「所有的詮釋 終將成為一個整體」- 王董碩 2012~2015 作品集

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所有的詮釋終將成為一個整體 王董碩作品

2012 - 2015

星星 Star 炭筆、炭精筆、畫布 charcoal stick and carbon pencil on canvas 80 × 80 cm 2012

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心事 Something in Mind 炭筆、炭精筆、畫布 charcoal stick and carbon pencil on canvas 81 × 115.5 cm 2012

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心事

Something in Mind

鉛筆、壓克力彩、畫布 pencil and acrylic on canvas 40 × 40 cm 2012

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心事 – 02

Something in Mind – 02

油彩、畫布 oil on canvas 130 × 130 cm 2013

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心事 – 03

Something in Mind – 03

油彩、畫布 oil on canvas 130 × 162 cm 2013

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相左 – 03

Contradiction – 03

油彩、畫布 oil on canvas 89 × 130 cm 2013

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相左 – 05

Contradiction – 05

油彩、畫布 oil on canvas 130 × 162 cm 2013

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相左 – 04

Contradiction – 04

壓克力、鉛筆、木板 acrylic and pencil on wood 50 × 61 cm 2013

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相左 – 02

Contradiction – 02

鉛筆、木板 pencil on wood 50 × 61 cm 2013

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折 – 01

Fold – 01

油彩、畫布 oil on canvas 45 × 55 cm 2013

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折 – 02

Fold – 02

油彩、畫布 oil on canvas 60.5 × 72.5 cm 2013

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無題 – 01

Untitled – 01

壓克力、鉛筆、木板 acrylic and pencil on wood 100 × 100 cm ＋ 100 × 100 cm（2pcs 雙拼） 2013

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無題 – 02

Untitled – 02

壓克力、鉛筆、木板 acrylic and pencil on wood 81 × 116 cm 2013

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無題 – 03

Untitled – 03

壓克力、鉛筆、木板 acrylic and pencil on wood 100 × 100 cm 2013

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宇宙 – 01

Universe – 01

油彩、鉛筆、木板 oil and pencil on wood 162 × 112 cm 2013

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宇宙 – 02

Universe – 02

油彩、鉛筆、木板 oil and pencil on wood 162 × 112 cm 2013

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宇宙 – 03

Universe – 03

油彩、畫布 oil on canvas 150 × 150 cm 2014

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平行世界 – 02 油彩、畫布 oil on canvas 50 × 50 cm 2014

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Parallel World – 02

平行世界 – 10

Parallel World – 10

油彩、畫布 oil on canvas 45.5 × 38 cm 2014

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平行世界 – 09 油彩、畫布 oil on canvas 111.5 × 162 cm 2014

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Parallel World – 09

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平行世界 – 08

Parallel World – 08

油彩、畫布 oil on canvas 100 × 130 cm ＋ 100 × 100 cm （2pcs 雙拼） 2014

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平行世界 – 03

Parallel World – 03

油彩、畫布 oil on canvas 100 × 130 cm ＋ 100 × 100 cm （2pcs 雙拼） 2014

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平行世界 – 01

Parallel World – 01

油彩、畫布 oil on canvas 60.5 × 72.5 cm ＋ 60.5 × 72.5 cm（2pcs 雙拼） 2014

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1978 油彩、畫布 oil on canvas 130 × 162 cm 2014

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2014 油彩、畫布 oil on canvas 130 × 162 cm 2014

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平行世界 – 05 油彩、畫布 oil on canvas 100 × 100 cm 2014

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Parallel World – 05

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平行世界 – 04

油彩、畫布 oil on canvas 111.5 × 162 cm 2014

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Parallel World – 04

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平行世界 – 06

油彩、畫布 oil on canvas 80 × 80 cm 2014

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Parallel World – 06

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平行世界 – 07

油彩、畫布 oil on canvas 60.5 × 72.5 cm 2014

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Parallel World – 07

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相左 – 03

Contradiction – 03

油彩、畫布 oil on canvas 100 × 100 cm 2014

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意見 – 02

Point of View – 02

油彩、畫布 oil on canvas 100 × 100 cm 2014

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意見

Point of View

油彩、畫布 oil on canvas 150 × 150 cm 2014

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意見 – 03

Point of View – 03

粉彩、鉛筆、畫布 soft pastel and pencil on canvas 53 × 45.5 cm 2014

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相左 – 02

Contradiction – 02

油彩、畫布 oil on canvas 80 × 80 cm 2014

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相左 – 201502

Contradiction – 201502

油彩、畫布 oil on canvas 45.5 × 38 cm ＋ 38 × 45.5 cm（2pcs 雙拼） 2015

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三角 – 01

Trio – 01

油彩、畫布 oil on canvas 72.5 × 60.5 cm 2015 66

三角 – 02

Trio – 02

油彩、畫布 oil on canvas 72.5 × 60.5 cm 2015 67

共識 – 01

Consensus – 01

粉彩、鉛筆、畫布 soft pastel and pencil on canvas 53 × 45.5 cm 2015

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共識 – 02

Consensus – 02

壓克力、鉛筆、木板 acrylic and pencil on wood 116 × 82 cm ＋ 116 × 82 cm（2pcs 雙拼） 2015

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相左 – 201501

Contradiction – 201501

粉彩、鉛筆、畫布 soft pastel and pencil on canvas 53 × 45.5 cm 2015

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痛處 – 01

Source of Pain – 01

壓克力、鉛筆、木板 acrylic and pencil on wood 116 × 81 cm 2015

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痛處 – 02

Source of Pain – 02

壓克力、鉛筆、木板 acrylic and pencil on wood 116 × 81 cm 2015

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痛處 – 03

Source of Pain – 03

壓克力、鉛筆、木板 acrylic and pencil on wood 100 × 100 cm 2015

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痛處 – 04

Source of Pain – 04

壓克力、鉛筆、木板 acrylic and pencil on wood 100 × 100 cm ＋ 100 × 100 cm（2pcs 雙拼） 2015

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幻覺 – 01

Illusion – 01

壓克力、鉛筆、木板 acrylic and pencil on wood 100 × 100 cm 2015

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幻覺 – 02

Illusion – 02

油彩、畫布 oil on canvas 112 × 162 cm 2015

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幻覺 – 03

Illusion – 03

油彩、畫布 oil on canvas 80 × 80 cm 2015

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圈子

Ring

油彩、畫布 oil on canvas 80 × 80 cm 2015

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重重

Piles

油彩、畫布 oil on canvas 60 × 60 cm 2015

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不合

Does not Conform to

油彩、畫布 oil on canvas 60 × 60 cm 2015

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相左 – 201503 油彩、畫布 oil on canvas 91 × 116.5 cm 2015

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Contradiction – 201503

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彆扭

Awkwardness

油彩、畫布 oil on canvas 91 × 116.5 cm 2015

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射出

Emit

粉彩、炭精、畫布 soft pastel and carbon on canvas 53 × 45.5 cm 2015

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寫入

Write to file

粉彩、鉛筆、畫布 soft pastel and pencil on canvas 53 × 45.5 cm 2015

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管道 – 01 油彩、畫布 oil on canvas 60.5 × 72.5 cm 2015

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管道 37 – 1 油彩、畫布 oil on canvas 130 × 162 cm 2015

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管道 – 02 油彩、畫布 oil on canvas 150 × 150 cm 2015

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尖銳的問題 – 01 油彩、畫布 oil on canvas 130 × 194 cm 2015

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藝術即態度

文／陳秀分

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Art Is An Attitude

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Written by Chen Hsiu-Fen

「 所以」作為開端 — 試論王董碩的繪畫

文／李明學

To Begin With A “Therefore”— An Essay on Wang Tung-shuo's Painting

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Written by Lee Ming-Hsueh

並不尋常的日常 — 閱讀王董碩的繪畫

文／孫曉彤

The unusual ordinary – A Reading of Wang Tung-shuo's Painting

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Written by by Sun Xiaotong

王董碩與他的「關係們」

文／段存真

WANG Tung-shuo and His“Relations”

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Written by Tuan Tsun-chen

2004 – 2007 作品

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創作自述

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簡歷

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Biography

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藝術 即態度

文／

陳秀分

立秋之後，抽空去了一趟京都。京都雖非第一次到訪，但這次行程安排，完全以 參觀美術館為主。也算是圓了一樁心事，參訪我夢寐以求的「美秀美術館」。

出發之前朋友送我一本李清志老師著作的「新天堂美術館」， 也另外稍做了一 些功課。看到書中提及美秀美術館的設計，「貝聿銘採用了大家熟知的『桃花源記』 作為整個參訪路徑的劇本」，滿心期待。來到園區自然隨著途徑而走，讓參訪者連連 驚訝不已。半天的參訪過程，深深驚嘆！名不虛傳，不愧是由貝聿銘大師所操刀設 計。當然也對創辦人深表敬意，由於她的無私，讓好的作品永垂不朽。回程途中我回 眸大師的作品，我彷彿看到了王董碩的幾何圖像。

2006年經由實心美術設計工作室王進明先生的介紹下，認識了留學法國的藝術 家—王董碩。自「2008青春嶺—藝術新星聯展」便合作至今。每年科元藝術中心皆邀 請董碩個展或聯展。於2014年雙方正式簽訂經紀約後，今年即出版王董碩的第一本畫 冊。記得董碩在他2008年的創作自述中提到：「一直以來，語言或是文字對我來說都 是一種缺乏，或是不足的溝通方式。明確而且清晰的陳述反而卻遠離了事物的重點。 所以我畫圖。」

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的確是，我能理解藝術家當下的思維，從視覺來看董碩的作品，看來極簡的幾何 造型，是很難用「語言」或「文字」能解釋清楚地。在我們的認知裡，董碩的作品 就等同於生活態度的展現，雖是幾何圖像，但他卻老老實實的做到了藝術即態度的昇 華，「所以我畫圖」。

科元藝術中心長期支持年輕藝術家不變，至今已展覽過百來位創作者的作品。現 在持續合作關係的剩十位不到。「勿忘初衷」為科元藝術中心的座右銘，這也是我們 所堅持的責任。

最後我要感謝李明學老師、孫曉彤小姐及段存真老師，還有實心美術設計工作室 的同仁，為董碩的第一本畫冊盡力，盡心協助。誠摯地合十，感謝。

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Art Is An Attitude Written by Chen Hsiu-Fen

I took a short trip to Kyoto in autumn. It was not my first time there, but this trip was special because we did not go elsewhere but art museums. I even had my dream come true to visit MIHO MUSEUM which I have always wanted to go.

Before my departure, a friend of mine gave me a book, Lee Ching-chih’s Utopia Museum, as a gift. I also did some research, feeling even more excited when reading the description in the book that “Ieoh Ming Pei adopted the idea from the well-known classic The peach colony to map out the path.” As we followed the path, everything we saw never failed to amaze us. The half-day visit was beyond our expectation! Its reputation was well-deserved, and the master Pei had made everything possible. My deepest respect goes to the founder, who brought eternity to the wonderful artworks with her selfless devotion. On my way back, I took a last look at the architectural masterpiece, and I felt like I had seen Wang Tung-Shou’s geometric images.

In 2006, Mr. Wang Chin-Ming at Solidart Graphic Design introduced Wang Tung-Shuo, an artist studying in France at that time, to me. Since the beginning of our collaboration in the 2008 Youth Peak: Art Newstar Exhibition, Ke-Yuan Gallery has invited Wang to hold his solo exhibition here every year and to exhibit his works in group exhibitions. Later, the artist-gallery partnership was signed in 2014, and this year we will publish Wang’s first art

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catalogue. I still remember Wang’s words in his artist statement for the exhibition in 2008: “for me, language or written text has always been an imperfect way to communicate – the clear and definite description fails to capture the truth of the subject matters – so it is why I paint.”

Indeed, I can perfectly understand his thought at the moment. Visually speaking, it is very hard to explain or to depict the minimalist geometric shapes with merely “language” or “written text.” In our knowledge, Wang’s artworks represent his attitude toward life. Even the geometric images help visualize the belief that “art is an attitude” in a truthful way, and “it is why I paint,” – says the artist.

It has always been our mission to support young artists. Throughout all these years, we have exhibited artworks by more than a hundred of artists, though less than ten still have a partnership with us. “Never forget what has made you here” is our motto, and we will carry it on.

In the end, I wish to express my thanks to Lee Ming-Hsueh, Sun Xiaotong, Tuan Tsun chen, and colleagues at Solidart Graphic Design, for that the publication of Wang Tung-shuo’s first catalogue would have not been made possible without their effort and devotion. My sincere appreciation to all.

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「所以」作為開端 試論王董碩的繪畫

文／

李明學

「這不是小說，是真的有過的事。⋯⋯如果要把為什麼會在那樣的場所和狀況 下，我恰巧因為什麼樣的原因，就像被莫名其妙迷亂的風飄走一樣地飄到這裹的由 來，話說重頭一一道來的話，可以寫出一本不薄的書。⋯⋯」 村上春樹 《夜之蜘蛛猴＿正要下豪雨時》

故事的起點在哪裡？最終可能是一本自傳。在王董碩的繪畫中看似幾何拼湊的色 塊，物質性的繪畫卻有著一種深邃與意識或記憶深處的牽連，其將個人意識轉變於 一個感情與想像空間中，沒有太多的色彩，類似灰階式的素描呈現，在簡單的質樸裹 面，有著深思熟慮關於平衡的律動，伴隨著彷彿與生俱來的美感經驗，述說其個人特 有昇華生活經驗的方式。對他而言，這一切的一切不是出自於純粹的幻想，而是寫實 與具象的，不是小說，而是真有其事。雖然觀者面對的是幾何繪畫的畫面，王董碩的 畫面格外帶出某種關於人文溫度，手感與個人敘事，交織著零零總總對生命與環境的 觀察與體悟。

所以與所以 面對其畫面的線條，塊面與幾何，很難想像這樣簡潔的畫面其後面繁雜的工序與 重覆性的能量累積，看似簡單幾何的畫面之中，王董碩以一種緩慢與溫度的線條帶出

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與1960年代美國所流行的極簡主義（Minimalism）相當不同的面相，與60年代那種 意圖對抗抽象表現主義（Abstract Expressionism），關於「去人工化」的傾向形成一 種閱讀上的對比。以對象而言，他似乎並無意去對抗藝術史上對抽象議題的爭論，亦 或是刻意去處理關於繪畫本質的議題，其描述對象是以自身生活處境出發，反映個人 日記式轉換所投射出的畫面，關於情緒、家人、生命的反思、人生的認識等，雖然 創作者有意識地將這個被描繪的對象，以一種不需被告知的狀態，未明白地顯現於畫 面與標題，甚至創作自述之中，然而細看標題的命名，從「心事」、「相左」、「宇 宙」、「平行世界」、「意見」、「三角」、「共識」與「痛處」等，其廣度所囊括 的面相，不再是以「無題」二字的方式，將觀者懸置於無限想像的空間，或許就是那 一點也不虛無縹緲的標題，其畫面所指涉的意義與感受可能性，不單指向繪畫中其結 構排列，或是神秘靈性世界的想像，反倒是吸引著觀者在幾何造型中，找尋標題裡難 以洞察的對象。當然，能否找到這對象，並不影響觀賞其繪畫的樂趣所在，反倒是猜 測與尋覓的過程，使得閱讀其畫面上增添許多的「人味」以及趣味。換言之，對王董 碩而言，其所描述的事物或心境，作為一個文本，抽象在有限的形式下所引起想像不 以再現其創作的引發點為目的，其所畫的對象總是退位的被抽離，扮演一個沒有必需 被知道的角色，其性質不像符號性的藉由後者的指涉意義來生成解讀與介入認知的可 能。此外，藉由標題與對象兩者之間，若即若離，似懂非懂的臆測，給予觀者一個張 力性的想像空間，觀者在觀看畫面圖像時，如同閱讀一個以「所以」為開端的句子， 借由這個「所以」不僅引發對「因為」的好奇，同時也自我本位的詮釋形成「所以之 後的所以」的可能，也因此，在簡潔幾何的繪畫世界裡，開起了兩個交雜卻相異的思 考想路徑，形成一個帶有感性／理性，想像／寫實，內心世界/外在環境彼此穿插滲 透的空間。

慢溫度 如果說王董碩的繪畫的對象因貼近其自我的生活而與極限主義藝術繪畫產生對象 上的區隔，那其對於繪畫過程強調慢工的人為介入，也使得在畫面中的幾何構成格 外帶有溫度。以線條而言，其堅持以透過兩個塊面不斷修正油料的堆積的方式去形成

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畫面上的線條，筆尖的刷毛輕輕劃過，將油料在穠纖合度的狀態，停留在該佔據的位 置，如此排除一般慣用膠帶黏貼、切割以製成線條的方式，像是古典油畫中對於邊緣 線琢磨的要求，在這樣的線條裡，觀者看見了「呼吸」的手工感，而非機械工業化利 落劃分，以這樣的方式去構成一條線，到一組平行與組成類二度或三度空間的透視立 方。以作品「心事系列」為例，這裡所形成的邊界帶有一種「慢」的態度，相對於追 求速度狂飆時間病環境中的現代，畫面中給予一個相對的喘息空間，呈現某種對於時 代中追求效率的反操作。除此之外，一個由線條構成的立方體，當線條越是直率的接 近理念上的直線，這竭盡所能的去接近，甚至因為過於接近而無法被明確辨識，成為 隱性的動作，這隱性的動作也影響著觀者進入畫面空間的理解，從一條線看到的是一 個創作者的態度與立場，一個生命對一件事的堅持，在以生活作為藍本的同時，這刻 意採取的繪畫過程，也讓簡潔的線條與色塊裡，不再只是冷調的談論「中立性質」與 不帶感性介入的狀態，俱有生活底蘊與手工琢磨的慢速度，將觀者得以在時間的線性 中看到脫離速度的一種緩慢，不匆忙的減速，某種超越時間與速度感的奢侈，對於放 鬆呼吸的重新調整，與社會集體追求效率的省思。

從一到一 從對象與線條，這兩個面向都將王董碩的繪畫歸結於對生活與人本態度的反芻， 而其畫面出現簡易的透視，顯而易見的並非去彰顯或意圖描繪與三度空間的幻象，各 種簡單的造型，線條與各式組合形式，反倒是強調著繪畫空間中其獨特可能性。透過 綿密地堆疊顏料，與帶有細膩筆觸交疊，繁複低差異的筆觸呈現繪畫裡追求繪畫本質 與某種絕對精神的質地與層次， 在扎實與反覆的操作動作中，作用著關於人的空間 與情緒。其作品的轉變，從理性水平垂直結構與平行線的追求，發展出以塊面為組成 的構圖，類三度空間有如剪影般的色塊與類透視法的空間構成，而近期出現有些有機 性形狀的量體，類似神經元的連結團塊，並又回到置中構圖的幾何圖形的平面與二度 空間 ，一部份推向越顯複雜構圖的同時，另一面也進行對純粹線條邊界的追求，在 媒材的使用上也有類似的情形，炭筆、炭精、壓克力彩，鉛筆，油彩等材料時常交替 更換使用，在此不難看出其對畫面控制的任意性，有時是利用畫面上的光線，反光與

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吸光等特質，有時只是單純的沒有浮誇地呈現幾何間的單純關係。在其獨有的敏感度 中，創作者對重新閱讀自己的關注則是沒有改變地，對他而言，似乎唯有透過這樣自 我不斷回歸的動作，才能進行內心空間世界的探索，而造型的轉變與媒材的應用，僅 是隨著其對繪畫本身的關注，轉化成一種必需的手法與技巧。以幾何形式繪畫所承載 含蓄的冷靜外表下，藝術與生活之於創作者的貼近關係，讓內容與形式產生張力，而 在畫面成為一個行動的總結。其畫面不單純指向一種絕對，也非反應生活現況，在記 錄創作者自身對話間，那神秘與武斷地片段敘述，未必涉及因果的關係，在一系列發 展中集結形成一個網絡，最終指向了創作者本身。 總地來說，王董碩的畫面給觀者一個可能的想像輪廓，而這輪廓不斷地在基本地 點、線、面中不斷變換，觀者可以望內探究，看看關於人的故事，亦可向外連結於世 界，賦予新的體驗與詮釋，抽象繪畫的不拘，自在與自由，視覺、空間與心理的深刻 體悟，關於時間的，空間的事件，被凝聚，帶出聯想的外延性，觸及觀者深層潛意識 的想像，甚至是冥想的可能。

後記 生活的種種雜事，在創作者的轉化下漸漸地減少，作為一種歸零的動作，將生活 日記的繁複成為簡約的繪畫紀事，故事的走向雖然非起承轉合式給予完整與明確的敘 事，然而些許的片段卻都指向這個創作者寧靜的畫面之中。王董碩的圖可以說都在做 同一件事，一種回歸與省思，線條與幾何造型在其自身成為自己的形態，並被理解， 生活也是。也因為如此，繪畫對於王董碩而言似乎成為一種修煉，作為一種生活中的 必需與態度，有如吃飯睡覺般的平常，攪拌油料與活動手腕的關節，摩擦畫筆刷毛於 畫布之上，「慢活」的將生活瑣碎與感知轉換為畫面，一切只是自身對於生命的觀望 與對應，觀者不只看到其畫面上簡單的樸素，也同時反映王董碩對生命本質與真實的 態度。最後歸咎於一個創作者的自豪，這就是王董碩會做的事。

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To Begin With A “Therefore” An Essay on Wang Tung-shuo’s Painting Written by Lee Ming-Hsueh, Assistant Professor in Department of Art and Design at Yuan Ze University

“It is not a novel, but a real story… if I have to talk about it from the very beginning, about what I happened to do what I did in what place and what situation, about how chanced brought me here as if a wind from nowhere have carried me from one place to where I am now, then it’s going to be a very long book…” ¹ -- Haruki Murakami, “Spider Monkey at Night -- A Hard Rain's A-Gonna Fall.”

Where did the story begin? It might turn out to be an autobiography.

Wang Tung-shuo’s

painting seems to feature a collage of geometric color-blocks, but the materiality of painting reveals a profound connection with one’s sub-consciousness as well as the deeply-buried memory, turning personal awareness into a space of sentiments and imaginations.

It does

not have too many colors. The nearly grayscale drawings highlight the unadorned simplicity and the well-balanced rhythm which goes with it. We almost believe that the artist was born with such an aesthetic experience, through which he has transformed his most personal and unique life experiences into a visual expression.

For him, none of it comes from pure

illusion but remains realistic and figurative. It is not a novel, but a true story. At the first glance, they are undoubtedly paintings of geometric images, but it turns out that Wang’s works piece up the fragments of his realization of life and surroundings through a personal narrative with the warmth of his artistic concern and a touch of humanity.

1. Translated from Chinese by the translator.

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Therefore and Therefore How the simple images of geometric lines and planes are completed through the complicated art-making process and repetitive strokes is beyond our imagination.

Wang’s art is very

different from Minimalism, the popular art trend of the 1960s in America, with its warmth and slowness, making a sharp contrast with the “anti-artificial” movements which were against Abstract Expressionism in the 1960s. When it comes to subjects, it seems that he is not interested in the abstract art debate in the art history, nor does he intend to deal with the substance of painting.

The subject of his works is the journal-like reflection transformed

from his life experiences, such as how he perceives his emotions, families, life, or the courses of life.

Although the artist intentionally hides the identity of the subjects from

the images, work titles, or even his artist statement, as to believe that viewers need not be informed, the titles like “Something in Mind,” “Contradiction,” “Universe,” “Parallel World,” “Point of View,” “Trio,” “Consensus,” and “Source of Pain” still set up a range to include the dimensions of the subjects.

Unlike the word “Untitled” which makes viewers

feel suspended in the immense imagination, the least illusory titles indicate the possible meaning and perception of the images. It does not merely point at the composition of the paintings or the imagination about the mysterious spiritual world, but attracts viewers to search for the objects not being specified by the titles, in the geometric shapes.

Indeed,

whether one finds the objects or not does not affect the pleasure of seeing a painting. On the contrary, the process of speculation and quest makes viewing more interesting and “humane.” In other words, for Wang, the things he describes as the text of his works are visualized in an abstract form, but the image it evokes is not to represent the initial inspiration of the works. The subjects are always removed from the first places to play a role which needs not to be identified.

Meanwhile, it is far from any symbolic approach which

creates a possibility to interpret or to intervene in one’s knowledge through what a signifier represents. Additionally, the ambiguous connection between titles and subjects provides an imagination full of intensity for viewers. As viewers look at the images, it is almost like reading a sentence which begins with “therefore.” The word “therefore” not only stimulates one’s curiosity about the “because,” but also establishes a self-interpreting possibility of “the therefore after the therefore.” Therefore, the artist opens up two completely different paths

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in his simple and clear geometric painting, but the intersection is turned into a space where sense and sensibility, imagination and reality, and the inner world and the outer surroundings are absorbed into each other.

Slow Warmth If we agree that Wang’s paintings are different from Minimalist Art for that the subjects are closer to his personal life, the deliberate slowness in the painting process as an artificial intervention thus brings us some warmth in the geometric composition.

Take these lines

for example; he persistently adjusts the layers of painting through two different blockplanes to create lines in the images. The brush tip softly slides across it, fixing the perfectly moderate oil paint to the place where it should occupy.

By doing so, the artist avoids the

conventional technique of using tapes to create lines or segments. It is more like classical oil painting which requires strict exquisiteness to deal with every contour.

Among these

lines, viewers feel the “breath” of the art-making process where human effort, instead of the precision of mechanical operation, is involved.

A line is thus created to form a

parallel, a two-dimensional plane, or the perspective of a three-dimensional space.

Take

the work “Something in Mind Series” for example; the “border” here shows an attitude of “slowness.” Compared to the modern age which celebrates speed and efficiency, the images provide a moment to take a breath to counteract the haste of the age.

Additionally,

for a cube constructed by lines, when the lines are closer to the conceptual lines in a more straightforward way, how they work out the similarity – even to a degree that they are no longer identifiable – becomes an invisible action. The invisible action meanwhile influences how viewers understand the image when they enter it.

A line thus reveals the artist’s

attitude and perspective as well as a person’s devotion to one particular thing.

Based on

life as its blueprint, such a painting process is an intentional choice to bring the warmth of life and the slowness of the crafted practice to the sharp lines and clear color-blocks which used to represent “neutrality” with its cold and emotionless quality. In this way, viewers are allowed to experience the slowness beyond the reign of speed in the linearity of time. The unhurried slowdown suggests a luxury beyond time and speed, for one to readjust one’s breath and to rethink about the society’s collective craze for efficiency.

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From One to One Both objects and lines conclude Wang’s painting as his reflection on life and humanity. It is obvious that the simple perspective of the image is not to emphasize or to intentionally depict the three-dimensional illusion. Instead, the simple shapes, lines, or various combinations focus on the unique possibility of the space in the paintings.

The exquisitely layered

paint intertwines with the delicate strokes. The complicated strokes with little difference demonstrate how the artist pursuits the substance of painting as well as the quality of the absolute spirituality. The solid and repetitive process acts on space and human emotions. His artworks are thus transformed from the rationality presented by horizontal-vertical structures and parallel lines to the block-based composition, similar to a three-dimensional space with silhouette-like color blocks and perspective-like space structure. In his recent works, we see several organic-shaped masses similar to the biological knots connecting neutrons together.

Meanwhile, the works return to the two-dimensional planes with geometric shapes placed in the center. As he pushes his complex composition to the extreme, he also reexamines the possibility of pure lines as borders. A similar approach can be noticed in his use of media.

Among the frequently used media such as charcoal pencils, carbon, acrylic paint, pencil, oil paint, etc., the artist exercises perfect spontaneity to deal with the image. Sometimes it is through the light in the image, either light-absorbing or light-reflecting, while sometimes he merely reveals the simple relations among the geometric shapes without exaggeration.

Through his unique sensitivity, the artist shows impressive persistence to continuously reexamining himself. For him, the repetitive self-exploration is the only means to further realize one’s inner world. Following his concept of painting, the changes of the shapes and the use of media are thus transformed into a necessary technique.

Under the calm and

restrained appearance of the geometric painting, the intimacy between art and life allows the artist to create certain intensity in terms of form and content, and the action is ultimately concluded in the image. The image does not merely point at an absolute expression, and it neither reflects any life reality.

The fragments of the mysterious and arbitrary description

in the artist’s conversation with the self are not necessarily based on a cause-and-effect relationship. Instead, it gathers together throughout the painting process to form a network which leads to the artist himself.

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In conclusion, Wang’s painting offers viewers a possible contour of imagination, which constantly changes its elementary dots, lines, and planes.

Viewers can look inward for

the stories of people, while they can also reach for the external world for new experiences and interpretations. Abstract painting liberates one’s freedom, relaxation, the events about time and space, and the in-depth realization of visuality, space, and psychology.

All are

concentrated here, including the extended association which reaches as far as the imagination hidden in viewers’ deepest sub-consciousness – even meditation perhaps.

Afterword The life triviality gradually disappears throughout the artistic transformation. Now it returns to zero, simplifying the complicacies of life into journal-like paintings. Although it does not have a clear narrative with a beginning, middle, and end, these episodes point at the artist’s peaceful images. All of Wang’s paintings are about one thing – to return and to re-explore.

Lines and geometric shapes become their own states within themselves. It is how they are being understood, and so is life. Because of it, painting seems to become a spiritual practice for Wang – a necessity and an attitude of life as ordinary as eating and sleeping. The wrist moves around to mix the paint, while the brush rubs against the canvas. The “slow-living” attitude turns the life triviality and perceptions into images, revealing one’s reflection of life. The artist not only sees the unadorned simplicity of the image, but also visualizes how he truly perceives the substance of life. It originates from the self-pride of an artist, and it is what Wang has been doing.

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並不尋常的日常 閱讀王董碩的繪畫

文／

孫曉彤

從朦朧深邃中現身的是如星球般的橢圓，彷彿擴散或聚合於方整的黑色場域中， 弧形的界線小心翼翼地擦掠過彼此，或是偶而在曖昧的空間中微微交疊；它們蔓延群 聚的狀態看上去也像是某種生物的細胞，隱約在表面流動的銀灰色調如同有機組織的 皮膜，在寂靜悄然的墨黑平面中幽幽地浮游移動，而被眾多淺色圓形區隔出來的間隙 則成為有著尖銳邊角的造型，羅織滿佈於其間，宛若散發黝黑光澤的星點。你不太確 定自己觀看的究竟是宏觀遼闊的宇宙天體，亦或是顯微鏡下細微盤據的微小生命—— 藝術家無意向你細心說明，而你亦毋需深刻暸解，僅僅任由視線在這安靜的渾沌中自 在地流淌，體察表面微妙變化的筆觸痕跡，並且從中接收到含蓄細膩的擾動與溫度。

王董碩的繪畫總是帶給我某種飽滿而溫潤的感覺，即便他的畫面經常以低彩度的 黑灰白色調為主，然而其間細緻而豐富的質感變化，卻每每呈現出引人入勝的厚度 層次，其中蘊含的是不斷流動循環的張力，彷彿自顧自地在畫幅中完整出某種高度和 諧的宇宙。王董碩近年的作品多繪製於畫布或木板上：先是以油彩構成畫面基底，然 後再於上方以炭筆、鉛筆或炭精筆等筆觸纖細的媒材，以多次來回重複塗繪的方式， 將筆線累積融會成整體的塊面，形成具有金屬光澤的質地，並且成為畫面中面目清晰 的造型。乍看之下，王董碩作品的畫面彷彿以單純的平面形狀構成，但是其中的「平 面」並非機械式的、刻板的、無機的規整，而是由藝術家無數次手繪的筆觸線條累積

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而成的結果，狀態猶如天然地貌的沉積岩層——經過了時間的壓縮與風化，整體彷彿 已經凝固硬化成大塊的地殼岩石，然而趨近深究，你仍然能夠依稀辨認出其中的泥石 砂礫，甚至鑲嵌其間的貝殼或化石。我認為，王董碩的作品畫面中主觀的空間深度， 即來自於上述大量客觀時間的壓縮，筆觸來自於創作者時時刻刻不盡相同的生命情 狀，如實地記載了每一個當下瞬間的呼吸與心跳，累積形成了藝術家特有的精神與個 性，個人的面貌於是在平面的畫幅中完形為多面體的質地與姿態。

王董碩繪畫中另外一個饒富意趣的特色是介於抽象與具象的造型——事實上，抽 象或具象的議題並不在他創作關心的範疇內，會選擇某些特定造型的關鍵在於它們 是否在藝術家的主觀認定中達到意義飽滿的標準，而如此的創作意識，其實在他一直 以來的創作歷程中有跡可循。2000年自東海大學美術系畢業的王董碩，於2003年負 笈法國，在台灣的學生時代以人物與靜物為油畫主題的他，在抵達巴黎後，於學習 語言並且準備申請學校的2004年至2005年期間，發展出名之為「家的形狀」的系列 作品，在這些作品中王董碩描繪了與他日常生活最貼近的居家空間和傢俱，以十分簡 約的造型表現了室內空間的角落以及臥室床鋪等的場景，雖然仍然屬於具體景象的描 寫，然而在表現形式上卻已經可以看出逐漸偏向符號化或抽象化的傾向——藝術家無 意描繪太多眼前真實可見的色彩或造型細節，而只是扼要地處理了對象物的形象和輪 廓，然後重新賦予了他對於這些場景與物件的個人感受：厚實的、溫暖的、甚至帶點 沈重或憂鬱的；藝術家的個人抒情精微地溢散於畫面的光影或氛圍之中，同時逸出寫 實繪畫的古典定義，進入了借物寓情主觀表達。

2005年王董碩進入了法國賽爾基藝術學院（Ecole nationale Supérieure d'Arts de Paris-Cergy），於那個時候發展出的「軌跡」系列更進一步去除了畫面中的敘事性。 在「軌跡」系列中，王董碩幾乎抹去了造型中可供辨認或與實際物件關聯的視覺線 索，即便其本源依舊來自於他的日常生活——那些看似抽象的線條和造型結構，其實 就是創作者每日行走穿梭的路徑，例如從住家的公寓下樓直到步行至街道的路徑，或 者是因為使用需要而每日改變位置或樣貌的居家物件一隅，王董碩以近乎極簡的團塊

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或線條記錄這些對他而言再熟悉不過的風景——對於觀眾而言，在幾乎是完全抽離敘 事脈絡的畫面中，只能透過造型與符號擷取視覺觀看上的顯象與質地；然而對於創作 者來說，每一幕都是生命經驗裡情深意重的吉光片羽，然此呈現方式並不意味著繪畫 本身的疏離或創作者的恃傲，而是藝術家刻意選擇以含蓄而內斂的方式，完成來自個 人內在需求的表述儀式。對此，王董碩自己曾經以一個很有意思的比喻來說明——如 果要表達「我的阿嬤對我很好」，許多畫家也許會選擇畫一張阿嬤的畫像，然而看在 觀眾眼裡，接受到的訊息卻可能只是「這是一件老婦人的肖像作品」而已，他認為： 「如果只是要表達『我的阿嬤對我很好』，我更希望這個概念是觀眾第一眼就能看見 和感覺的東西，而這不一定要透過人像畫的方式。」

在如此的前提之下，王董碩更進一步地探索了創作者、繪畫以及觀眾之間關係。 2007年他發表了「距離」的系列創作，他在200公分乘以200公分的巨大畫幅中畫了 幾乎佔滿畫面大部分的立方體造型，然而當觀眾趨近前去觀察畫面細節時，就會發 現這些造型本身並沒有清晰的輪廓線，而是宛如一團黑霧一般地漂浮存在，直到觀者 的身體遠離了畫面到一定的距離，才能夠在視覺中顯現出所謂的造型邊界。王董碩認 為，在觀眾前進和退後尋求最佳觀看效果的同時，實踐的是一種「對焦」的過程—— 「保持適當距離」這件事不僅存在於藝術品與觀眾之間，同時也能夠被引申到日常生 活的各種情狀中，包括人與人、人與世界以及人與自我的關係中。

2013年，結束了長達十年法國旅居，王董碩選擇回到台灣繼續創作，並且陸續發 表了「自有安排」（2013）、「平行世界」（2014）和「抒情」（2015）等幾個個 展，以幾乎是一年一檔個展、一年發表十幾件作品的狀態，王董碩持續地以他最為純 粹而樸實的生命日常，進行著對於創作和自我的探索，其間大部份的作品都將收錄於 這本名之為《所有的詮釋終將成為一個整體》的作品集中，而此亦是他創作生涯中首 本印行的畫冊。根據王董碩自己的認知，如此的回顧與整理是他對於個人藝術創作的 階段性小結——對他而言，繪畫現階段來說更像是一種自我觀照的方式：藝術家在自 由意志下展開創造的工程，然而被灌注了抒情與思考的作品卻終將因為擁有獨立的生

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命而超越創作者的掌握，其內在的韻律與節奏，亦會在不期然的時刻提示作品的已然 完整；至此而後，藝術家與作品的關係將轉變為互為主體的對話關係，繪畫本身內蘊 的真實釋放出更為精粹的品質，而創作者也會因此而感受到更大更多的自由。

對我而言，王董碩繪畫的迷人之處就在於完全的抒情與絕對的純粹——生命狀態 成就了王董碩的作品，而這些如實在畫幅中留下的走筆痕跡，同時又是藝術家日常生 活的具體切片，繪畫本身復返構成王董碩的生命狀態；創作與生活之於王董碩，非但 不是各自獨立存在的情景，而更像是一種相互供給與滋潤的來往迴旋，兩者密不可分 甚至集合一體，而此種毫無斷裂的存在型態，必須建立在藝術家高度自覺與絕對真誠 的基礎上，創作者性格中的樸素與勤懇，記載下的是生命中的深刻與溫度，而此也是 藝術真正恆久感動之處。

再一次凝望那些錯落在黑幕中意味不明的橢圓造型，那是王董碩2013年創作的 「宇宙01」和「宇宙02」，即便具有如此明顯的造型，然而當意味不明的面體充斥在 曖昧不明的虛實平面中，並不確定的揣測仍然促使我小心地詢問藝術家造型的來源。

「喔，那其實是一桌菜，桌上有很多盤子。」王董碩十分直接、冷靜平淡地回 答我。

謎底輕易地被揭曉，原來以為的宇宙星球或是精微細胞都是酒酣耳熱的杯盤食 器，莞爾之餘我開始反省：是不是從一開始就不應該問問題和知道答案比較好。身為 觀眾，我的糾結其實並不絲毫影響王董碩的作品本身，故弄玄虛的隱喻或內心戲從來 不是他關心的主題，而是如何用簡單的方法與最少的資訊量，去敘說一件自己認為重 要的事——就像那些並不尋常的日常，總是隱約包藏著那些最深重的真相，你要做的 只是剝去隱蔽的膜翳，察覺那些看似空無的奧義。

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The unusual ordinary A Reading of Wang Tung-shuo’s Painting Written by Sun Xiaotong

The ovals appear in the mist as if they were planets gathering and spreading out in a neat black sphere. The arcs politically jostle against each other, while sometimes they are even slightly overlapped in the ambiguous space. The way they gather or spread out is similar to biological cells. The silver gray implicitly flows on the surface, like organic membranes floating on the quiet ink-black plane in an unnoticed way. The gap separated from the numerous light color circles has several sharp angles, with dark black lustered sparkles scattered within. You are not sure whether you are looking at the immense celestial universe or the tiny forms of life seen from the glass lenses of a microscope. The artist shows no intention to explain every detail to you, and you do not need to understand the whole of it.

The only thing you need to do is to allow your eyes to flow with the peaceful ambiguity and to perceive the subtle variations of the strokes, through which you may be able to embrace the reticent disturbance and delicate warmth.

Wang Tung-shuo’s paintings always seem warm and vigorous to me. Although his image is often in gray scales with most of the colors removed, the delicate and rich variation of its texture surprisingly establishes impressive layers and depth, supported by the constantly circulating intensity as if the artist visualized a Universe with matchless harmony in his self-whisper. Wang’s recent works are mostly drawings on canvas or wood: he first uses oil paint to paint the base of the image, and then he chooses charcoal sticks, pencils, and charcoal pencils – or other media with which he can draw thin and delicate lines – to layer the repetitive strokes into a full plane with metallic gloss. It thus becomes the clearest image in the painting. At the first glance, it seems that Wang’s image is constructed by

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minimalist planes, but the “plane” is not an organized entity manufactured through a mechanical, monotonous, and inorganic process. Instead, it is the result of the endless linedrawing executed by the artist. We can almost imagine it as the sedimentary strata in the natural landscape – after being compressed or eroded with the passing of time, it has been solidified into layers of rocks as hard as the earth’s crust, but if you look at it closely, you can still identify the gravel and pebbles, or even the shells and fossils embedded in it. In my opinion, the subjective space-depth in Wang’s painting originates from the compression realized through a huge amount of “objective” time. The strokes have become the traces of the artist’s various life experiences, truthfully documenting the breath and heartbeat of every moment, which all together accumulate the artist’s unique spirit and personality.

The appearance of a person is thus completed into a multi-dimensional gesture in a twodimensional image.

Another intriguing characteristic in Wang’s painting is the shape between abstract and figurative expressions. In fact, neither the abstract nor the figurative is his artistic concern.

The choice of certain shapes depends on whether they are able to represent the idea of “fullness” according to the artist’s subjective definition. Such an artistic concept has always been revealed throughout his artistic practice. Three years after graduating from the Department of Fine Arts at Tunghai University in 2000, Wang went to France in 2003.

On his arrival in Paris, especially between 2004 and 2005 when he spent most of his time learning French and preparing to apply for art school, the artist who used to be known for his figure and still-life paintings during his studies in college developed a series of works titled “Shape of Home,” featuring intimate objects from the artist’s daily life such as home space and furniture. In the works, the indoor space, bed, and bedroom are visualized with extreme simplicity. In spite of the figurative depiction, the form of his artistic expression shows an inclination toward symbolization or abstraction. It is not Wang’s intention to emphasize the realistic colors or the detailed images in our eyes. Instead, he gives a brief contour about the depicted object, and reinterprets the scenes and objects with his personal sentiments: solid, strong, warm, somber, or even gloomy. The lyrical expression of the artist is perfectly absorbed in the light-and-shadow as well as the atmosphere of the image, which reaches beyond the classical tradition of realistic painting and touches upon the subjective visualization based on poetic metaphors.

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In 2005, Wang began his studies at Ecole nationale Supérieure d'Arts de Paris-Cergy, where he further removed the narrative of the image in “Trace Series.” In the series, all the identifiable visual traces related to the real objects almost disappear in the image, even though they mostly originate from his daily life. The abstract patterns or lines are derived from the paths which the artist used to pass by every day, such as the walking route from the stairs of his apartment to the street, or the home objects which change their locations or appearances out of necessity. The artist’s most familiar scenes have been transformed into minimalist masses or contours. For viewers, in the image where a narrative is absent, they can only picture the visual appearances and qualities through shapes and symbols; for the artist, however, every scene is the most precious moment condensed from the life experiences for one to savor. Nevertheless, how it is represented should not be understood as the vanity of the artist or the alienation imposed by the paintings. Instead, Wang deliberately chooses an implicit and reticent way to realize the narrative ritual of his personal “inner need.” In fact, Wang has once used an interesting example to explain it: if you want to say“my grandma is very kind to me,” many painters might decide to paint a portrait of a grandma, but it is very possible that viewers only see “a portrait of an old lady.” Therefore, Wang believes that “if you want to paint about ‘my grandma is very kind to me,’ I prefer it as something to be felt and experienced at the first sight rather than merely a portrait.”

Based on it, Wang further explores the relation among artists, paintings, and viewers. In 2007, he exhibited the series “Distance.” A 200 x 200 cm giant painting is full of cube shapes which almost occupy the whole space, but when viewers take a closer look, they will discover that these shapes do not have any clear contour except for the floating existence like a mass of black mist. Only when viewers stand at a distance from the painting can they notice the so-called “borders of the shapes” in the visual image. Wang believes that viewers’ attempt to move forward or backward to find the best distance for viewing is to realize the practice of “focusing.” “To keep a perfect distance” does not only describe the relation between an artwork and viewers but can also be extended to the various situations in our daily life, including the relationship between one and others, one and the world, as well as one and the self.

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After spending 10 years in France, Wang decided to continue his artistic practice in Taiwan in 2013. Since then, he has exhibited a dozen of works per years mainly in his annuallyheld solo exhibitions such as Arrangements (2013), Parallel World (2014), and Lyric (2015).

Wang persistently works on his artistic exploration and self-exploration through his purest and most honest ordinariness of life. Most of the works during this period are included in this catalogue All Interpretations Will Come to An Entity, the very first catalogue published throughout his artistic career. According to Wang’s own understanding, the retrospective compilation provides a temporary conclusion of his artistic practice so far. For him, at this particular stage, painting is a means to reexamine the self: the artist exercises his free will to elaborate and to create, but the artworks which have absorbed the artist’s sentiments and thoughts will ultimately win their independence and go beyond the reign of the artist as if they had their free will. Meanwhile, the inner rhythm will signify the unexpected moment when the artworks have become fully complete. From then on, the relation between the artist and the works has turned into a conversation between two Subjects. The inner truth of the paintings reveals a more refined quality, allowing the artist to experience a greater freedom.

As for me, the charm of Wang’s painting is exactly the absolute lyricism and purity – his state of being completes his artworks. The traces of repetitive stroke-drawing left in the paintings become the artist’s slice-of-life ordinary. Painting itself returns to construct Wang’s state of being: in Wang’s art and life, they are never two separate things but together create a twoway relationship based on mutual support and polishment. The two are inseparable, if not united as one. The state of being without any gap is built on the artist’s high self-awareness and absolute sincerity. The honest and diligent personality of the artist helps document the profound truth of life with some warm touch. It is what makes art affective and lasting.

I took a second look at the unidentifiable ovals scattered in the black in Wang’s “Universe-01” and “Universe-02” in 2013. In spite of their distinct shapes, the unidentifiable objects occupying the ambiguous plane between reality and illusion still made me wonder where they originated from. I thus brought up the question to the artist with carefulness.

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“Oh, it is a table with plates of food on it,” Wang answered in a calm, tranquil, and straightforward way.

The riddle is solved with an easy answer. The planets, universes, or microcosmic cells in my imagination turn out to be the plates of food for a luxurious feast. With a smile in my mind, I start to wonder: will it be better if we do not ask any question and we do not know any answer in the first place? As a viewer, what puzzles me has nothing to affect Wang’s artworks. The purposedly mystified metaphors or the inner episodes are never his artistic concern. The only thing that matters is to describe something important to you as simple as possible with information as less as possible – just like the unusual ordinary, which implicitly covers the heaviest truth. What you need to do is to remove the hidden mask to perceive the significance which seems insignificant.

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王董碩 與他的「關係們」

文／

東海大學美術系

專任助理教授

段存真

要開始聊聊王董碩的作品之前，我想先來談談王董碩這個人。

提及一個人的方式有千百種，可以迂迴轉折，可以暗喻導引，當然也可以在文字 的堆砌裡想方設法的把這個人擬化成為一種「態度」，介於現實與想像之間的存在。 讓他被預設、被揣想。不過在這裡我打算盡可能地以我所能達到的誠實來說說這個畫 畫的人，他的狀態，以及他與他的作品間的「關係們」。

在大度山上認識的人往往會產生一種羈絆，即使那四年過得飛快。在我們還是年 輕的十幾歲代，董碩已經顯現出某些讓人訝異的初老狀態。這個人沉默寡言，腦袋兩 側已經參雜著稀疏的白髮，對任何一個不重要的問題也都深思熟慮。「關於你剛剛的 那個問題，我覺得如何如何」的答案，往往是出現在隨口問出的一個小時之後。這種 死命往裡面鑽的個性，其實也恰如其分的反映到他的作品裡。不習慣強詞說愁，手裡 拿著的畫筆是他與自己的溝通工具，用以釐清那些剪不斷理還亂的種種關係。在東海 大學美術系時期的王董碩作品，與其說是他自我的表述，不如把它當成是他與「那些 其他的人（其中包括了最親近的人）」的相處，有點冷淡，有點距離，但卻同時在冷 淡與距離之中看到些許期待，即使這個期待到底是什麼也許他自己也說不清楚。

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但是當然，沒有大學生是毫無煩惱的，那樣的夜晚，就在輕微的酒精（與現在相 比）與吉他聲裡渡過。對於那時候的我來說，所謂的藝術家應該就是這個樣子吧！

2003年的歐洲行，決定了我們往後十年的生活樣態，並且試著讓還在捉摸中晦 澀的創作逐漸成形，按照一種緩慢但確實的速度。被庇里牛斯山相隔二邊的法國與西 班牙雖然同處於歐洲大陸，但卻在文化上有相當大的差異，當然，這樣的差異遠遠的 比不上台灣與歐洲的不同。漂洋過海而來的台灣留學生們，連說出「夢想」這二個字 都讓我們覺得臉紅。參雜著不安與焦慮，成為了初抵歐洲那幾年味蕾所品嘗到的複雜 味道。透過電腦的纜線，我看到了董碩在準備入學考試時所創作的一系列作品。我深 深相信，作品是反映創作者心境的最佳媒介。雖然董碩要描繪的是「家庭的形狀」， 然而又何嘗不是它自身的縮影。畫面中的那些幾何塊體，銳利、簡潔，但是蒼白又尖 銳，來自上方的光源在形體下方形成了如同它自身一般的寂寞陰影，像極了舞台上自 說自話的獨腳戲演員。這些作品讓我耳目一新，在大學時期慣於描繪的寫實形象突然 在畫面中消失了。要把自己手上培養磨練了十幾年的寫實功力放在一邊，重新去思考 創作的可能並不容易。不過我認為那樣紮實的功力並沒有從這些冷靜節制的畫面中退 場，細膩的筆調跟畫面整體的掌控能力，與董碩在大學時期的精細寫實的繪畫如出一 轍，只有更精采而已。

直到現在我更確信，在歐洲學習藝術是幸福的，尤其是在塞納河相伴的巴黎。數 次造訪董碩，白天目不轉睛地盯著在龐畢度美術館裡Giacometti的作品，來回往返橫 跨在塞納河上的新橋，一邊感受Pissarro與Utrillo筆下同樣色調的巴黎風景。夜晚回 到蒙馬特山腳邊董碩的住所，打開幾瓶葡萄酒，深夜裡品嘗餐桌上用平底鍋細火煎出 的鴨胸。我想，歐洲對我們而言已經改變了，它變的不再那麼陌生、那麼讓我們不知 所措，知道如何在被濃厚的藝術文化包圍的國度裡過生活，真是幸福。這種幸福會軟 化很多東西，不只是遊子的心，也包括了創作的風格。

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我觀察到這種軟化，出現在2007年董碩在塞爾基藝術學院（ENSAPC）的畢業作 品。這一系列作品談的是「距離」的問題。或許用「問題」這個字眼並不是那麼適 當，因為有問題就勢必引導出解決的後續，然而董碩並不想解決任何事情，他仍然只 是陳述一種生活的狀態，與它者之間的關係。2005年的「家的形狀」系列雖然並沒 有顯現出任何可辨識之物，但並不是幾何抽象的作品。它具有嚴格冷峻的風格，但卻 又暗藏著濃厚的「人味」。這種人味來自於創作者密度極高的話語慾望，只是被謹慎 的節制在方塊中而已。然而，乾脆簡潔的外輪廓，在07年的系列作品裡卻逐漸的被 消融，原本清楚堅硬的形體開始前進或後退，帶著微微的晃動，在視網膜之間形成模 糊曖昧的團塊。立體感不再精確，戲劇性的光線也轉弱，連結在點與點之間造成透視 的線隱沒在碳粉與油畫色料的暈染與延展之中。這種視覺上的不確定暗示了創作者自 身與它者之間抽象的「距離」，雖然試圖靠近，但卻往往徒然。然而這種徒然似乎也 成就了某種協議，一種關於「相處」的協議，簽訂協議的另一方則是圍繞在創作者周 圍模糊但卻與之密切相關的整體，也許是人，也許是環境。達成協議的條目並不清 楚，也或許這種曖昧仍然是危險的，但緊張感似乎消失了，取而代之的是一種「即 使不是很確定但那也沒有太大關係」的豁達態度，還有隨之相伴出現的，微微的幽 默感。

一個藝術家的養成不只在於天分，更在於堅持。2007年結束碩士的課程之後，董 碩並沒有繼續攻讀博士，但是仍然留在巴黎，因為在與生活場域密切相關的創作進程 裡，還不到可以離開這個城市的時候。離開了學校的環境，離開了學生的身分，在巴 黎這個異鄉的大都市裡，我了解那會是頓失憑藉的感覺，因為這也斷絕了所有為自己 找藉口的機會。全心的投入藝術創作，決定做一個可能飄盪一生的專職藝術創作者需 要多麼大的決心及勇氣。但是對於董碩而言我想並沒有太多的猶豫，因為這根本是一 件極其自然，早早就決定的事。

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從2008年到2012年，長達四年的時間，作為一個旅居巴黎的台灣藝術家，不間 斷的創作與展出，讓靠藝術討生活這件事情變得不再遙不可及。董碩創作的速度並不 快，但自有其節奏。每年一次的個展前那段長之又長的醞釀期不僅僅在積蓄創作的靈 感，更因為那就是生活。藝術家能夠持續不斷的創作來自於對藝術的熱情，更依附在 對於這件事深信不疑的信心。這樣的自信並不是代表自己所創作出來的是完美無缺的 作品，而是即使知道它仍有百般問題，卻相信繼續畫下去這件事具有絕對的價值。

在我結束西班牙的學業回台後的一年，董碩也離開了居住創作長達十年的巴黎。 難以想像的是，離開歐洲重新回到台灣生活，竟是一件那麼辛苦的事。在歐洲時令 我們口水直流的鹽酥雞，對現在的我們而言太過油膩。台北大都會讓人喘不過氣的擁 擠，整個台灣過於喧囂、對重要的事輕易忽略但卻對無意義的小事死咬不放的神經質 也讓我們覺得消化不良。一個明顯的事實是，在不知不覺中我們都已經上了年紀，而 這樣的年紀要不就是直接了當的放棄某些東西，要不就是死命地堅持下去。我想董碩 選擇了後者，而事實上這樣的勇氣也總是或多或少的鼓勵了我。一個年過35歲的藝術 家，雖然精神與體力慢慢的衰弱下來，但是相對增加的卻是對藝術創作的精熟以及厚 度。生命並不會剝削任何人，一物換一物，很公平。

回台之後，董碩仍然維持著一年一檔個展的發表，或許加上幾檔聯展的節奏持續 創作。如果要形容他在2012年之後的作品，我想「低調之下的驚喜」應該會是一個妥 適的形容語。事實上，不論是Pollock在畫布上的自由潑灑還是Rothko的大塊平塗， 由Clement Greenberg 所建立起來的現代主義繪畫法典，即使在現代主義消退的五十 幾年後，仍然主導了當前抽象繪畫的創作準則。而色彩，也是抽象繪畫藝術家追求表 達所謂「普世的情感經驗及價值」的最有利武器。有趣的是，這個武器似乎被董碩置 放在手邊不曾拿起。一個最容易揣測的想法是，為了避免對純粹的造型維度造成影 響，將色彩的貢獻降至最低，那麼造型的力道就能夠有效的被呈現，從而在視覺上佔 據主導的位置。但我想董碩考慮的純粹並不是在於造型力量的純粹，而是如何讓自己 專心說一件事，這種「心情的純度」。其實不難發覺到，畫面上處處顯現著這種飽滿

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的心情純度。使用的材質極其單純，筆調整齊劃一，使用鉛筆重複的在黑色的底層上 交織出一塊塊銀色的面。黑色如同明亮的鏡子，銀色則是溫潤的霧面金屬質感，卻同 時折射出材質的極致細膩。將一件事從同到尾好好說完，是藝術家對事事物物的深刻 感受，絕對跟塗畫油料或是碳粉快速造就的色面不會是同一件事。

離開了一個長久生活的環境，回到了曾經熟悉卻又再度陌生的地方，是一個檢視 自己的最好機會。只是察覺到這樣的必要性卻需要時間。在董碩的創作歷程裡，我想 我看到的是一個藝術家藉由作品觀看自身的方式與角度，逐步的在調整。形象從堅硬 的形體逐漸消融，並且進一步被創作者拆解。我想不管是對人也好，對作品也好，深 入的了解不在於結構，而在於能夠精確地將它解構。也因此我們看到了線性，一度消 失的透視也重新出現，呈現了造型的內部狀態。藝術家不再將自己安置在形體之中， 而是讓自己抽離，藉由距離來探測認定上的自己與本質上的自己，之間那一層微妙的 「關係」。

藝術創作總是孤獨的，重要的也許不是克服孤獨，而是知道如何跟孤獨相處。從 歐洲返台的這三年，雖然身處的環境轉變了，但是在歐洲十年所習慣的獨自生活的態 度，卻像陳年痼疾一樣緊緊纏住自己。我想也因為如此，藝術家才能夠更為安靜的觀 看自己，離開表面的皮層，試著了解內在的結構，進而更直接的觸碰本質的部分。一 直以來，重複觸摸確認自身與他人、自身與環境、甚至自身與自身的關係，也似乎到 了一個必須收尾的時候。2015年董碩的作品，就像是一系列自我體檢的報告書，不過 醫生是他，病人也是他。

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在創作的媒材上，仍然是以木板鉛筆以及畫布油彩為主。當然曲線與弧面在董碩 之前的作品裡也曾出現，但是卻絕對的不如此次自由。「痛處」系列不再只將造型指 向情緒與精神的抽象維度，而是重新地返回了可以被真實體驗的界域。在線性的存在 暗示下，一團一團的塊體滿溢於外，又像是光下那些無所遁形的細胞與神經，互相的 連結又互相的牽扯。難言的疼痛顯於外又埋於內，痛是生物上的，卻也隱隱的暗示某 些無法被正確表述的難言之隱。

我總是覺得，一件好的藝術作品應該是誠實的，而誠實的藝術作品當然必須被誠 實的藝術家所創作。王董碩這個畫畫的人，我想是誠實的。或許這十幾年來在創作上 的探索是調整自己活在這個世界上必須要有的「姿勢」，這個姿勢並不需要在旁人的 眼中是獨特不凡的，但卻必須要讓自己感到舒緩，感到自己的存在其實並不是那麼的 格格不入。所以，請王董碩繼續做個誠實的藝術家，繼續畫著一張又一張誠實的畫， 並且讓我們能夠理解到創作其實就是一件這麼單純的事情。

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WANG Tung-shuo and His “Relations” Written by Tuan Tsun-chen, Assistant Professor in the Department of Fine Arts at Tunghai University.

Before we talk about Wang Tung-shuo’s works, I would like to talk about this person first.

There are thousands of ways to talk about a person – indirectly, implicitly, or metaphorically.

We can also try to transform the written description of a person into an “attitude,” the existence to be defined and conceived between reality and imagination. However, here in the article, I would like to talk about the painter as honestly as possible, to talk about his state of being and his “relations” with his works.

Sometimes, I feel that my life has been connected to those people I met when I lived on the Da Du Mount.¹ The four years have passed in a blink of an eye. Although we met each other when we were still teens, Wang Tung-shuo still surprised us with his young maturity. He did not speak much. He fell into silence every time, with the strands of gray hair on both sides of the head, when he was asked about the most trivial question. It usually took him more than an hour to come to an answer: “about the question you have just asked, it is my take on it.”

The detail-demanding personality was also revealed in his works. He did not express himself through sentimental words, while the brush painting became the tool for him to communicate with himself and to sort out the various twining relations in his life. The artworks created during his studies in the Department of Fine Arts at Tunghai University were not just his selfexpression, but also his relations with “others (including the close ones).” They seem aloof and distanced, but they also come with some expectation – even though he could not define the expectation.

1. Translator’s note: Da Du Mount is where Tunghai University locates. Here the writer is referring to her college life.

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Indeed, the life of a college student was far from worriless. We had spent so many nights drinking a bit of alcohol (relatively speaking when compared to now) and singing with guitar.

Looking back at that time, it was definitely how I imagined what the life of an artist should be.

A trip to Europe in 2003 decided what our lives were to be like in the next decade. At a slow but yet steady pace, we tried to shape our artistic practice from the chaotic void. Although France and Spain are on the same continent, they still share very different cultures as how they are separated by the Pyrenees. Indeed, the difference between France and Spain is not as significant as it is between Taiwan and Europe. For those Taiwanese students traveling all the way to Europe, even the attempt to speak out the word “dream” made us flushed. A life mixed with insecurity and anxiety became the only taste we savored in the first several years when we stayed in Europe. With the help of Internet cables, I got a chance to see a series of Wang’s works for the entrance exam. I truly believed that an artwork was the best vehicle to reflect the artist’s state of mind. Although the theme of Wang’s work was “the shape of home,” it also became the miniature of the artist himself. The sharp and clear geometric shapes in the images at the same time look pale and penetrating. The light from the upper part creates a shadow beneath the geometric shapes, as lonely as a one-person show where an actor speaks alone. These works were quite surprising, different from his works in college which featured figurative representation. It was not easy to put aside the over-tenyear-practice of Realist painting to re-explore the possibility of artistic expression. In my opinion, however, his solid training has not vanished from the calm and restrained images.

The exquisite strokes and perfect dominance on the composition are exactly the same as in his detailed Realist paintings in college, if not more breathtaking.

Now, I am more convinced that studying art in Europe is such a blessing, especially in Paris, along the Seine. During my many visits to Wang, I spent the days at Centre Pompidou capturing every detail of Giacometti’s works and crossing the Pont Neuf several times to experience the colors of the city as in Pissarro’s and Utrillo’s painting. At night, I returned to the base of Montmartre where Wang lived. The pan-fried duck breast with med-low heat and a couple of bottles of wine were the perfect dinner for the dark nights. At this moment,

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I came to realize that our perception of Europe had very much changed. It was no longer so foreign, perplexing, and out-of-reach. It was a wonderful realization that you lived in a kingdom surrounded by rich art and culture. Such a wonderful feeling would soften many things – not only the diaspora’s hearts but also the art styles.

It was in his graduation project at ENSAPC (Ecole Nationale Supérieure d’Arts Paris-Cergy) in 2007 that I first noticed how his artistic expressions were much softened. It was a series of works to talk about the issues of “distance.” Perhaps “issue” is not the perfect word for it, since “issue” suggests problems and the following solutions. Nevertheless, Wang did not want to solve anything. He simply narrated a state of life and the relations with others.

Even though the series “Shape of Home” in 2005 does not have any identifiable images, it is not of geometric abstraction either. The cold and strict style still reveals the touch of “humanity” within. The “humanity” comes from the artist’s strong desire to express himself, but the desire is modestly confined in the squares. However, the sharp and precise outline has gradually melted in the works in 2007. The once clear and rigid shapes begin to move forward or backward. With its gentle swing, it thus forms an ambiguous mass on viewers’ retina. The three-dimensional perspective is no longer precise, while the dramatic light weakens. The invisible lines which connect dots to create perspective has now disappeared in the saturating paint and carbon dust. The visual uncertainty suggests the abstract “distance” between the artist and the others. No matter how hard they try to stay close to each other, it is still in vain. However, the effort-in-vain meanwhile brings them to an agreement – the agreement about “how to get along with each other.” The agreement is made between the artist and what surrounds the artist -- the people or the environment, which make an obscure but closely-related entity. The purpose of the agreement is not clearly explained. The ambiguous state may be dangerous, but the anxiety is gone, replaced by the optimistic belief that “it does not matter to be uncertain” and a slight sense of humor that goes with it.

Being an artist does not only depend on one’s talent but also devotion. Wang stopped pursuing a doctor’s degree after he received his master’s degree in 2007, but he still stayed in Paris, where his artistic practice perfectly echoed his life and the surroundings. It was not about time to leave the city. As he stepped away from the protection of school and the status

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as student, a life in Paris, a foreign metropolitan, could be totally alienating. Now, it became impossible to find any excuse. It took enormous courage and determination to become a fulltime professional artist who might spend the rest of one’s life in unguaranteed promise, but Wang did not have much hesitation, at least it was what I believed, because his devotion had been determined long ago as if it was his destiny.

During the four years between 2008 and 2012, Wang had worked on one project after another and his works had been shown in one exhibition after another. Making a living through artmaking was no longer an impossible dream for a Taiwanese artist in Paris. Wang was not a fast-working artist, but he had his own pace. He spent a long period of time cultivating inspiration from the daily life before each of his annual solo exhibition. An artist’s lasting devotion does not merely come from the passion for art, but also the assured faith in it.

The confidence is not to convince yourself that everything you have created is perfect and flawless, but to believe everything you have been doing has a meaning in spite of all the questions you have encountered in your mind.

In the year after I finished my studies in Spain and returned to Taiwan, Wang also left Paris where he had stayed for a decade. It was almost impossible to imagine how hard it was to start it all over when moving back to Taiwan from Europe. A nostalgic thought of salt-fried chicken used to make us drool in Europe, but it is too greasy for us now. A metropolitan like Taipei city is too crowded and too noisy. It is quite vexing that people here tend to ignore the things that matter but to make a fuss about the insignificant matters. We also acknowledge the fact that we, somehow, are aged. We are left with two choices at our age – either to give up something without compromise or to keep doing what we have been doing without holding back. I believe Wang has chosen the latter. In fact, his courage indeed encourages me. For an artist over 35 years old, the slowly weakened strength will not affect the polished maturity of one’s artistic practice. Life is fair, for it never takes advantage of us. It will always bring us replacement for what it takes away.

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Apart from his annual solo exhibitions since he returned to Taiwan, his works are often shown in group exhibitions once in several months. If there is a term to describe his artworks after 2012, I think that “the quiet surprise” should be an appropriate choice. In fact, no matter it is Jackson Pollock’s free drip-and-splash, Mark Rothko’s color-field painting, or the Modernist painting established by Clement Greenberg, Modernism still dominates contemporary abstract painting although fifty years have passed since it began to lose its influence. Meanwhile, “colors” are still believed to be the best weapons for abstract painters and artists to visualize the so-called “universal emotions and values.” Interesting, it seems that Wang has never picked up such a handy weapon. The most convenient explanation is that he wants to avoid disturbing the purity of the dimension and shape. As long as he diminishes the contribution of colors, the strength of shape can be effectively emphasized as the visual focus. However, I do not think that the “purity” in Wang’s mind is about the strength of shape. Instead, it is more about the concentration of expression – the “purity” of one’s sentiments. We can easily notice that the images are saturated with emotional purity.

He uses simple materials, and the strokes are organized. The repetitive pencil strokes on the black background are woven into a silver plane. The black area is as shiny as a mirror while the silver shows some brushed-metal texture with warm moisture, but the two both reflect the exquisite fineness of the materials. The insistence to express something carefully and perfectly from the beginning to the end is how the artist deals with what he experiences and feels with sincerity. It is never the same case with flat paint or color-field created with carbon dust.

When a person left a place where they had stayed for a long while and returned to the once familiar but now strange hometown, they were thus given a wonderful opportunity to reexamine themselves, although it took time to notice the necessity. Throughout Wang’s artistic career, I think I have seen an artist slowly adjusting himself in a way as how his artworks allow him to adopt a different perspective to look at himself. The once solid form is gradually melting and deconstructed by the artist. For me, whether it is about the person or the works, a thorough understanding does not depend on the structure but the precise execution to deconstruct it. Therefore, we see the linearity. The once disappeared perspective reappears again, revealing the inner state of the shape. The artist no longer

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places himself within the shape but steps away from it, allowing the distance to measure the subtle relation between his real substance and how he defines himself.

Art-making is a lonely process. What matters is not how to overcome the loneliness but how to get along with one’s loneliness. Since we came back to Taiwan from Europe three years ago, we have still been trapped by the all-by-ourselves lifestyle – a way of life we used to be so familiar with in those ten years in Europe which now becomes a disease we cannot get rid of. Nevertheless, it also allows an artist to explore oneself with better quietness, to take a step further from the surface to the inner structure, or even to physically touch the substance.

For a long time, the artist validates the relation between himself and others, himself and the surroundings, or between himself and himself through repetitive touch, but now it seems about time to come to an end. Wang’s artworks in 2015 are like his own health check report, while he is both the doctor and the patient.

Most of his artworks are mainly pencil drawings on wood or oil painting on canvas.

Curved lines and planes are the recurring elements in Wang’s previous works, but they are expressed much more freely in the new works. In “Sore Series,” the shape no longer points at the abstract dimension of emotions or spirit, but brings us back to the sphere of physical experience. As what the existence of linearity implies, all these overstaffing masses are like the cells or nerves whose entanglement is fully revealed under X-ray or a microscope.

The indescribable pain is shown in the appearance while it is also felt inside. The pain is physical, but it also subtly implies the unspoken secret which cannot be truthfully verbalized.

I have always believed that a good work of art should be honest, while an honest artwork can only be created by an honest artist. Wang is an honest painter – at least it is how I know him. Perhaps the artistic exploration throughout the past decade is the necessary “gesture” to adjust our places in the world. The gesture does not have to be unique in others’ eyes, but it has to make ourselves comfortable and to assure us that our existence is not so out-ofplace. Therefore, let us expect Wang to continue his artistic pursuit as an honest painter, and to finish one honest painting after another, so that we will realize art-making is as simple as this.

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2004

左／

家庭的形狀 – 01

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右上／

Shape of Home – 01

家庭的形狀 – 02

右下／

Shape of Home – 02

家庭的形狀 – 03

油彩、畫布

油彩、畫布

油彩、畫布

oil on canvas

oil on canvas

oil on canvas

73 × 92 cm

73 × 92 cm

73 × 92 cm

2004

2004

2004

Shape of Home – 03

2005

堆積 - 01

Accumulation - 01

堆積 - 02

Accumulation - 02

堆積 - 03

Accumulation - 03

油彩、鉛筆、畫布

油彩、鉛筆、畫布

油彩、鉛筆、畫布

oil and pencil on canvas

oil and pencil on canvas

oil and pencil on canvas

35 × 27 cm

35 × 27 cm

35 × 27 cm

2005

2005

2005

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軌跡系列 – 通道 01

146

Track series – Aisle 01

軌跡系列 – 通道 02

Track series – Aisle 02

炭筆、畫布

炭筆、畫布

charcoal stick on canvas

charcoal stick on canvas

114 × 146 cm

114 × 146 cm

2005

2005

2007 2007 年一系列討論“距離”的作品，照片攝於藝術學院五年級文憑考試現場，賽爾基藝術學院（ENSAPC） A series of works to talk about the issues of “distance” in year 2007, pictures taken in the graduation project at ENSAPC ( Ecole Nationale Supérieure d'Arts Paris-Cergy )

左（由左至右）／

右上／

右下／

無題 Untiled

無題 Untiled

無題 Untiled

無題 Untiled

無題 Untiled

炭筆、畫布

炭筆、畫布

炭筆、粉彩、畫布

炭筆、粉彩、畫布

炭筆、粉彩、畫布

charcoal stick on canvas

charcoal stick on canvas

charcoal stick and

charcoal stick and

charcoal stick and

150 × 150 cm

150 × 150 cm

soft pastel on canvas

soft pastel on canvas

soft pastel on canvas

2007

2007

200 × 200 cm

200 × 200 cm

130 × 162 cm

2007

2007

2007

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我想， 在要被印刷出版的場所，應該要盡可能的坦誠， 就像面對空白的畫布一樣。 我不想解釋我的作品。

是山（2011）

結石（2012）

潮濕的空氣，傍晚的濃稠天色

思緒重重超越聯結超連結

躍入深不見底墨黑的山谷

現實種種角色扮演不現實

呼吸是否急促了些？

其實無關意願也無關喜好

夜裡的焦躁行走，趕路般地回到了起點

角尖的風景令人難以意料

綁架我從夢中醒來

只好穿上不合時宜的冬衣

看起來像是帶著包袱的小丑

抵擋迎面而來意念的結石

不禁笑了出來。

自有安排（2013） 尋找著一絲乾燥的空氣 騷動顫抖，等霧散 你只好切換生命的狀態， 彷彿自有安排

148

平行世界（2014） 霧未散小島漂浮 滿溢著潮汐一般無法迴避的聯結 老派的焦慮沖刷著海岸線 在什麼樣的位置 使上怎樣的氣力 調整好呼吸的節奏 去想去的地方

抒情（2015）

敘述（2015）

你要怎麼寫一個實

你要怎麼說一個故事

你該如何轉換眼見的彆扭

用白紙黑字仔細寫下種種細節

你想通過固執的阻礙

反覆背誦行為準則謹記在心

囉唆的花季讓你過敏起疹

抓緊高潮與低潮的時間差

卻如潮汐反覆重播

吃下不會因（引）起過敏的過敏藥

趕快避開過剩的集體道德感

說一個故事，但是不要全部說完

勾搭巷口已結紮的母貓 你怎會相信白紙黑字？ 感謝一直支持我的父母， 科元藝術中心，實心美術，家人以及朋友。謝謝。

這本畫冊獻給 在2013年過世的外公，吳金河先生。

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When writing in something which is about to be published, I think honesty should be my best policy, just like how I deal with a blank canvas.

I have no intention to explain my artworks.

As Mountain ( 2011 ) The muggy air drags the thick dark sky at dusk Into the ink-black of the deep valley.

Does the breath become short and fast?

The anxious march at night hurriedly returns to where it begins with.

I am kidnapped from my dream, Looking like a clown with baggage.

And I laugh.

Make a Stone ( 2012 ) The various thoughts reach beyond the links and the hyperlink.

The various roles in reality put on the unrealistic mask.

It is neither about inclination nor affection.

The view at the peak is beyond imagination.

So one can only put on the winder clothes when it is not even winter at all, To define the stones from the coming thoughts.

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Arrangements ( 2013 ) Searching for a trace of dry air, As one is agitated, trembling, waiting for the fog to disappear.

You have to switch the state of life, As if everything has its own arrangements.

Parallel World ( 2014 )

Narration ( 2015 )

The small island is floating in the mist,

How should you tell a story?

Soaked in the links normal tides cannot avoid.

Writing down every detail on the blank pages.

The old-fashioned anxiety erodes the coastline.

Memorizing all the principles.

The position you take.

Adjusting the time lapse between climax and nadir.

The effort you make.

Swallowing Anti-Allergy pills which

To pace your breath.

will not trigger an allergic reaction.

To go where you want to.

Telling a story, but not all of it.

Lyric ( 2015 ) How should you visualize reality?

How should you transform the awkwardness in your eyes?

You want to pass through the obstacle of stubbornness.

Special thanks to my parents,

The tedious blossom season causes a rash,

Ke-Yuan Gallery, Solidart,

But it replays like tides’ repetitive rise and fall.

my family and friends. Thank you all.

Let us avoid the overflowing group morality.

And flirt with the spayed female cat.

The catalogue is a dedication to

How could you believe written words?

Mr. Wu Chin-He -- my grandfather who passed away in 2013.

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王董碩 1978

出生於台灣 台北

2003 – 2013

旅居法國

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 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

152

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

聯展 2015

「Young Art Taipei」，喜來登酒店，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

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WANG Tung-Shuo 1978

Born in Taipei, Taiwan

2003 - 2013

Resident in Paris, France

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 Award, Japan

2008

「53e Salon d'Art Contemporain de Montrouge 」, Entry Award, France

Solo Exhibitions 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

154

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

Selected Group Exhibitions 2015

Young Art Taipei 2015, Sheraton Hotel, 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 Young Art Taipei 2014, Regent Hotel, Taipei, Taiwan

2013

Asia Hotel Art Fair, Mandarin Oriental, Hong Kong 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

155

所有的詮釋 終將成為一個整體

作者 / 王董碩

Author: WANG Tung-shuo

翻譯 / 白裴嵐

Translated by Siraya Pai

攝影 /

Photographed at

美術設計 / 實心美術

Designed by Solidart Graphic Design

印刷 / 基盛印刷工場

Printed at Ji-Cheng Print Workshop

出版 / 科元藝術中心

Published by Ke-Yuan Gallery

地址 / 台中市清水區中山路126-8號3、4樓

3F, No.126-8, Zhongshan Rd., Qingshui Dist., Taichung City 436, Taiwan

電話 / 04-26229706

Phone: +886 4 26229706

傳真 / 04-26220713

網址 / www.keyuan.com.tw

www.keyuan.com.tw

E–mail / kysf@ms38.hinet.net

kysf@ms38.hinet.net

出版日期 / 2015年10月

Publishing Date: Oct. 2015

發行量 /

Issued

訂價 /

Price NTD

ISBN 版權所有．翻印必究

Fax:+886 4 26220713