視覺邊境—王建文 Visual Frontier - Leo WANG

2013

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L e o Wa n g

來自巴黎的小王子

文／ 陳 菁 螢 尊彩藝術中心總經理

去年春天，我策劃了「如果是小王子」的新人展，從眾多海內外的台灣新 生代藝術家中，來自巴黎的王建文 Leo Wang 一幅《紅玫瑰》引人注目， 畫廊邀請他參與 2012「如果是小王子」聯展，開啟了雙方長期的合作。 畫中一架彩繪著紅玫瑰的玩具飛機凌駕在飄渺的白霧中，一片純淨而沒有 太多驚訝想要刻意隱藏在其間。

一年來，Leo 的畫風逐漸趨向更簡化與純粹，僅存抽象意識的光束，空氣 流動在光的四周，音樂帶給他的撼動已轉換為交織的彩虹。 十三年前，王建文跟隨學音樂的姐姐赴巴黎就讀巴黎第八大學 Université Paris VIII 造型藝術系；高中時就讀復興美工科，一路嚴格的繪畫訓練， 讓他在國外求書期間，得以兼差攝影與設計的工作補貼生活費。當時，即 使完成了巴黎第八大學造型藝術系碩士、新媒體應用系碩士的雙學位，要 尋得展覽的機會還是很困難的。對藝術的熱情支柱著王建文持續創作，尋 求機會。 2005 首度在巴黎舉辦個展。之後陸續申請巴黎大皇宮聯展，這是由四個 沙龍協會組成，參展需要通過協會的審核篩選，王建文連續六年獲選參與 展出。2009 經法籍朋友結識了台灣知名建築師陳瑞憲先生，並且受邀回 台參與台北君品酒店的公共空間繪圖。陳瑞憲老師常鼓勵他說：「多去嘗 試不同的作法，表現自己，加油！」 4

Essay: Le Petit Prince from Paris

紅玫瑰 2012 油彩、畫布 97×180.5cm

巴黎這藝術之都，處處瀰漫著高度的文化蘊涵，和緩的生活態度自然融入 了王建文的創作。他習慣慢慢的觀察、思考；多花一些時間做好一件事， 如同莫內長年觀察稻草堆的光影，蓮花池的四季變化。藝術家 Nicolas de Staël（1914~1955）、 常 玉（Sanyu 1901~1966）、 歐 姬 芙（Georgia O'Keeffe 1887~1986）、李希特（Gerhard Richter 1932~），啟發他的 創作心靈。建築師科比意（Le Corbusier 1987~1965）、安藤忠雄（Tadao Ando 1941~）、卡洛斯卡帕（Carlo Scarpa 1906~1978）引領他以城市 建築的光影作為創作的發展。

客途異鄉，旅行成了他心靈的寄託，移動的影像、不斷交替的時空。他的 畫總是寧靜，淡淡的光影與樂音飄揚，傾訴著他深愛的一切。

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Le Petit Prince from Paris

Last spring, I curated an exhibition—Le Petit Prince, which specially aimed at promoting new generation Taiwanese artists. Among all the overseas and domestic artists, Leo WANG from Paris attracted us with his work, Rose.

Therefore, our gallery invited him to join the exhibition and this started our long-

Written by Chen Ching-Ying

term cooperation.

Liang Gallery Manager

In Rose, one sees that except a toy airplane with a red rose flying upon the misty fog, there is no artificial surprise to hide in-between but a broad pureness of colors.

Over the past year, Leo’s style has gradually become simpler and purer, what remained was beams of abstract ideology. Air flows around lights, and the vibration that music brings to him has transformed to an interweaving rainbow.

Thirteen years ago, Wang followed his sister’s step to Paris and studied in L’Université de Paris VIII, majored in Plastic Arts. Starting from Fu-Hsin Trade & Arts School, years of discipline had led him to have the ability to spare time for part-time jobs of photography and designing to support the life expenditure.

At that time, even Wang had completed the study at L’Université de Paris VIII and received a double master degree in Plastic Arts as well as Contemporary Art and New Media. However getting an opportunity to join exhibitions was still difficult, it was his passion toward art that supported him to continually produce works and seek opportunities.

In 2005, Wang held his first solo exhibition in Paris. Later, he had exhibited in Art en Capital Salon du Dessin et de la Peinture à l'Eau at Grand Palais, France from 2006 to 2011.

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Essay: Le Petit Prince from Paris

La Rose 2012 Oil on canvas 97×180.5cm

In 2009, he met a well-known Taiwanese architect, Ray Chen, and

Le Corbusier, Tadao Ando, and Carlo Scarpa have guided him to

was invited to participate in designing art for wall murals in Palais

use light and shadows from city architectures as the development of

de Chine Hotel in Taipei. Chen encouraged Wang, “be bold to try

creation.

different ideas and techniques, explore yourself and present it in the work. ”

Stayed in a foreign land, traveling has become a commitment to his spirit – moving images and changeable space-time. His paintings are

Paris, the capital city of arts, is full of cultural sophistication;

full of tranquility, light and shadow as well as notes of music, which

the gentle and appreciative attitude towards life and nature is

pour and present his beloved ones.

incorporated into Wang’s artworks. He used his observation and contemplation to create a perspective of his own, just like Monet’s works showing the nature scenery – slowing changing with seasons.

Artists including Nicolas de Staël, Sanyu, Georgia O'Keeffe, Gerhard Richter have inspired Wang’s ideas and thoughts; architects including

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進入另一個世界 的路徑

在 20 世紀文壇獨領風騷的法國小說家普魯斯特（Marcel Proust）曾經說 過，每一個藝術家擁有其特殊的曲調，這曲調可見於其每一件作品。原因 無它，那是絕對屬於這位藝術家的：某種特別的抑揚、主題、執念，或別 具特色的調子。在莫札特身上，那可能是人聲結構進入它所有旋律樂句的 方式；對巴哈而言，無疑是濡染了他所有作品的複音與節奏，化身為音 樂學家梅勒斯（Wilfred Mellers）所謂的「上帝之舞」。在貝多芬，則是

文／ 張 禮 豪 藝評人

單純的旋律與持續不懈，有時充滿爆炸性的發展之間那種獨一無二的張 力……。

那麼，從深喜在創作之時聆聽古典樂，沉浸在巴哈的《第一號大鍵琴協奏 曲》、柴可夫斯基《小提琴協奏曲》到蕭邦的《離別曲》樂音裡頭，任由 線條與色彩恣意揮灑的王建文身上，我們能夠在其作品中觀看、聽聞到 的，或許就是他不斷地在時空的變奏裡描繪真實人生的特殊曲調，內斂而 純淨，感性而愉悅，一如布拉姆斯對此音樂形式的終極追求，即使只是看 起來微不足道的生活切片。他並不像華格納，如同鐘錶匠一般處理《尼布 龍的指環》這部碩大無朋的歌劇中漫長而持續的諸多大小細節，反而更接 近於德布西或薩堤（Erik Satie），輕盈地創造出一種寧靜的印象畫面， 邀請人們進入只適合少數人同時在場的小型沙龍，讓彼此可以毫無距離且 自由無拘的進行交流。

試讀此次「視覺邊境」一展中，王建文自己寫下的些許文字：「坐在前往 北歐的夜車上，窗外顯得格外明亮。列車高速行駛在乾燥的雪地中，鐵軌 上發出的薄荷色電光，映著照亮我眼前大地的月光，濛濛靄靄。我看著遠 方的森林，彷彿那正是進入另一個世界的路徑。」如是的氛圍流露，想來 自然也與旅居法國多年脫離不了關係。但王建文坦承，從投身創作以來， 他一直受到技法的拘束，也經歷過只為表現技法的創作過程，可是隨著生 活的步調逐漸與當地同步，在思想上自然而然也慢慢淨空，懂得如何聆聽 8

Essay: The Path to another World

夜 2013 複合媒材 100F×2

周遭環境一些簡單事物的聲音。至此，他將感官放大，開始嘗

藏了幾張蒼白無助的臉龐，正為爭取自己的生存空間而在無聲

試使用一些單純的色塊，以寫實的技法來描繪眼中所見的景物

地吶喊控訴著，流露出淡淡的憂傷與哀愁。如是讓主題以不太

或事件，再刻意透過一片一片拆解之後又重組的方式，使作品

明顯的方式出現，甚至夾雜著其他的子題，之後隨著觀看的距

得以祛除瑣碎的細節，疊合變奏出既耳熟能詳，卻又如初聞乍

離漸次接近，關注的意志也跟著提高之際而脫穎而出，也不禁

聽的新鮮樂句，竟是那樣富涵詩意。

讓人聯想到佛瑞（Gabriel Fauré）音樂中講究平衡與協調，蜿 蜒起伏、綿延悠長卻又總透著幾分惆悵的音調，引人沉吟思索

舉例來說，《夜》（La nuit）正是前面自述的描繪，切片一般

再三。

的分割畫面，既像是建築量體的不同結構物件，也像是不同光 陰的擷取，而最終目的是化身為開啟連結著觀者各自記憶中類

想望，總是前進最大的推動力量，對於創作如此，對於人生亦

似景象的鑰匙：它不必然是在相同的時空，卻誘發出類似的情

是如此。《想望》（Vouloir）一作正是面對變幻莫測，始終帶

境，映照在亮光之間，不明所以的輪廓中隱約顯現了一條通往

著一片光暈的世界時，不斷要求自我的眼光深化，向最內裡去

遠處的小徑，我們或者踽踽獨行，放眼望去僅餘一片蒼茫；又

探求的寫意表現。而在《四手聯彈》一作中，畫面成了藝術家

或者碰巧幸運有人相伴，原該寂寞的旅次也變得生色不少，但

與觀者共同合作演奏的鋼琴，如同透過不斷地摸索、嘗試與挫

無論何者，這些旋轉不已、模糊難變的回憶，看來如此地不真

敗，在遊戲與學習之中順利建立起彼此之間的默契，在在使這

實，卻清楚而實在地見證了棲息於其中，不曾稍變的沉靜幸福。

件作品就像是黑、白鍵此起彼落飛舞一般，儼然有琴音自無處 飄來，描繪出浪花反覆來去成一片白色泡沫的海之感受……透

以法國大文豪雨果的傳世作品《Les Misérables》為題的同名

過這些作品，身為藝術家的王建文並不打算指引或揭露任何具

作品，雖是藉由輕盈的色彩佔去大部分的畫面，並分別向兩邊

體的方向，他只像是從遠方地平線上正逐漸升起的月光，不發

發展出漸暗與漸亮的層次，形成音階一般的視覺構成。乍看之

一語地照拂著你我，暗示在日常真實生活的體現與往昔諸多回

下似乎與悲劇談不上任何關係，但如果細觀當會發現，裡頭暗

憶交融揉合之間，始終仍有進入另一個世界的路徑。 9

The Path to another World Written by Chang Li-Hao Art Critic La Nuit 2013 Mixed media 100F×2

Marcel Proust, the French novelist who greatly influenced the 20th-

pure, sensitive, and pleasant – just like Brahmas’ ultimate pursuit of

Century literature, has once mentioned that each artist has one’s

musical form even though it seems to represent nothing but a trivial

own unique tune and the tune can be seen in every work of the

slice of life. Unlike Wagner who has made himself like a clocksmith

artist. Undoubtedly, the tune belongs to the artist: the specific rise-

by meticulously dealing with every lasting and consistent detail in the

and-fall, one particular theme, the persistent spirit, or some unique

large-scale opera The Ring of the Nibelung, Brahmas instead is more

melody. It might be how the structure of human voice gets in the

like Debussy or Erik Satie who creates an impressionistic image with

melodies in Mozart’s music, the polyphonic melody and the tempo

softness, tranquility, and lightness, inviting people into a small salon

– “the Dance of God” as how the music scholar Wilfred Mellers puts

where intimacy permeats a small group of people who feel free and

it – in Bach’s music, or the dynamics between the simple melody

relaxed to communicate with each other.

and the accumulated development (sometimes even explosive) in Beethovan’s music.

I have read how Leo Wang describes his solo exhbition Visual Frontier: “It was a night train to Northern Europe, and the car window

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Therefore, as an artist who loves to listen to classical music when

view seemed particularly bright. As the train traveled at a high

he works on his artworks, Leo Wang allows the contours and

speed on the ground covered by dry snow, the mint-colored sparks

colors to freely flow with Bach’s Harpsichord Concerto No.1 in D

on the tracks in the moonlight shone on the field in front of my eyes.

Minor,Tchaikovsky’s Violin Concerto in D Major, or Chopin’s Étude

Everything was misty. I looked at the forest afar, as if it were the

Op.10 No.3 in E Major. We can always see, hear, smell, or feel

path into another world.” The atmosphere in his depiction might

the variations of one particular tune which he keeps playing in

be related to the years he has spent in France. Indeed, Leo Wang

different space-time to capture the truth of life. It is restrained,

admits that he has always found himself confined by techniques

Essay: The Path to another World

since he started his artistic career. He has also experienced a period

first sight, it seems to have nothing to do with tragedy. However,

of time when his artworks only show how skillful he is. However, as

once we examine it more carefully, we might notice the pale helpless

the pace of his life is gradually adapted to the pace of local life in

faces hidden within the image. These figures, with slight sorrow

France, his thought has been slowly purified as well. He has learned

and melancholy, are silently shouting with accusation and fighting

to listen to the subtle sound of the surroundings. Therefore, he has

for ones’ survival. It is how Leo Wang reveals the theme in a subtle

opened up all the senses, trying to use some simple colors to depict

way which is not easy to be spotted immediately. He even mixes

the objects/events in front of his eyes in a realistic way. Then, he

it with other minor subjects. While we get closer and closer to

intentionally deconstructs the pieces and reconstructs them again

observe the work, our focus and thought are thus elevated to stand

to remove the works from the trivial details as if he were creating the

out. It also reminds us of Gabriel Fauré’s music which is best known

variation of a well-known song which is both refreshing and poetic.

for its balance and harmoney. The alluring, extending, and twisting tunes are also accompnied by some disconsolate memody, in which

Take La Nuit for example; what the artwork depicts is his narration

viewers might find themselves immersed within.

quoted above. The image is divided into sections which are like different objects of the architectural structure as well as the slices

Vouloir, the French word for “to want,” is the strongest power to

of time. Its ultimate purpose, nevertheless, is to transform itself into

move us foward, no matter whether it is about life or art. The

a key which opens up viewers’ individual memory of similar scenes.

work Vouloir indeed expresses the spirit of someone who faces

It does not necessarily have to be in the same space or time, but

the unpredicable world which constantly changes but still deepens

it indeed triggers the similar situation. The spark of light reflects a

one’s perspective to search inward. In the work Quatre Mains, the

vague path emerging from the obscure tracks and the path is toward

image becomes the piano at which the artist and the viewers are

somewhere far away. We walk along in solitute with no one but

playing together. After the continuosu exploration, experiment, and

the vastness to keep us company. Sometimes we are lucky to find

failure, they are playing and learning together to establish a mutual

someone walking with us. Their company thus brings more flavor to

understanding. The work becomes the music played between the

the lonly journey. No matter which way it is, the rotating and blurry

dancing black-and-white notes. The sound seems appear from

memories seem to be so unreal, but they clearly and substancially

nowhere, visualizing the essence of the sea where waves melt into

witness the peaceful happiness which forever inhabit within.

the white foam... Through these works, the artist Leo Wang does not intend to provide any specitic direction for guidance. He is like the

The artwork with the same title of the great French writer Victor-

moonlight rising slowly from the far horizon, illuminating you and me

Marie Hugo’s classic novel Les Misérables adopts light colors

without a word. What he tries to imply is a path to another world

in most of of the spaces while the both sides are the gradations

existing between the realization of the realistic daily life and the

between light and dark, creating scale-like visual structure. At the

memories or the past.

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視覺邊境

坐在前往北歐的夜車上，窗外顯得格外明亮。列車高速

Visual Frontier

月光的照亮在我眼前的大地上，濛濛靄靄。我看著遠方

行駛在乾燥的雪地中，鐵軌上發出的薄荷色電光，映著 的森林，彷彿那正是進入另外一個世界的路徑（rout）。 這不斷變動的景色，似乎告訴著我，我們都只是時間的 過客，無法永遠停留。

文／ 王建文 Written by Leo Wang

心裡的感動依舊，但那晚的景色在我腦海裡的印象一直 在清晰與模糊的邊境中的遊走著；如同春天來時泥土上 的灰雪，轉換自我地，慢慢地與大地融為一體。 我在畫布上創造了一個世界，一個形體抽離的世界；一 個無從知曉何處是自己、何處是他人的曖昧世界；也是 一個處處是自己，沒有邊境的世界。畫布上的世界裡有 各種元素，光與影、空氣與聲音、文化與文明。我在畫 布上藉由形體的剝離，讓色彩融入彼此的邊境，試著編製出我腦海中的那個模糊又清楚的世界。 記憶會隨這時間慢慢的消逝，因為這些無情的消逝，我們了解珍惜，我們懂得懷念。 『他以前不在地球上存在，他不會永遠存在下去。隨著他不可避免地從一顆行星地表面消失，這 行星也注定要滅亡。他的勞動，他的痛苦，他的歡樂，他的希望和他的作為都將變得彷彿沒有存 在過。不會有任何意識來保存這些轉瞬即逝的記憶，只剩下迅速消失在此後毫無表情的世界的臉 上所荒廢的筆錄：它們曾經發生過，也就是說，只留下空無。』 我喜歡如此看待的法國人類學家，李維史陀（Claude Lévi-Strauss 1908-2009）。在這宇宙中， 我們永遠都是過客，帶著感覺與記憶前往不同的邊境。學習，創作，傳承都是宇宙給你的生命旅程。 那天晚上，列車將我載往了新的邊境。

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Artist Statement

It was a night train to Northern Europe, and the car window

heartless vanishment has thus taught us how to cherish and

view seemed particularly bright. As the train traveled at a

memorize what we have once owned.

high speed on the ground covered by dry snow, the mintcolored sparks on the tracks in the moonlight shone on the

“He had never existed on Earth, and he will never forever live

field in front of my eyes. Everything was misty.

on. Like how he should disappear from a planet, the planet

I looked at

La Nuit

2013 複合媒材 100F×2

the forest afar, as if it were the path into another world. The

itself is doomed to disappear too.

constantly changing scenery seemed to tell me that every

hope, and accomplishment seem no longer exist. No more

one of us was merely a passer-by in the world of time. We

consciousness to preserve ephemeral memories. The only

could never stay forever.

thing remains is the written document, being abandoned

His labor, pain, pleasure,

and vanishing immediately behind the emotionless face of The feeling has remained till today, but the scenery I saw

the world. It writes: they have once existed, but only the

that night is visualized within a fine line between clarity and

nothingness is left here.

vagueness. It is like the muddy snow transforming its own characteristics and slowly blending in with the soil during the

I like the way how Claude Lévi-Strauss (1908-2009), the

springtime.

French anthropologist, sees the world.

Every one of us

is always a passer-by in the Universe, traveling to various I create a world on the canvas – a world where the figure and

frontiers while we carry the past feelings and memories with

the substance have been separated; a world of ambiguity

us. We learn, we create, and we pass it on as we fulfill the

where we have no idea where we or others; a world without

life journey assigned by the Universe.

any frontier as we exist everywhere. The world on the canvas is full of various elements, light, shadow, air, sound, culture, and civilization.

That night, the train had taken me to a new frontier.

By separating the figure and the substance

on the canvas, I make colors to blend in with each other’s frontiers, trying to visualize the world in my mind which is both vague and clear at the same time.

Memories slowly fade away with the passing of time. The 13

作 品 Wo r k s

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夜 La Nuit 2013 Mixed media 100F×2 17

迴盪 Les Misérables 2013 Mixed media 100F×3

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1900 2013 Mixed media 100FĂ—4

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想望 Vouloir 2013 Mixed media 100F×2 23

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四手聯彈 Quatre Mains 2013 Mixed media 100×100cm×2

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鳴 Rugir 2013 Mixed media 100F×2

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韻 Melody 2013 Mixed media 80P×2

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夜城 City at Night 2013 Mixed media 80P×3

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理想鄉 Avallon 2013 Mixed media 97×137 cm

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Ruelle 01 2013 Mixed media 25F

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Ruelle 02 2013 Mixed media 25F

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Ruelle 03 2013 Mixed media 20F

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Ruelle 04 2013 Mixed media 20F

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光之交響曲 Lumière Symphony 2012 Mixed media 100F×4

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藍色狂想曲 Rhapsody in Blue 2012 Mixed media 40F×2

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跨越 No.2 Travers No.2 2012 Mixed media 40F×2

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王建文

1981 年出生於台北

學

2012

法國國立巴黎第八大學，新媒體藝術歐盟碩士

2006

法國國立巴黎第八大學，造型藝術系碩士

2004

法國國立巴黎第八大學，造型藝術系學士

2003

法國國立高等美術學院，版畫工作室進修

2013

「視覺邊境」，尊彩藝術中心，臺北，臺灣

個

歷

展

2007

「印象」，Galerie Étienne de Causans，巴黎，法國

2006

「距離」，Galerie Étienne de Causans，巴黎，法國 「距離」，Galerie La Compagnie des Arts，巴黎，法國

聯

展

2005

「印象」，Galerie La Companie des Arts，巴黎，法國

2013

「2013 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣

2012

「2012 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「光與詩人－郭英聲、王建文聯展」，尊彩藝術中心，台北，台灣 「飛行熱氣球—台灣當代藝術展」，尊彩藝術中心，台北，台灣 「如果是小王子—七位新銳藝術家聯展」，尊彩藝術中心，台北，台灣

2011

「法國首都藝術展」，巴黎大皇宮，巴黎，法國

2010

「法國首都藝術展」，巴黎大皇宮，巴黎，法國 「這個時代對靜物的看法 Still Life」，一票人票畫空間，台北，台灣

2009

「故事島」，一票人票畫空間，台北，台灣 「法國首都藝術展」，巴黎大皇宮，巴黎，法國

2008

「羅浮宮現代藝術展」，巴黎羅浮宮，巴黎，法國 「法國首都藝術展」，巴黎大皇宮，巴黎，法國

48

2007

「法國首都藝術展」，巴黎大皇宮，巴黎，法國

2006

「法國首都藝術展」，巴黎大皇宮，巴黎，法國

Curriculum Vitae

Leo WANG

Born in 1981 in Taipei, Taiwan

EDUCATION

2012

MSc, Contemporary Art and New Media, Université de Paris VIII, Paris, France

2006

MSc, Plastic Arts, Université de Paris VIII, Paris, France

2004

BA, Plastic Arts, Université de Paris VIII, Paris, France

2003

CAS, Printmaking, École Nationale Supérieure des Beaux-Arts, Paris, France

SOLO

2013

“Visual Frontier”, Liang Gallery, Taipei, Taiwan

EXHIBITONS

2007

“Impréssion”, Galerie Étienne de Causans, Paris, France

2006

“Distance”, Galerie Étienne de Causans, Paris, France “Distance”, Galerie La Compagnie des Arts, Paris, France

2005

“Impréssion”, Galerie La Compagnie des Arts, Paris, France

GROUP

2013

“ART TAIPEI 2013”, World Trade Center, Taipei, Taiwan

EXHIBITIONS

2012

“ART TAIPEI 2012”, World Trade Center, Taipei, Taiwan “Eternal Light: Joint Exhibition of Quo Ying-Sheng and Wang Chien-Wen”, Liang Gallery, Taipei, Taiwan “Exploring with A Balloon: Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan “Le Petit Prince”, Liang Gallery, Taipei, Taiwan

2011

“Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France

2010

“Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France

2009

“Island of Story”, PiaoPiaoArt, Taipei, Taiwan

“Still Life”, PiaoPiaoArt, Taipei, Taiwan “Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France 2008

“Exposition d'Art Contemporain”, The Carrousel du Louvre, Paris, France “Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France

2007

“Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France

2006

“Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France

49

圖 錄 Catalog

1900 2013 Mixed media 100F×4

p. 20-21

夜 La Nuit 2013 Mixed media 100F×2

p. 16-17

迴盪 Les Misérables 2013 Mixed media 100F×3

p. 18-19

想望 Vouloir 2013 Mixed media 100F×2

p. 22-23

50

Catalog

四手聯彈 Quatre Mains

理想鄉 Avallon

2013

2013

Mixed media

Mixed media

100×100cm×2

97×137cm

p. 24-25

p. 32-33

Ruelle 01 鳴 Rugir

2013 Mixed media 25F

2013 Mixed media

p. 34-35

100F×2

p. 26-27 Ruelle 02 2013 Mixed media 25F

韻 Melody

p. 36-37

2013 Mixed media 80P×2

p. 28-29

Ruelle 03 2013 Mixed media 20F

p. 38-39 夜城 City at Night

Ruelle 04

2013

2013

Mixed media

Mixed media

80P×3

25F

p. 30-31

p. 40-41

51

光之交響曲 Lumière Symphony 2012 Mixed media 100F×4

p. 42-43

藍色狂想曲 Rhapsody in Blue 2012 Mixed media 40F×2

p. 44-45

跨越 No.2 Travers No.2 2012 Mixed media 40F×2

p. 46-47

紅玫瑰 La Rose 2012 Oil on canvas 97×180.5cm

52

Catalog

BWV-I0:56-7:22

平行世界 I Parallel World I

2012

2007

Oil on canvas

Oil on canvas

15F

100×100cm

目光 Voir 2012 Oil on canvas 25P

平行世界 III Parallel World III 2008 Oil on canvas 97×136cm

這一刻 En ce moment

平行世界 IV Parallel World IV

2012

2008

Oil on canvas 15F

Oil on canvas 97×145cm

白晝之夜 La Nuit Blanche 2012 Oil on canvas 20P

53

Leo Wang

發行人

余彥良

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

印刷

日動藝術印刷有限公司

出版

2013年11月初版

ISBN

978-986-90108-0-1

Executive Director

Yu Yen-Liang

Publisher

Liang Gallery Co., Ltd

Editor

Liang Gallery

Printing

Jih-Tung Art Pringting Co., Ltd.

Publishing Date

First Edition, November, 2013

ISBN

978-986-90108-0-1

www.lianggallery.com•Tel +886-2-2797-1100•Fax +886-2-2656-0033•lianggallery@gmail.com 台北市11492內湖區瑞光路366號 | No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm | 週一公休 Closed on Monday