時候才逐漸 明確了起來。胸口緊了幾秒鐘，就像在看某些書或電影時的感覺一樣， 不過心情是鬆懈而厚實的。呼吸和緩了下來，然後發現氣味了。冷冽但 清晰的，老舊的紙張、握了很久的打火機、皮革沙發，與一點檸檬胡椒 粉。趴在這裡，眼前的雜草也一起轉換成有現實感的味道，全部混在一 起，然後很順暢地透過肺部全部收進身體裡。 邃遠的森林有了動靜。林木般的巨大黑色開始聚合。他們往彼此移動、 透過寂靜相互融接起來，將空隙填補，一層一層，一塊一塊，緩慢地縮 短縱向深度。

可以站起來了。轉動脖子嘗試回望一下，頸部發出細微而頑固的嘎吱嘎 吱聲。已經沒有前方後方的差異，所以回望成了一個多餘的動作。 切好的洋蔥還在砧板上，但這個森林也很好，沒有問題。

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Forty

By Chiang Wei-hua (independent documentary filmmaker)

A long and narrow kitchen.

The wood cutting board, th ick and solid, is lying there quietly, next to the gas burner s tands wh ich continuously a bsorb the yellow lig ht from the lig ht bulbs. The re frigerator’s compressor is humming in an indis tinguisha ble voice, reminiscent of the c e a s e l e s s m u r m u r f ro m t h e c o l d r u g g e d c o a s t i n t h e m i l d e r weather.On the wood en rack are bottles and jars in similar sizes a n d s h a p e s . W h a t t o b e fo u n d i n s i d e a re s p i c e s a n d h e r b s i n different levels of density, from leaves, grains, to the grinded and reprocessed powd ers for better preservation. Smoked and stained, each one of them is like a book telling one’s own story.Or perhaps there is n oth ing to be told, as they are used when they are n ot used.

With a perfect precision that the head of the onion is cut off, although after a care ful measurement down to 3-5 mm.The sliced onion has a smooth and lus ter surface, wh ile the s tainless s teel utensils s tanding agains t the wall make some response to the glitter. Above the utensils are two cooking pans hanging over the kitchen. The sizes differ, but the bottoms of both pans are embedd ed with concentric dark tea s tains, presuma bly to be easily brushed away as a pleasura ble task thoug h the removal is d e finitely impossible. The s tains have already become part of the cooking pans till death do them part. Before turning to the chicken breasts, the man tries to pour some more coffee into the mug, but he can tell by the weight of the moka pot that not a drop of black liquid is left insid e. The eight obtuse angles made of steel suggest that he should put it back to where it was since tilting it will n ot bring him anything more.

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The space is too compressed. Even the lig ht coming throug h the square window at a low angle cannot create the warm color block as a whole on the floor, since the contour of the lig ht with its assumed directness is covered up by the random messages in the air.It thus transforms into the dark-clay ink-wash perspective and is a bsorbed by the floor tiles as some ambiguous weathered ink.U nd er the heavy pan whose material unkn own to us is a smoldering fire, which results in the hot mild smoke emitted from the other sid e of the lid.Like a hot spring that n o one kn ows how many centuries have passed, one would rather look at the scenery than kn owing what’s stewed in the pan.

As he t urns to get the meat from the re frigerator, the man has finally n oticed the subtle changes at the corner.

To put it more clearly, what he did n ot see was the s traig ht vertical line at the rig ht-angled corner between the two walls.

The corner was beh ind the lig ht coming from the square window and it thus visually created a sense of loss in terms of space, like some chaotic blackness in comparison.If we move our gaze slightly away from it, we would even have a feeling that the blackness was a bout to be crys talized into a plain, shortly be fore the sig ht was dis t urbed by the lig ht ahead of us. There should have been a wooden s tool at the corner.

It’s n ot surprising that n ow he finds h imself in th is place, as nat urally as how he walks to the always-there bedroom from the long and narrow kitchen.Be fore trying to s tep into the chaotic blackness, what’s ahead of h im is the wild erness with a greyish hue.Guess it’s jus t a cloud ed day, with limited visibility, and

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the wind is a bit s trong blowing from beh ind. The scenery in the dis tance has darker shad es, like the obscured horizon has jus t risen up a little bit. Try to take several s teps forward. The s teps are heavier than be fore, or the e fficiency of the movement is n o longer there, as if he were tripped over a thread or other childhood self-mad e traps. But contradictory to h is expectation, every s tep is jus t the same. The fores t is moving closer and closer, and its movement is slow but certain. Being slow is proba bly the result from the lack of sense of time. As h is mind is s till occupied by what he s teps on and what’s ahead of h im, the close assembly of giant trees have already been within dozens of meters away.

The

forest is n ot approaching as a terrifying treat, but he doesn’t walk that fast either. The ground is not flat, and it is slightly ascending.

The grass is a bout the height of the shins. Only when he is aware of the touch of the grass does he begin to feel that he is walking barefoot on something soft and cool. Can’t remember whether he was barefoot or not in the kitchen. After he enters the forest, the breath becomes heavy and long. As he walks deeper in the forest, he realizes that there is n o sound, so every breath is amplified, as well as the clearly audible subtlety of the ches t expanding and contracting. The message gradually t urns into exhaus tion.

There is neither sound nor wind in the forest, with only vague and dissipated lig ht. It looks like an old-growth coniferous fores t, but he feels n o exis tence of other aninmals – only the accumulating dark color blocks, with wh ich the shape of the trees extends upward endlessly till no one is sure whether the thing up in the air is tree or not.

He has to lower h is body to crawl. The feeling und er the feet is s till there, so the ground is s till there. He needs more connection between the body and the place to reconfirm what he looks like.

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The back is sore, especially around the spine. The face t urns to the sid e to feel the uneven softness and the d elicate text ure.

The pal m feels the d elicate text ure be fore the finger pulps touch the cheeks. The short and s tiff s t ubble has n ot need ed to be shaven yet but it doesn’t compromise its presence on the face. The volume of the body, or the gravity, becomes clear at this moment. The chest is feeling tight for a couple of seconds, l i ke t he a gitati ng fe e ling w he n re adi ng b o o k s o r w atc h i ng movies, but the heart is relaxed and solid. The breath slows down, and then he n otices the smell. It is cold but clear, the old papers, the lighter long in someone’s grip, leather sofa, and some lemon peppers. Lying face down, the weeds in front of the eyes are mixed and transformed into a realis tic smell to be smoothly inhaled through the lung to the whole body.

There is someth ing going on d eep in the fores t. The giant blackness, like woods and trees, gathers in assembly, moving t ow a rd e a c h o the r, c o nne c te d and inte grate d thro ug h the quietness until all the crevices are filled. Layer by layer, block after block. In a slow process that the vertical d epth is being shortened.

Now he can s tand up, t urn h is neck, try to look back, and he hears the gentle but yet s t ubborn crack ling sounds from the neck. Since the difference between the front and the back disappears, looking back becomes a redundant gesture.

The chopped onion is still on the board. But the forest is a good place too. There is nothing wrong with it.

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關於作品 近兩三年的創作，跟以往最大的不同是更直覺地進行繪畫。我花了 較多的時間在感受，面對那些不得不接受的，在生活中進行著，平 行發生或者是交錯流竄過生命中的事件、情緒、與夢。在某些迷惘 的時空裡用力睜大眼睛往黑裡看去，調整呼吸觀察著潮汐的往復。 有的時候花了時間等待造型在心中慢慢的浮現，畫些草稿琢磨成適 當的語言，有的時候則直接在畫布上下筆，立刻就決定了適合某種 情緒的造型。而我也慢慢的了解到，在繪畫動作的慣性之下，就算 使用了不同的造型，顏色與筆觸，新的作品也總能接上自己一直以 來的創作脈絡。就像樹一樣，不同年紀與季節總有不同的樣貌與姿 態。因為如此，也就不太需要在創作上計畫什麼，只要開始畫一張 圖，然後再畫下一張，然後再一張。說實話，作品有好有壞，不過 還好的是，跟你的人生一樣。

感謝一直支持我的科元藝術中心、家人和朋友，謝謝 !

王 董碩 2018.09 於台北

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About Works My creative works in recent years have become more intuitive and spontaneous than two or three years ago. I th ink I’ve spent more time on my feelings, to deal with these I am obliged to accept, like the events, moods, and dreams either taking place in parallel or crossings in my life. During the time of confusion, I would force my eyes wide open to look into the darkness, adjusting my breath to meditate on the ebb and flow of the tides. Sometimes I would wait for the form to emerge from the bottom of my heart be fore taking shape in my sketches with the mos t appro priate contours, and at times I would directly go to the canvas, appealing to the immediate impulse to d ecid e how certain emotion should be visualized. I have thus come to realize, slowly but certainly, that it is because of the ha bit ual movement of painting that any new work will always find itself connected with the consis tent artis tic practice throug hout my previous works, even when they appear with different forms, colors, or brushwork. Like trees, each one of them will have different pos t ures and appearances at different s tages and seasons. For this reason, I don’t think it is necessary to make a plan before painting; rather, I just begin to paint, to finish one and to s tart a new one. To be honest, the final works can be good or bad, but fortunately, so is life.

Special thanks to Ke-Yuan Gallery, my family, and friends for their continued support.

Tung-Shuo WANG Taipei,September 20 18

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王 董碩

1978 出生於台灣 台北 目前工作及居住於台灣台北

學歷 2007

法國塞爾基藝術學院（ENSAPC），碩士畢業

2000

台中東 海大學，美術系，學士畢業

獲獎 2015 「Young Art Award 新潮賞」，新潮賞，台北，台灣 2009 「Epson 百萬影像大賞」，海外參賽特別獎，日本 2008 「第 53 屆 Montrouge 當代藝術沙龍展」，入選，法國

個展 2018 「40」，科元藝術中心，台中 2017 「低潮」，科元藝術中心，台中 2016 「主觀」，大趨勢畫廊，台北 「自私的形狀」，科元藝術中心，台中 2015 「抒情」，一票人票畫空間｜ PiaoPiao & 畫庫，台北 「敘述」，科元藝術中心，台中 2014 「平行世界」，科元藝術中心，台中 「東西 - 室內攝影作品選」，實心裡生活什物店，台中 2013 「自有安排」，科元藝術中心，台中 2012 「結石」，科元藝術中心，台中 2011 「是山」，科元藝術中心，台中 2010 「十年之後…」，世界畫廊，台中

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聯展 2018 「Art Central」，香港中環海濱，香港 「Art Taipei」，世貿一館，台北 2017 「Young Art Taipei」，台北喜來登大飯店，台北 「Art Taipei」，世貿一館，台北 2016 「Art Taipei」，世貿一館，台北 2015 「Young Art Taipei」，台北喜來登大飯店，台北 「Art Taipei」，世貿一館，台北 「食物箴言」，台北市立美術館，台北 2014 「Art Kaohsiung」，駁二藝術特區，高雄 「Young Art Taipei」，晶華酒店，台北 2013 「AHAF」，文華東方酒店，香港 「Art Taipei」，世貿一館，台北 「Art Taichung」，金典酒店，台中 「東海大學美術系創系 30 週年系列活動 - 優秀校友邀請展」， 東海大學藝術中心，台中 2012 「Art Taipei」，世貿一館，台北 「王董碩、段存真雙個展」， 一票人票畫空間｜ PiaoPiao & 畫庫，台北 2010 「Young Art Taipei」，王朝大酒店，台北 「PHOTO TAIPEI」，王朝大酒店，台北 2009 「本地風光─青春嶺十周年」聯展，科元藝術中心，台中 「失聯協尋二部曲」聯展，苡樂藝術空間，台中 「Crayon et Papier」performance-dessins，Galerie ma collection， 巴黎，法國 「PHOTO TAIPEI」，六福皇宮大飯店，台北 2008 「青春嶺 - 藝術新星」聯展，科元藝術中心，台中 「自序 / 秩序」聯展，千活藝術中心，台北 2006 「午茶時光」聯展，珍珠茶館，巴黎，法國

126

WANG TUNG SHUO

1978

Born in Taipei, Taiwan Now lives and works in Taipei, Taiwan

Education 2005

École Nationale Supérieure d'Arts in Paris-Cergy (France), MFA

2000

Tunghai University (Taiwan), Depatment of Art, BFA

Awards 2015

[ Young Art Award 2015 ] , Taipei, Taiwan

2009

[ Epson Color Imaging contest 2009 ], Overseas competition Special

2008

[ 53e Salon d'Art Contemporain de Montrouge ], Entry Award, France

Award, Japan

Solo Exhibitions 2018

[ 40 ] , Ke-Yuan Gallery, Taichung, Taiwan

2017

[ Low ] , Ke-Yuan Gallery, Taichung, Taiwan

2016

[ Subjective ] , Main Trend Gallery, Taipei, Taiwan [ Shape of selfish ] , Ke-Yuan Gallery, Taichung, Taiwan

2015

[ Lyric ] , Piao Piao Gallery, Taipei, Taiwan [ Narration ] , Ke-Yuan Gallery, Taichung, Taiwan

2014

[ Parallel World ] , Ke-Yuan Gallery, Taichung, Taiwan [ Things - Indoor photography collection ] , At Solid Arts & Crafts Store, Taichung, Taiwan

2013

[ Own Arrangements ] , Ke-Yuan Gallery, Taichung, Taiwan

2012

[ Calculus ] , Ke-Yuan Gallery, Taichung, Taiwan

2011

[ This is mountain ] , Ke-Yuan Gallery, Taichung, Taiwan

2010

[ After / In ten years ] , Shijie Gallery, Taichung, Taiwan

127

Selected Group Exhibitions 2018

[ Art Central 2018 ] ,Central Harbourfront,Hong Kong [ Art Taipei 2018 ] , Taipei World Trade Center, Taipei, Taiwan

2017

[ Young Art Taipei 2017 ] , Sheraton Hotel, Taipei, Taiwan [ Art Taipei 2017 ] , Taipei World Trade Center, Taipei, Taiwan

2016

[ Art Taipei 2016 ] , Taipei World Trade Center, Taipei, Taiwan

2015

[ Young Art Taipei 2015 ] , Sheraton Hotel, Taipei, Taiwan [ Art Taipei 2015 ] , Taipei World Trade Center, Taipei, Taiwan [ The Testimony of Food: Ideas and Food ] , Taipei fine arts Museum, Taipei, Taiwan

2014

[ Art Kaohsiung 2014] , The Pier-2 Art Center, Kaohsiung, Taiwan

2013

[ Asia Hotel Art Fair] , Mandarin Oriental, Hong Kong

[ Young Art Taipei 2014] , Regent Hotel, Taipei, Taiwan [ Art Taipei 2013] , Taipei World Trade Center, Taipei, Taiwan [ Art Taichung 2013] , The Splendor Hotel, Taichung, Taiwan [ 30th Year Anniversary celebrations of the founding Department of Fine Arts at Tunghai University Exhibition] , Tung Hai University Art Gallery, Taichung, Taiwan 2012

[ Art Taipei 2012] , Taipei World Trade Center, Taipei, Taiwan [ Duo Exhibition by Tung-Shuo WANG & Tsun-Chen TUAN ] , Piao Piao Gallery, Taipei

2010

[ Young Art Taipei 2010 ] , Sunworld Dynasty Hotel, Taipei, Taiwan Photo Taipei 2010, Sunworld Dynasty Hotel, Taipei, Taiwan

2009

[ The Local Scenery, New Stars of Art (2000-09) ] , Ke-Yuan Gallery, Taichung, Taiwan [ Lost Contact Help Finding Episodes, Espace Liu Gallery] , Taichung [ Crayon et Papier ] , performance-dessins, Galerie ma collection, Paris, France [ Photo Taipei 2009 ] , The Westin Hotel, Taipei, Taiwan

2008 [ Youth Peak-2008 Art Newstars Exhibition ] , Ke-Yuan Gallery, Taichung, Taiwan [ Preface / Order ] , Group Exhibition, Art & Julia's Gallery, Taipei, Taiwan 2006 [ Tea Time ] , Group Exhibition, Zen Zoo, Paris, France

129

130

作品清單 WORKS LIST

猶豫 - 2

Hesitate - 2 油彩、畫布 oil on canvas 1 20 x 1 20 cm 2015

憂鬱的射出 - 1

猶豫 - 1

Melancholy Injection - 1

Hesitate - 1

油彩、畫布 oil on canvas 53 x 45.5 cm 2015

油彩、畫布 oil on canvas 1 20 x 1 20 cm 2015

P.003

P.012

P.013

憂鬱的射出 - 2

痛處 - 5

Melancholy Injection - 2

Pain - 5

油彩、畫布 oil on canvas 45.5 x 53 cm 2015

油彩、畫布 oil on canvas 53 x 4 5.5 cm (2 pieces) 2015 P.015

P.005

管道 37 - 2

社會化的方法

Pipeline 37 - 2

Socialization Method

油彩、畫布 oil on canvas 130 x 162 cm 2015

油彩、畫布 oil on canvas 100 x 100 cm 2015

P.007

管道 - 3

P.017

2

Pipeline - 3 油彩、畫布 oil on canvas 130 x 194 cm 2015

P.008

油畫棒、油彩、畫布 oil stick and oil on canvas 53 x 4 5.5 cm 2016 P.019

尖銳的問題 - 2

其中 - 1

Sharp Question - 2

Therein - 1

油彩、畫布 oil on canvas 150 x 150 cm 2015

炭筆、油彩、畫布 charcoal and oil on canvas 53 x 4 5.5 cm 2016 P.020

P.011

131

其中 - 2

錐-2

Therein - 2

Cone - 2

炭筆、油彩、畫布 charcoal and oil on canvas 60 x 60 cm 2016

炭筆、炭精筆、油彩、畫布 charcoal、carbon pencil and oil on canvas 150 x 150 cm 2016 P.029

P.021

網

夢-2

Net

Dream - 2

炭精筆、油彩、畫布 carbon pencil and oil on canvas 4 5.5 x 53 cm 2016 P.022

炭筆、油彩、畫布 charcoal and oil on canvas 60 x 60 cm 2016

網 - 2

0

P.031

Net - 2 炭精筆、油彩、畫布 carbon pencil and oil on canvas 53 x 4 5.5 cm 2016 P.023

炭精筆、油彩、畫布 carbon pencil and oil on canvas 53 x 4 5.5 cm 2016 P.032

牆

夢

Wall

Dream

炭精筆、油彩、畫布 carbon pencil and oil on canvas 4 5.5 x 53 cm 2016 P.025

油彩、畫布 oil on canvas 41 x 31.5 cm (2 pieces) 2016

坡

空的角尖

Slope

Empty Cone

炭精筆、油彩、畫布 carbon pencil and oil on canvas 53 x 4 5.5 cm 2016 P.026

炭筆、炭精筆、油彩、畫布 charcoal、carbon pencil and oil on canvas 130 x 162 cm 2016 P.035

錐

歪斜的柱

Cone

Skew Column

炭精筆、油彩、畫布 carbon pencil and oil on canvas 53 x 4 5.5 cm 2016 P.027

鉛筆、炭筆、油彩、畫布 pencil 、charcoal and oil on canvas 116.5 x 91 cm 2016 P.037

P.033

132

折返

自私的形狀 - 2

Round Trip

Selfish Shape - 2

炭筆、油彩、畫布 charcoal and oil on canvas 162 x 130 cm 2016 P.039

炭筆、油彩、畫布 charcoal and oil on canvas 41 x 31.5 cm (2 pieces) 2015 P.049

重複出現的夢

遠方 -1

Recurring Dreams

Distance - 1

油彩、畫布 oil on canvas 80 x 80 cm + 91 x 72.5 cm 2016 P.041

油畫棒、油彩、畫布 oil s tick and oil on canvas 60 x 60 cm 2015 P.050

其中 - 3

遠方 -2

Therein - 3

Distance - 2

油彩、畫布 oil on canvas 80 x 80 cm + 91 x 72.5 cm 2016 P.043

油畫棒、油彩、畫布 oil s tick and oil on canvas 60 x 60 cm 2015 P.051

憂鬱的射出 - 3

漫射的憂鬱 - 1

Melancholy Injection - 3

Melancholy Diffusion - 1

油彩、畫布 oil on canvas 80 x 80 cm + 91 x 72.5 cm 2016 P.045

油彩、畫布 oil on canvas 130 x 193 cm 2016

憂鬱的射出 - 4

漫射的憂鬱 - 2

Melancholy Injection - 4

Melancholy Diffusion - 2

油彩、畫布 oil on canvas 100 x 100 cm 2016

油彩、畫布 oil on canvas 150 x 150 cm 2016

P.046

漫射的憂鬱 - 3

其中 - 4

Melancholy Diffusion - 3

Therein - 4

油彩、畫布 oil on canvas 72.5 x 60.5cm 2016

油彩、畫布 oil on canvas 150 x 150 cm 2016

P.047

P.053

P.055

P.057

133

自私的形狀

墜落的片段

Selfish Shape

Falling Periods

炭筆、油彩、畫布 charcoal and oil on canvas 72.5 x 60.5 cm 2016 P.058

油彩、畫布 oil on canvas 53 x 4 5.5 cm 2017

2 - 2

墜落的圈

P.069

Falling Circles 炭筆、油彩、畫布 charcoal and oil on canvas 130 x 130 cm 2016 P.059

油彩、畫布 oil on canvas 65 x 53 cm 2017

猶豫

墜落的圈 - 2

Hesitate

Falling Circles - 2

油彩、畫布 oil on canvas 130 x 130 cm + 130 x 130 cm 2016 P.060

油彩、畫布 oil on canvas 100 x 100 cm + 145 x 112 cm 2017 P.072

尖銳的問題 - 3

重複的規則

Sharp Question - 3

Repeat Rules

油彩、畫布 oil on canvas 130 x 130 cm 2017

油彩、畫布 oil on canvas 41 x 31.5 cm 2018

P.063

P.071

P.075

方法

疙瘩

Method

Knot

油彩、畫布 oil on canvas 65 x 53 cm 2017

油畫棒、油彩、畫布 oil s tick and oil on canvas 60 x 60 cm 2017 P.077

P.065

黑色的片段

星星

Black Period

Stars

油彩、畫布 oil on canvas 80 x 80 cm 2017

油畫棒、油彩、畫布 oil s tick and oil on canvas 41 x 31.5 cm 2017 P.079

P.067

134

消失的視線

有藍色背景的肖像

Disappear Sight

Portrait with Blue Background

油彩、畫布 oil on canvas 100 x 100 cm + 145 x 112 cm 2017 P.080

油彩、畫布 oil on canvas 65 x 53 cm 2017

憂鬱的視線

肖像

Melancholy Sight

Portrait

油畫棒、油彩、畫布 oil s tick and oil on canvas 130 x 194 cm 2017 P.082

油彩、畫布 oil on canvas 41 x 31.5 cm 2017

夜裡的黑色星星與夢

嘆息與他的影子

Black Stars and Dreams in the Night

Sigh with His Shadow

油畫棒、油彩、畫布 oil s tick and oil on canvas 130 x 194 cm 2017 P.084

油彩、畫布 oil on canvas 41 x 31.5 cm 2017

風景

兩種

Landscape

Two Ways

油彩、畫布 oil on canvas 110 x 80 cm 2017

油彩、畫布 oil on canvas 41 x 31.5 cm 2018

P.087

膨脹的夢

相左

Inflated Dream

Contradiction

油彩、畫布 oil on canvas 110 x110 cm 2017

油彩、畫布 oil on canvas 50 x 50 cm + 50 x 50 cm 2018

P.088

夢的肖像

黑色的鏡子

Portrait of Dream

Black Mirror

油彩、畫布 oil on canvas 60 x 60 cm 2017

油彩、畫布 oil on canvas 31.5 x 41cm + 53 x 45.5 cm 2018

P.089

P.091

P.093

P.094

P.095

P.096

P.099

135

無題 Untitled 油彩、畫布 oil on canvas 41 x 31.5 cm 2018

P.101

愛情 Love 油彩、畫布 oil on canvas 72.5 x 91 cm 2018

P.103

現象 Phenomenon 油彩、畫布 oil on canvas 11 2 x 14 5.5 cm 2018

P.105

自畫像 Self-Portrait 油彩、畫布 oil on canvas 11 2 x 14 5.5 cm 2018

P.107

肖像 Portrait 油彩、畫布 oil on canvas 14 5.5 x 11 2 cm 2018

P.109

40

油彩、畫布 oil on canvas 110 x 80 cm 2018

P.111

9 78 9869 647434

Images © 2018 Tung-Shuo WANG Texts © 2018 The authors for their text | © 2018 Ke-Yuan Gallery All rights reserved.

作者：王董碩 文章作者：蔡佳政、江偉華、王董碩 翻譯：白斐嵐、蔡佳政 攝影：慧毓攝影有限公司、張介宇攝影藝術工作室、 林茂榮、王董碩 美術設計：理式意象設計 編排設計：李孟杰 印刷：晶華彩色印刷有限公司 出版：科元藝術中心 出版日期：2018 年 10 月 發行量：600 冊 定價：800 元

Author | Tung-Shuo WANG Article authors | Danny TSAI, Wei-hua CHIANG, Tung-Shuo WANG Translator | Siraya PAI, Danny TSAI

TEL | +886-4-26229706

Photographer | WIN WIN PHOTO, Jay's studio,

FAX | +886-4-26220713

Mao-Jung LIN, Tung-Shuo WANG

WEB | www.keyuan.com.tw

Graphic Designer | IDEALFORM Co.

Email | kysf@ms38.hinet.net

Layout Design | LI MENG CHIEH

ISBN 978-986-96474-3-4

Printer: Ching Hua Color Printing Co.,Ltd Publisher: Ke-Yuan Gallery Publishing Date | Oct. 2018

地址：台中市清水區中山路 126-8 號 3、4 樓

Issued | 600 copies

3F, No.126-8, Zhongshan Rd., Qingshui Dist.,

Price | 800

Taichung City 436, Taiwan