2017.9 真性情好色之ㄊㄨˊ 畫冊 by Tony Yeh

專文｜ ESSAY 好色之圖蕭耀藝術創作的「真、性、情」三部曲 Candid Erotica--York Hsiao's Trilogy of Truthfulness, Sexuality, Feelings 石瑞仁 SHIH Jui-Jen P.4 宇宙繼起之勃勃生命蕭耀個展 —— 真．性．情 The passion of Life - Erothic Picture of York Hsiao 胡永芬 HU Yung-Fen P.12 我的真、性、情 —— 好色之ㄊㄨ ˊ My Truthfulness, Sexuality and Feelings - Amorous Paintings by York Hsiao 蕭耀自序 Artist's Preface P.18

圖版｜ Plates 真 Truthfulness P.20

性 Sexuality P.42 情 Feelings P.54 這是一件作品：生命 Life is Itself a Work of Art P.72 3

好色之圖

蕭耀藝術創作的「真、性、情」三部曲

石瑞仁策展／撰文峰迴路轉的藝術之途「筆直的道路，培養不出傑出的駕駛員」（保羅 ‧ 科爾賀 Paulo Coelho，巴西作家，以「牧羊少年奇幻之旅」馳名世界）

打從孩童時代，喜歡繪畫的蕭耀，就立下了「長大後要當

蕭耀剛卸任畫廊協會理事長，但仍推選為台北國際藝術博覽會

畫家」的心願。但因家庭環境和現實考量之故，讓他只得將這

總召集人。是年畫廊協會主動邀請當代館為 2009 台北國際藝

感性浪漫的心思懸寄在理性務實的事業經營和廣結善緣的社會

術博覽會策畫「美學與環境」主題特展，這是台灣美術館界與

事務中。直到近年，他可稱功成名就和事業穩定了，終於在家

商業畫廊體系的第一次合作，當代館同仁也不負所托達成了使

人全力支持下，將自我壓抑多年的畫家夢，從過去的「忙裡偷

命，還留下了日本輪派繪師團現場創作特為台灣民眾祈福的

閒式個人遣興遊藝」，和一種「本業之餘的閉門自我修練」，

一件超大型畫作（目前仍裝置於捷運紅線台北總站區公開展

升格為全心投入、全意付出的創作行動了。

出）。正因這次的合作，我才實際認知到，蕭耀在之前的畫廊協會理事長任內，積極擴大了這個產業圈的自我認同和向心

個性溫和，談吐理性的蕭耀，其實是個勇於跨界，不斷突

力，不但讓會員數從三十少許迅增到九十之譜，也透過連續幾

破限制和開創新局的人物。在台灣經濟起飛的年代，他和台灣

屆國際藝術博覽會的成功運作，為這個產業公會籌置了永續的

知名科技企業如宏碁、旭青、倫飛等的生意接觸，除了自身需

基地和產經研究的機制，同時確立了台灣藝術產業與官方／學

接受嚴格的檢驗和挑戰，他也從中深入體會了台灣科技產業界

界的三方合作與正式連結，進而關注到了畫廊產業行銷檯面藝

從代工組裝邁向自創品牌的决心與行動，而這也啟發了他凡事

術名家之同時，提攜潛力藝術新秀的另一種文化責任。

當做一個開創者，而不能安於追隨或仿效他人的心思和視野 1954 年，美國社會心理學家馬斯洛（Abraham H.

。

Maslow）首度提出了人性需慾的五個層次理論，16 年後， 1983 年，台北市立美術館正式開館，也啟動了台灣的美術

馬斯洛於 1970 年將人類需慾擴充至七個層次，自此被視為當

館時代和接續的畫廊業風潮，蕭耀基於本身對藝術的摯愛和對

代心理學中最具代表性的一套人性動機理論。這套理論，把人

文化趨勢的敏感，1984 年毅然從平面設計業轉行投入新興的

的需求分成生理需求、安全需求、社會需求、尊重需求、知識

畫廊事業。但他有鑑於台灣的畫廊產業雖具有成長潛力，畢竟

需求、美感需求，和自我實現的需求。其運作原則是，一個低

只是以少數藏家為服務對象，如何讓廣大的社會大眾，在欣賞

層次的需求被滿足後，高一階的需求旋即跟著產生，並激發人

藝術之餘，也有機會將藝術融入他們的日常生活，就成了蕭耀

們再次努力的動機。個人覺得，蕭耀峰迴路轉的藝術之途，頗

的首都藝術中心正式開業後的一個中心課題。這個念頭，引發

能印證這套人性需求理論 --- 他從初入社會賺取生計的平面設

了他和藝術名家劉其偉等人合作，開發名家作品後製版畫及文

計生涯，甘心轉向個人心儀的藝術產業，再無私無悔地投入畫

創商品，並透過百貨公司專櫃行銷，讓藝術文物融入時尚設／

廊協會的公共事務，待功德圓滿後快樂地回歸本業，卻又重新

生活美學／流行消費的一條大眾路線。這些事業創新的行動，

燃起個人對藝術探索的強烈心願和美感創造的無限熱情。概觀

除了有賴藝術家／同業的認同支持，和不同於一般畫廊業的行

他人生的每個轉折和變化，都能成功地將一種匱乏的需求轉化

銷策略，其實也有很大的投資風險，但蕭耀似乎都打過了如意

為成長的喜悅，他的事業成就和社會認定也因此很充實豐富。

算盤，不論是推廣藝術或拓展商機，看來都達到了相當的成

此際，他的自我實現需求，更聚焦於追求個人精神性的提升和

效。

創造力的發揮，他相信唯有藝術創作可以全然地「離苦／得樂」，可以讓他真正進入一種超越現實，回歸自我性靈的層

我個人初識蕭耀，是 2009 年擔任當代館執行總監之時， 4

次！

一箭三鵰的好色之圖「整個人生就是一種實驗，實驗越多的，肯定越好！」（拉爾夫．愛默生 Ralph Waldo Emerson，美國思想家／文學家）

生命的探索，包括自我的發現，精神的認同，價值的建構，意義的追求…等等，為此，生活盡可展開不同的實驗和實驗。

看，所有能擾動視聽／心思的，也正是啟發想像／創作的一種靈感和動力 !

近年來矢志投入創作的蕭耀，走的並非隨興消遣之路，而是有其特別關注的主軸和議題，但是在藝術語言的運用和表述上，

對蕭耀而言，「真」的另一個定義，就是釋放內心的頑性

則抱持著多重探索和多元表現的一種實驗精神。目前看來，

和藝術的玩興，也因此，在 < 花姿招展 > 一作中，觀者看到的

他立意以情色議題為創作的核心，並試圖分從「抽象符號」、

並不是花朵，而是「花枝」這個海產生物被特別「鹹濕化」

「人間繪本」、和「自然風情」這三個面向來切入和表現。

或「性暗示」處理過的一種戲謔圖像。同理，< 含苞待放 >，

這是他創作的三部曲式，也是對人性慾望的三種論述。

指涉的也不是花，而是一群等待被解放的精子囚犯；< 福祿雙全 > 中，他用兩顆葫蘆諧擬了一對睪丸，和一個被精子大軍入

其中第一類型的抽象符號，也就是這回個展的【真】之系

侵的隱形女體形象；< 正中下懷 >，把玩的戲碼是，將人臉五

列創作，延伸了他最早的設計本業專長，而融合了一種基於文

官對應到男跟／女器的雙重圖像；< 高潮迭起 > 則是透過半抽

字與圖案的互文轉換、或成語和俚語之諧音轉義等語言遊戲的

象化的男女器官組合，將生理交合／慾望交流，類比成了海洋

意念。

的波動和自然能量的展現。

【真】，對蕭耀而言，就是真誠面對人性中一直被壓抑著

蕭耀第二類型的「人間繪本」創作，亦即此次展出的【性】

的情思和慾念。不過，當這些話題成為一幅幅的創作時，並不

之系列，試圖以溫和婉約、甜美抒情的繪本風格，繪寫一種結

是赤裸裸或很直白，而是經過了迂迴化或謎語化處理的，解讀

合都會文化與田園風情的美好世界，以及一齣齣從「觀賞」到

這批作品，因而也需要動用一些想像力和幽默感。例如：< 朝

「窺隱」、「探秘」的社會與人文戲碼。對蕭耀而言，【性】

思暮想 >，呈現一個沙發馬鈴薯（couch potato）般的人物，

除了是個人內在慾念的抒發，也是社會之生機活力的展現。他

窩在軟椅中不是懶洋洋地盯著電視，而是全身騷熱式地注視著

的繪本系列，有意將個體行為延伸成社會情境的描繪和呈現，

從眼前飄落的一片「夾帶色料」的樹葉，簡單素樸的畫面，充

這是賞讀其畫作時不宜忽略的一個要點。以 < 滿園春色 > 一作

滿了「入定老僧，因為心動，所以思凡」的顛覆性禪意。我

為例，鋪天蓋地四處綻放的春色環境中，透過一對貓頭鷹溫情

覺得，此作正可視為蕭耀的一種自我寫照 --- 不記得在哪個訪

的注視，鋪陳出來的語境是 --- 各類花草植物，各種動物人物，

談中看過，有次記者好奇提問蕭耀為何特別偏好情色議題，蕭

如能隨著四時運作而各就各位、各得其所、各行其是，生機與

耀自承，某回他閒坐在停靠於仁愛路林蔭大道的私車中，悠然

繁榮自然存在，幸福與美感自然來臨，和平與和諧自然能得。

觀賞日光下樹影的婆娑搖動，竟然從中看到了諸多男女交合的

人間性事，在此被納為自然運作的一環來鋪陳和看待，溫婉的

形象和動作。這雖然純屬個人的遐想，但蕭耀似乎認為，所有

形式風格，溫馨的題材和筆調，意圖引發的閱讀情感和反應，

過眼／入耳的事物或訊息，都不應當做「一陣雲煙」地消極看

毋寧是很正向的。

待，而可以進行「一葉知秋」式的積極閱讀，蓋從藝術的立場

然而，蕭耀的人間繪本並非一路順延敘事，< 如沐春風 > 中

地形地物中穿插／置入類比人類身體器官與男女性徵的一些圖

成雙作對的禽鳥，或 < 開枝散葉 > 中的猴群家族，揭示了動物

景。例如 < 玉女晨曦 >，透過天、山、雲、海、岩的圖象組合，

的發情和兩性互動，或如植物界的花開結果，依循時間季節的

將場景從前方的野柳海邊夕陽，快速跳接至遠處的玉山峰頂晨

運行，照著定時鬧鐘般地鳴饗運作。但是，我們也相信人類的

曦，中間以行雲流海做了自然的串聯。在此，山峰為陽性、大

「情」況明顯有別，因人類的「性」，已經超越了自然的邏輯，

海為陰性的傳統關聯，被蕭耀做了一種顛覆性別和逆反性格的

發展出不同的文明套路和文化戲碼，尤其到了現當代，人類隨

呈現。

著慾望或各種理由而 < 隨時／隨地 > 運行的性事，已經不足為

又如 < 聳立雲端 >，將角逐陽光、空氣、和雨水等生命力

奇了。值得注意的是，蕭耀的好色之圖，對於人間【性】的著

源的參天巨木森林，類比為眾多男根拜倒於神聖女器之下的一

墨，即使有 < 如沐春風 >、 < 滿園春色 >、< 暗藏春色 > 等幾

種寓言式圖象。本期雜誌封面的 < 別有洞天 >，刻畫在海陸交

幅稍微露骨的圖例，卻是一點也不激情煽情。與其說它們刻畫

界之處，撐住一片藍天、傍著藍海孤獨矗立的一座陽剛巨岩，

的是此起彼落的人性秘戲，不如說是物質繁榮、但生機不振的

明現了堅硬岩體被風化和水蝕雕琢後的虛實交錯姿態和景觀，

一種社會文化情境。在此，即使讓你看到了，也不會是什麼激

也暗示了自然界中一種以柔克剛的無形或陰性力量。

烈煽情的熱戲情節。認真看來，這些作品對「自然春色」的描繪，反而遠多於「人間情事」的鋪陳，感覺上，這整個以都會

這些作品的欣賞閱讀，明顯可以關聯到宗教與藝術起源的

人性為關照主軸的創作系列，更像是一種「反命題」的陳述 ---

萬物有靈論，和男根女器所象徵的生殖力崇拜，對蕭耀而言，

相對於自然之活力，人間之「性能」是處於一種衰落狀態的，

自然最能引發的人類【情】懷是，一種對於自然之生機原力和

因此即使用力窺探，所得其實相當有限。或因如此，< 仲夏夜

神秘能量的讚嘆／歌頌／崇敬／迷讚／敬畏…等複雜心思，以

之夢 > 一畫中，前景上方雖有比翼齊宿的貓頭鷹情偶，街頭上

及自然對人類慾望／行動的有形激發和無形驅策。遠古以來，

雖有「隨性」「就地演出」的浪貓和野狗，社區比肩林立的西

自然除了提供人類生存的挑戰和生活的需求，也不斷啟發人類

式住宅群，呈現的人間相卻反而是一種「西城無故事」的寧靜

對存有的感知和生命之價值意義的探尋；在華文傳統中，自然

狀態。敢情，這是對於當前不婚／不生／不做之「草食男」多

的山水景觀，也經常被視為內在生命的一種投射或隱喻，例如

於「肉食男」之時代來臨的一種無聲警訊或象徵寫照？

在任職官方的文人心目中，相對於置身朝廷的都會性、群體性和制約性，即使是目遊山林和描繪自然，都象徵了個人自由、

蕭耀的第三類型作品，是以寫實手法和具象風格呈現的一

自在和一種身心解放的憧憬。由此看來，從商業世界遁入創作

批自然風景畫，也是本展的【情】之系列創作。此系列作品的

天地的蕭耀，以孤島為目標的 < 一桿進洞 >，或營造青藍潟湖

空間場景，像循環的迴圈一般，從平地森林拔升到到高崗山

式的 < 避風港 >，或許都可解讀為一種追尋終極自然的內心想

頭，又從峰頂降落到邊陲海角，這批畫用心描繪了山岳、峰巒、

望。

飛雲、流瀑、海角、舺石…等自然風情與地理景觀，並有意在

實驗展場的拾艷之旅蕭耀的抽象符號、人間繪本和自然風景三類畫作，是一種自我命題下的歷時性創作成果，這回在當代館實驗展場，將三類畫作並時性的集結展出，在展覽的規劃和設計上，也立意讓觀者穿越不同門道，先後進入內容氛圍各異的三種空間，透過平靜式的圖像閱讀、強迫性的身體穿越、窺看式的尋私探秘、互動式的遊戲導入等不同機制，來欣賞蕭耀以不同的藝術媒材、形式語言所完成的各類作品成果，並串聯解讀其作品所含蘊的內容訊息與創作意圖。這個原先定名【好色之ㄊㄨ ˊ】的展覽，因牽涉不同的表現和閱讀層面，至少可做以下如是觀：它體現了一個好色之徒的藝術之途，因為【真】誠愛好，所以不願壓抑掩飾。它舖陳了一位藝術之徒的好色之圖，因為【性】之所趨，所以不須矯揉做作。它提供了一批藝術之圖的好色之途，因為【情】能共鳴，所以不必獨吞自享。

策展人前 MOCA 台北當代藝術館館長當代藝術基金會董事長盈嘉文創創意總監

Candid Erotica - York Hsiao's Trilogy of Truthfulness, Sexuality, Feelings Text by J. J. Shih (Curator) The Winding Path of an Artistic Journey "Straight roads do not make skillful drivers." -- Paulo Coelho,

how to enable the public to merge their daily life with art while they

renowned Brazilian novelist and author of The Alchemist: A Fable

admire works of art. This idea ushered in a window of collaboration

About Following Your Dream)

between art masters and Hsiao, including the celebrated painter, Max Liu. He started to converting artists' works into high-quality

Ever since childhood, York Hsiao has always loved painting

prints and creative merchandise, which were sold at specific shops in

and decided to "be a painter in the future." However, his family

department stores, creating a channel to introduce artistic products

environment and reality prevented him from realizing this dream; so,

into the fields of fashion design, living aesthetics, and consumption

he had to keep this romantic side of him to himself when he was

culture. These innovative endeavors were rather high-risk because not

rationally and pragmatically dealing with business and social affairs in

only they relied on the identification and support of artists and other

a well-rounded manner. It was not until recent years that Hsiao could

art galleries, they also stemmed from marketing strategies different

finally realize his dream of being a painter - a dream he had kept to

from ordinary art galleries. Nevertheless, Hsiao seemed to have

himself for so long - with the full support of his family as he has

carefully planned his moves; in terms of artistic promotion or business

achieved certain success in life and in business. Painting, from being

expansion, his efforts had created great results.

a pastime and an individual practice separated from his professional career, has become something he can fully dedicate his energy and

I first met Hsiao when I was the executive director of the Museum

time to.

of Contemporary Art (MOCA), Taipei in 2009. At that time, he had just finished his term as the chairman of the Taiwan Art Gallery

Gentle-mannered, articulate and rational, Hsiao had actually

Association (TAGA) and had been elected as the general organizer

demonstrated much courage in interdisciplinary, groundbreaking

of the international art fair, Art Taipei. That year, TAGA invited

and innovative attempts and endeavors. When Taiwan's economy

MOCA Taipei to curate and organize a themed exhibition, titled

was booming, he had already been doing business with famous

Aesthetics and Environment, in Art Taipei 2009. This marked the

Taiwanese technological enterprises, including Acer, TDK Computer,

first official collaboration between a government-run museum and

and Twinhead. The opportunity not only came with strict inspection

the system of commercial art galleries in Taiwan. MOCA's staff also

of and challenge to Hsiao's professional skills, but also showed

successfully delivered the task. The exhibition also led to the creation

him the resolution and activism of Taiwan's technology industry as

of a mega painting by Japanese art collective Rinpa Eshidan, who

these companies transformed themselves from original equipment

created the work to bring blessings to the Taiwanese people. (The

manufacturers into innovative brand owners. Hsiao was, therefore,

work is currently installed as a public art in the MRT Taipei Station

inspired to become a pathfinder in everything he wanted to do rather

of the Red Line.) During this collaboration, I learned that Hsiao had

than being a follower or imitator of others' ideas and visions.

actively enhanced the art gallery industry's sense of self-identification and cohesion when he was serving as the TAGA chairman. Not only

In 1983, Taipei Fine Arts Museum officially opened and commenced

the number of association members increased to ninety from a little

Taiwan's museum era and the subsequent waves of bourgeoning art

over thirty, the continuous success of Art Taipei in consecutive years

galleries. Due to his passion for art and keen sense to cultural trends,

allowed the association to find a permanent headquarter, set up a

Hsiao daringly left the graphic design industry and delved into the

mechanism for the research of art economy, and officially built up

newly emerging art gallery industry. However, he also realized that,

the connection between the art industry, the public sector, and the

despite the potential growth of Taiwan's art galleries, they were only

academic sector, which allowed art galleries to promote established

serving a small group of collectors. Therefore, when Hsiao's Capital

artists as well as to shoulder the cultural responsibility of supporting

Art Center was established, the crucial topic for the gallery was

rising new talents.

In 1954, American social psychologist Abraham H. Maslow

-experiences and experiments. Having dedicated his life to artistic

proposed the theory that described a five-stage hierarchy of

creation in recent years, Hsiao is not treating art-making as a simple

human needs; sixteen years later, Maslow again expanded his

pastime now. Instead, he has embraced specific themes and motifs. In

theory into a seven-stage hierarchy in 1970, rendering his theory

terms of his use and expression of artistic language, his has adopted

the benchmark for analyzing human motivation in the theoretical

an experimental attitude informed with multifaceted exploration

discourse of contemporary psychology. Maslow divided human

and diverse representation. So far, he seems to have set his mind

needs into Biological and Physiological needs, Safety needs, Love

on engaging in the subject of erotica, attempting to discuss and

and Belongingness needs, Esteem needs, Cognitive needs, Aesthetic

delineate his subject matters through three types of works, which

needs, and Self-Actualization needs. The underlying rationale of the

are "abstract symbols," "earthly depiction," and "natural landscape."

theory is: once a lower stage of needs is met, the next higher stage

Together, the three types form the trilogy of his art as well as

of needs is soon produced, motivating people to endeavor again to

demonstrate three theoretical approaches to examine human desire.

meet the next stage of needs. In my opinion, Hsiao's winding path in his artistic journey is a rather fitting example of Maslow's theory of

The first type of abstract symbols is the series of Truthfulness

needsâ&#x20AC;&#x201D;he first entered society and worked as a graphic designer for

featured in this solo exhibition. The series stems from his design

livelihood. Then, he gave up his career and delved into the art industry

expertise, with which he incorporates an amalgamation of text and

that he was drawn to. Eventually, he served in the TAGA and willingly

image as well as a sense of word play embodied by the homonymic

dealt with public affairs. After all tasks and responsibilities were

sounds of idioms.

completed and finished, he has now happily returned to his original practice and re-kindled his fierce passion for artistic exploration and

For Hsiao, the series of Truthfulness conveys the idea of facing

aesthetic creation. Taking a comprehensive look at each turn and

humanity's suppressed feelings and desires in a candid and honest

change in his life, one would find that he could always convert his

way. However, when he painted this series, he did not adopt a

needs into growth of joy, and the reward has been his successful

straightforward or obvious approach, but rather presented them in

career and social recognition. Therefore, in terms of his needs of

a wayward manner or a riddle-like design. So, the interpretation of

self-actualization, he naturally focuses on the pursuit of elevating his

this series requires a bit of imagination and the sense of humor. For

spirituality and materializing his creativity. He has always believed that

instance, Expectancy shows a couch potato figure enveloped in a

only artistic creation can "elevate a person completely out of pain to

soft couch; yet, the figure was not watching TV leisurely but staring

be immersed in bliss." Artistic creation enables him to enter a realm

at something that looks like a falling leaf. The redness of the figure's

that transcends reality and reunites him with his spiritual self!

body seems to echo the "sexual implication" conveyed by the falling object. The simple, unadorned image conveys a subversive sense of Zen as "the monk-like seated figure seems tempted and the yearnings

Three Birds with One Stone in Paintings of Erotica

of worldly pleasures arise in his mind." I think this painting can be read, to a certain extent, as the artist's self-revelation. I have read in an

"All life is an experiment. The more experiments you make the better!"

interview, in which the journalist asked about Hsiao's preference of

(Ralph Waldo Emerson, American thinker and writer)

erotic motifs. Hsiao explained with an anecdote: once, he was sitting in his car parked on the curb of the green and leafy Renai Road. As

The exploration of life includes various aspects, such as discovery

he was admiring the dancing leaves, shade and glimmers under the

of one's self, spiritual identification, construction of values, pursuit of

sun, he seemed to detect many images and movements resembling

meanings, etc. Therefore, life's exploration comprises of different-

the action of male and female coupling.9

-Although this is purely the artist's fantasy, he seems to believe

However, Hsiao's depiction of this earthly world does not always

that every single thing or message that one sees or hears should

follow nature's narrative. Whether the couples of birds in Feel so

not be brushed away easily with a pessimistic mindset. Instead, like

Good or the monkey family in Open Branches and Scattered Leaves,

the saying, "one straw shows which way the wind blows," one can

the artist portrays a world that follows the seasonal cycle as animals

actively read into the surrounding environment. From an artistic

of different sexes enter the mating season and interact with each

point of view, anything that can stir the senses or the mind can be

other or as plants grow, bloom, and produce fruits. It is a world

a source of inspiration and motivation of imagination and artistic

that functions like clockwork. However, we also know that human's

creation.

"feelings" have changed the way the world works because human "sexuality" has developed in a way that surpasses nature's logic and

For Hsiao, another implication of "truthfulness" is to free one's nature

evolves into various cultural modes and scenarios. Particularly in the

and show the playful aspect of art. For this reason, a squid becomes

modern and contemporary era, humanity has been led by its own

the featured object in Gorgeous, and is represented as a playful,

sexuality or all kinds of other reasons to conduct sexual activities

"sexualized" image. Similarly, Budding does not depict blooming flowers

anywhere and anytime, rendering sex a rather common thing in

but a bunch of imprisoned sperms awaiting their release. In Blessing

human life. One thing is worthy of our attention, though: although

and Fortune, the artist uses two gourds to simulate a pair of testicles

this series of paintings does portray the topic of sexuality, and there

as well as an implicit female body invaded by a sperm army. Target

are a few slightly more explicit examples, such as Feel so Good, Ah,

introduces a visual duality, overlapping human facial features with

It's Spring, and Hidden Spring, they are not depicted in a provocative

male and female reproductive organs. Through semi-abstract male and

and sensational style. Rather than delineating the never-ending

female sexual organs, Climax compares the physical intercourse and

secretive scenes of human behaviors, the paintings reveal a social and

exchange of desires to oceanic waves that manifest nature's forces.

cultural reality, in which the world enjoys material prosperity but in a lifeless, sterile condition. Therefore, even though viewers get to see

Hsiao's second type of earthly depiction corresponds to the

through a voyeuristic point of view, they will not fine any passionate,

series, Sexuality, on view in this exhibition. In a gentle, sweet style

fiery actions. In truth, these paintings portray far more "sexuality in

reminiscent of book illustrations, the series depicts a seemingly

nature" than "human lust." In a way, focusing on humanity in urban

wonderful world that combines urban culture and idyllic charm as well

environment, this series is more like an antithetical and anticlimactic

as social and humanistic scenes with topics ranging from "viewing in

statement to the themeâ&#x20AC;&#x201D;contrasting to vitality found in nature, the

admiration," and "probing one's privacy," to "exposing secrets." For

level of human sexuality is in decline. Therefore, viewers cannot see

the artist, Sexuality, on the one hand, is the expression of personal

much sexuality in the works even if they try. Perhaps, it is precisely

desire; on the other hand, the series is also the demonstration

because of this reason, in A Midsummer Night's Dream, although

of society's vitality and energy. This illustrative series intends to

there is an affectionate owl couple in the upper part of the painting

extend individual behaviors into metaphors for social condition; and

as well as freewheelingly coupling stray cats and dogs on the streets,

this is a rather crucial point to understand this series of paintings.

the human world symbolized by the Western-style residential area

Let's take Ah, It's Spring for an example: in an environment of

is in a quiet, inactive state. Indeed, this might be a silent warning or

flourishing plants and blooming flowers, the affectionate eyes of

symbolic depiction of an era of "herbivorous men," who look like they

a pair of owls are looking at a world, in which its flora, fauna, and

are outnumbering "carnivorous men" and renouncing marriage, having

humans live by nature's cycles, each in its own place and for its

children and even sex all together.

own purpose. Therefore, lushness and prosperity come naturally; happiness and beauty ensue accordingly; peace and harmony descend

The third type of works is a group of landscapes created with

correspondingly. Sex in this earthly world is treated and accepted as

concrete images in a realistic style. These works form the Feelings

part of nature's cycle. The sweet and gentle form and style of the

series in this exhibition. In this series, each space and scene is like a

series as well as its heartwarming subject matter and tone aim to

looped cycle, starting from plains and forests to mountains and peaks,

prompt positive emotions and responses.

and then from high summits and back to remote seashores.-

-Hsiao has carefully painted these natural, geographical landscapes,

A Splendid Journey at the MOCA Studio

including mountains, ridges, clouds, waterfalls, seashores, and sea rocks, intentionally contextualizing images of male and female sexual organs in the natural landscape. For example, A Virgin Dawn shows

Hsiao's abstract symbols, earthly depiction and natural landscape

a combination of sky, mountains, clouds, ocean and rocks, and brings

represent the artist's diachronic artistic achievements of self-assigned

together the oceanic sunset in Yehliu and the remote sunrise on the

topics. In this solo exhibition at MOCA Studio, the artist displays

top of Jade Mountain, connecting the two with a sea of flowing

the three types of paintings at the same time. In terms of exhibition

clouds. Here, the traditional association of the mountain as the

layout and traffic flow, he also designs to let visitors pass through

masculine and the sea as the feminine has been reverted, showing

different entrances, guiding them into three spaces of respective

Hsiao's subversive intent and rebellious nature.

ambience. Through various designs employed in the exhibition, including reading paintings, penetrating spaces, probing and exposing

In Standing Erect, the artist adopts an allegorical approach and

secrets, and playful interactiveness, audience can appreciate Hsiao's

compares a forest of towering trees in pursuit of sunshine, air

artistic creations of different media and forms, associating the

and rain to a group of phalluses that seem to worship the sacred

embedded messages and artistic implications in the works.

female genitalia. The Concealed Surprise, which is used as this issue's magazine cover, depicts a monumental rock standing erect

As reflected by the exhibition title, one can surely detect the various

in the azure sea, supporting the blue sky by itself. Hsiao's minute

layers of Hsiao's exhibition and art:

delineation vividly shows the wind and water erosions on the solid

The exhibition reveals the artistic journey of an amorist; because of

rock, beckoning at an invisible or feminine power that can conquer

his Truthfulness, he is not suppressing or camouflaging his desire;

the strongest and hardest material in a tender way.

The exhibition demonstrates an artist's amorous paintings; as propelling Sexuality permits, his works are candid and unpretentious;

One can clearly associate these works with the animism that is

The exhibition offers a chance to admire these candid paintings; for

the origin of religion and arts as well as the worshipping of fertility

the resonance of human feelings, these paintings should be shared

symbolized by male and female genitalia. For Hsiao, nature is the

with all.

most powerful existence that can induce human emotions and feelingsâ&#x20AC;&#x201D;all the admiration, praise, awe, fascination, and reverence for nature's original vitality and mysterious power as well as how nature can tangibly stimulate and intangibly incite human desires and actions. Since antiquity, nature has not only presented challenges and necessities to human survival, it has also continuously inspired humanity to explore its existence as well as the value and meaning

Curator

of life. In Chinese literati tradition, natural landscape is often viewed as a kind of projection or metaphor of the inner life. For the Chinese literati, contrasting to the sense of urbanity, collectiveness and restraint of serving in the court, viewing landscape paintings or

Former Director, MOCA(Museum of Contemporary Art, Taipei, Taiwan) Chairman, Taipei Contemporary Art Foundation Creative Director, YING JIA Cultural and Creativity.co

painting natural landscape symbolized an acquirement of personal freedom and the vision and hope for the liberation of the body and mind. From this aspect, as Hsiao has turned away from the commercial world and dived into artistic creation, both Hole in One that depicts an individual island and Haven that portrays a blue lagoon can be read as externalizing the artist's ultimate hope and pursuit of nature.

宇宙繼起之勃勃生命

蕭耀個展 —— 真．性．情

文／胡永芬蕭耀曾經被視為畫廊協會的中興盛世之主，他不只在 2007~08 年擔任理事長時期，創下了台北國際藝術博覽會

紅燈，為了身體健康，他決定轉行，選擇從研究、學習與版畫相關的所有製作與市場環節，來切入藝術產業。

（Art Taipei）歷年最高成交金額、及最多參觀人次的雙紀錄，更讓台北藝博自此正式地轉型成為亞洲重要的藝術交流平台。

第一個入手的項目就是和楊三郎合作後製版畫。有十年的時間，他跟法國一家幫畢卡索、達利、米羅作版畫的工作室合

而他於 1984 年，28 歲時候創辦的首都藝術中心，也是台

作，製作朱德群、張義雄、劉其偉等前輩的版畫。而版畫的經

灣藝術品授權開發衍生性商品最早的經典成功範例；首都藝術

營一開始他嘗試做批發，但很快發現：台灣太小，批發點之間

中心與人稱「劉老」的藝術家劉其偉之間，迄今 25 年，延續

彼此競價削價，前景並不樂觀，立刻他就調整了規劃的策略，

到劉老逝後 15 年仍然鞏固綿長的經紀合作，也成為藝術生態

以版畫為前導，開創了台灣將「精緻藝術 + 生活美學」引進

中一份難得的案例。

百貨公司通路的成功先例。首都藝術中心的成功，蕭耀特別緬懷、感激劉其偉，劉老。

從以上的勳業看來，蕭耀應該是個精明積極、卓越高能的成功畫商，但隨時隨處看到蕭耀的時候，他總是行止溫文從

開始跟劉老合作版畫並沒有簽經紀合約，劉老的原作還是

容，進退有序，一臉謙和愉悅的笑容。按照老輩的說法：是個

跟很多不同的畫廊合作，因為版畫簽名總是會花很多時間，倆

儒商。

人邊簽邊聊，彼此越見熟悉，那幾年他也眼看著劉老吃了不少虧，蕭耀越是理解劉老看似瀟灑不羈的外表下一顆隱忍晦澀的

動見儒雅的蕭耀，性格其實浪漫與精明並俱，行事更是雷

內心，越是感到不忍，終於提議：「要不，我來做你的經紀？」

厲風行、劍及履及、講求效能；多重性格集於一身，也成就了

劉老瞬即回答：「等你這句話很久了！」從此開啟了生死契闊

他多樣的角色與人生。

般綿長不止的緣份。「劉老是把首都帶上來的恩人，為首都打下很好的基礎。」蕭耀不時還感念地提起。

中學時他對於人生規劃的第一步，就是畢業後想開一家設計公司。當時在中華彩色擔任總工程師的儲有志老師直接領他

蕭耀成長與事業發展的歷程，而他在事業有成、站穩腳跟，

進中華彩色實習，又介紹他去中外貿易雜誌社，從黑白完稿做

也陪伴含辛茹苦的母親健康幸福的生活之後，心底最原初：想

起，才十六、七歲的蕭耀，就讓他在中外貿易雜誌社負責美編，

做一個畫家的夢想甦醒了。行動派的蕭耀於一切都安頓好的同

練出一手厲害的手繪 POP 字體，這也是為什麼他的繪畫生涯

時，他重拾畫筆，而且將每天獨自創作七小時，與到首都上班、

是從文字系列開始的淵源，自此重新勾起他心底的創作魂。

陪伴家人的時間安排得井井有條，在規律的生活與奔放的創作

1978 年，蕭耀就實踐了他開設計公司的生涯規劃。印刷設計

之間得到最好的平衡。這次在當代館舉辦的『真．性．情—好

公司一直做到 1984 年，公司蒸蒸發達，台灣前十名電腦公司

色之ㄊㄨ ˊ 蕭耀個展』，可以說是他創作 25 年來繳出一份

都是他的客人。公司開大了，應酬時間變多，導致健康亮起了

重要的成績單。

與他嚴謹規劃、一足一履按部就班準確實踐的人生計劃完全不同，蕭耀把他最任性、最冒險的實驗，最歡暢放縱的揮灑

卵、野柳女王頭旁群屌堅實的聳立、對面積雪的山頭是微開的陰戶……，氣氛幸福歡快而且毫無遮掩忌憚。

都交給了藝術創作。從一開始嘗試遍了水彩、油畫、複合媒材……各種各樣的材料之後，他選擇以最符合他心意、最得心

為什麼對於這種人們習慣私密隱晦的題材，蕭耀這些年的

應手的壓克力顏料為主，並研發出在底稿上先上一層凝膠，再

創作卻大鳴大放、張臂擁抱、盡情歌詠，而毫不扭捏羞赧呢？

以自己篩洗的海砂在凝膠乾掉之前迅速製作打底的肌理，創造出有變化、有層次，而不像一般肌理材料會結塊淤積的情況，

「蔣中正有一句名言：『生命的意義，在創造宇宙繼起之

他要的，就是這些材料與程序所創造出來很是流暢的畫面效

生命』，人世的任務，從母親懷胎十月開始，就是繼起宇宙之

果。

生命；縮小一點看就是為了人類繁衍、傳宗接代；更單純些的層次，則是男女之間愛的結晶；更原始的來看，就是純粹的男

佛洛伊德的性學理論中，「原欲」是指一種與社會文明約

女情愛、魚水之歡。這個主題多數人避談，當然，要把畫著兩

定相牴觸的，本能的衝動，它存在於人類深度的無意識層中，

性器官的作品掛在牆上，買者要有很大的勇氣吧，但是創作者

成為「性」的原始驅動力；這種驅動力並沒有因為人類的文明

不同於買者，他不該顧慮這些，創作者應該忠於自己的感受與

進化而消匿，它即使被迫沉陷入深度的無意識層中，依然對於

想法去做，我覺得『性』的欲望跟需求如此理所當然、如此自

社會與個人之間的關係形成壓力、造成擾動，且無時不在。

然的現象，因此我正面待之，更想去表達。」蕭耀正經的表達他如青春期少年般的想像力。

觀察蕭耀的作品，佛洛伊德所述人類「本我」概念中的重要元素—原欲，在他的創作中顯然並沒有因為社會性的壓力而沉陷，它歡快的找到一個合理化的出口，將公共的壓力狡獪而

蕭耀認為：「藝術是神靈的工作。將物象化為意象，將心思成為創作，是一股生氣蓬勃的事業。」

流暢的轉化成為一種社會化、具有功性的正向表現，也就是，將之轉化、昇華成為「藝術」，堂而皇之的展現在世界面前。

這次展出的另一個系列，相較於之前提到的作品，乍看真是童趣清新，可愛極了。這個系列是某次全公司去布拉格旅遊

蕭耀從 1992 年開始回到創作的軌道，前期主要都是符號

時獲得的靈感。以蕭耀最擅長的設計根底，對於平塗色彩的單

化的形象構圖，在去除時間空間的背景特徵，歡愉渾沌的氣氛

純美感一直情有獨鍾，無論是清朗的、戲劇化的、陰暗危險的、

之中，性別性徵性愛的內容成為凝結的畫面，從這時候開始，

歡愉快樂的……，各種情境，對他而言完成構圖與色彩的配置

交歡的男女、臀、乳滑潤的線條，陽具、精蟲、陰戶簡化或變

都是輕而易舉的，而這些看似童趣無邪的場景裡，他所朝思暮

型、符號化的造型等等，在每一件作品中都不曾缺席。之後繼

想的、飽暖淫欲的內容與場景，其實才是其中點睛的「菁華」：

續發展的動物系列、風景系列，其中依舊盡是勃發泗漫的情

在祥和的場景裡被眾目窺視的、人或是獸的原欲活動，才是一

欲橫流，沒有更隱晦只有更奔放；草地山丘像一顆巨大的受精

個真正證明生命正在勃發的世界舞台。

無論是性徵橫流的畫面，還是若繪本插畫般平塗童趣的風

展場一個走道長廊的兩側，一面牆陳列稍早時期符號化，

格，都不是當代學院繪畫出身的慣常套路。但蕭耀從來都是毫

半抽象、半具象，去除時間空間背景特徵的系列作品；而相對

無窒礙、毫無疑議地把它畫出來，他的創作路數不見包袱，我

的一面長牆，蕭耀為它訂製、手繪設計了一面布拉格童話屋風

猜測，比起藝術史、學院美術系統，或許影響他更大的是他長

格的住宅街景，一路六間房子有六個情境，看似天真童趣的房

期親炙的劉其偉，那種把生命中深刻複雜的滋味選擇以單純真

子則分別以鑰匙孔、信箱、氣窗、窗戶、門……等等不同方式

率的姿態揭露並與眾人分享的創作哲學。

的開口，讓觀眾窺視後方以繪畫、錄像、現成物，布置出諸如洗澡、做愛、色情書刊等等煽情的內容，氣窗下方甚至擺置了

蕭耀顯然很喜歡、也很擅長帶著設計性構圖的這種豐富而

空心磚讓觀眾墊腳方便偷窺，彷彿村子裡惡趣的少年們長期佈

有節奏的平塗繪畫，背景漆成夜空藍的華麗星空，有夜鶯清啼；

置好方便隨時偷窺人們隱密生活的場景再現，從青春期走過來

或是早晨帶著含笑花香氣的溫潤空氣；嫩綠葉子粉紫結實的葡

的男性觀眾應該多是會心一笑吧。

萄樹；如此恬美的街區，假想帶著望遠鏡的觀者，透過窗口窺視著有人洗澡，或是男女激情的場景，如大頭貼邊框括起的畫

主展廳有兩間，一間為近期作品大風景系列，另一間則是

面，像是貓兒狗兒多元成家？每幅畫作都像投射燈此起彼落地

由布拉格之後發展出的童趣平塗系列。而兩個展廳穿越連結的

打亮了不同區域、述說著不同情節的，一場緊湊的舞台劇。

門口，則被蕭耀以一對正以生猛粗魯姿態造愛的裸身男女，因長期勞動而尤其堅實碩大的下半身為造型，做出兩公尺深度的

『真．性．情 — 好色之ㄊㄨ ˊ 蕭耀個展』對蕭耀而言

拱門通道，觀眾的觀展動線必須穿過拱門，從男進、從女出，

是他特別重視的一項里程記錄，首度，他的作品不是在百貨公

通道伴隨流水的音效，讓觀眾仿如重新經歷一次初生的那日。

司、畫廊、博覽會這些較為生活化的傳統空間展出，而是在一個屬性當代、閱眾年輕、以互動性及新鮮實驗的內容受到矚目

這些動線與裝置的設計，全都是為了強化蕭耀在他平面繪

的空間裡呈現。做了 25 年的展覽，蕭耀當然知道相對於他駕

畫上所一再一再闡述、表達的生命之欲、性愛之愉，這單純的

輕就熟的繪畫而言，如合適切的駕馭這個空間，才是他此行最

原欲力就足以支撐他二十多年來創造出的一片藝術風景，這單

關鍵的挑戰。

純的原欲力也是目前他的生命裡與他的藝術中，唯一最最關心的大命題。

獨立策展人

The Vibrant and Continuous Life of the Universe York Hsiao's Solo Exhibition and His Candid Erotica Text by Yung-Fen Hu York Hsiao has been considered as the leader who led the Taiwan

was closed in 1984, before its close, the business was flouring, and

Art Gallery Association (TAGE) to its peak. During his term from

all top ten Taiwanese computer companies were his clients. However,

2007 to 2008, Art Taipei hit the highest sales record and welcomed

as the company grew, Hsiao had to spent more time meeting and

the most visitors, transforming the art fair into one of the most

dining with clients, which led to a decline of his health. For his own

important art platforms in Asia.

well-being, he decided to switch to another career path and entered the art industry, with researching and studying printmaking and its

In 1984, Hsiao established Capital Art Center at the age of twenty-

market as his starting point.

eight. The art gallery was the earliest successful example of art licensing to produce art merchandise. The relationship between Capital

Hsiao's first collaboration was with artist San-Lang Yang to produce

Art Center and the esteemed artist, Max Liu, has also lasted twenty-

the artist's prints. For about a decade, Hsiao worked with a French

five years, even after fifteen years of Liu's passing, rendering the

studio that made prints for Picasso, Dali, and Miro to produce prints

collaboration a unique case in the art circle.

for senior artists, including Teh-Chun Chu, Yi-Hsiung Chang, and Max Liu. At first, he adopted a wholesale business model to sell the

Judging from Hsiao's professional success, one would naturally

prints; however, he soon found out that Taiwan was too small a

assume that the artist must be a clever, business-minded, and capable

place, and retailers that were competitors would start price wars that

art dealer; however, whenever one sees Hsiao, he is always gentle

hurt the market. As a result, he immediately adjusted his strategies,

and well-mannered, wearing a humble, pleasant smile on his face. The

and introduced the prints into department stores, creating a trend of

older generation would call someone like him a "scholarly merchant."

combining "refined art and aesthetic living."

As gentle and refined as Hsiao is, he is actually both romantic and

In fact, Hsiao has always been particularly grateful for Max Liu,

perceptive. At work, he is exceptionally efficient, swift, and goal-

who played a major role in the success of Capital Art Center.

oriented. Such multifaceted character has also contributed to his diverse roles in his professional and personal life.

At their initial collaboration of making prints, Hsiao and Liu did not have any agent contracts, and Liu was still working with many

In junior high school, Hsiao's initial plan for his life was to open a

different art galleries. Because signing prints would always take

design company after graduation. Mr. You-Chih Chu, who was the

much time, they would engage in conversations as the artist signed

chief engineer at China Color at the time, gave him an opportunity for

his prints. After they became familiar with each other, Hsiao had

an internship at the company. Later, he introduced Hsiao to China &

understood that Liu was sometimes taken advantage of. He also

Foreign Trading Magazine, starting from the work of finishing black-

understood that, although Liu acted as if he did not care, the artist

and-white magazine drafts. Then, at the age of sixteen or seventeen,

was only trying to put up a strong front. He could not bear to let the

he became the graphic designer at the magazine company, where

situation continue, and eventually said, "why don't I be your agent?"

he cultivated an outstanding ability of creating beautiful handwritten

To this Liu immediately replied, "I have been waiting for you to say

point of purchase (POP) characters. This is why Hsiao painting career

this!" From then on, the affinity and relationship that would last even

began with his calligraphic series. Since then, he had been dreaming

after death has germinated. "Liu was the benefactor that helped the

about being an artist. In 1978, he realized his career plan and opened

art gallery grow strong, building a solid foundation." Sometimes Hsiao

his own design company. Although the printing and design company

would say so and remember Liu with a sense of gratitude.

As Hsiao grew older, achieved success and stability in business,

is the key element that forms Freud's concept of "id," clearly does not

and accompanied his beloved mother to the end of her fulfilled life,

recede into the background under social pressure. Instead, it seems

he finally has an opportunity to realize his dream of being a painter.

to have been rationalized and expressed in a pleasant manner. Public

Always an action taker, Hsiao makes sure that everything in life

pressure is cleverly and easily transformed into a kind of socializing,

and work is in order, and then, begins to spend seven hours a day

functional positive expression. That is, Hsiao has converted and

to paint. He still goes into office at the gallery and spends time

sublimated it into art and proudly displayed it in front of the world.

with his family, achieving a perfect balance between living a regular, scheduled life and immersing himself in unfettered artistic creation.

Hsiao started making art in 1992. At first, his paintings comprised

Candid Eroticaâ&#x20AC;&#x201D;Amorous Paintings by York Hsiao at the Museum

of symbolic images matched with backgrounds of undefined time

of Contemporary Art (MOCA), Taipei can be seen as a major

and space. In the pleasant, chaotic atmosphere, gender, sexual

culmination of his artistic career in the past twenty-five years.

characteristics, and sex are coagulated into images. Since then, the smooth lines of coupling male and female, their buttocks and breasts

Dissimilar from his carefully planned and accurately executed life

as well as simplified, transfigured, or symbolic forms of phalluses,

plans, Hsiao has allowed himself to be freewheeling, adventurous,

sperms, vaginas have been present in every one of Hsiao's painting.

experimental and unrestrained in art making. He has tried all kinds

His animal and landscape painting series developed later are also

of media, including watercolor, oil, mixed media, etc., and in the end,

informed with brimming desire expressed in an unrestrained manner.

he chooses acrylic to create his paintings, which he finds himself

Meadows and hills resemble a massive zygote; a group of phalluses

proficient in and the most suitable to his art. When painting acrylic,

stand erect next to the Queen's Head Rock in Yehliu; snow-covered

he would first apply a layer of gel, and create the texture of the

mountain peaks are delineated as a vagina that is slightly opening up.

foundation with marine sand sieved by himself before the gel dries

The atmosphere in his paintings is always delightful, pleasant without

up. This approach allows him to create texture variations in layers,

a hint of bashfulness.

and avoids lumps in the texture. What he aims to achieve is an effect of smoothness in the image created with these materials and

Why is it that Hsiao can freely express himself, embrace and celebrate

procedures.

these motifs that people usually are private about without getting a bit embarrassed?

Moreover, his subject matters and images also present a vivid contrast to his humble, scholarly, well-educated demeanor. His

"Chiang Kai-Shek once said, 'the meaning of life is to create the

paintings convey a sense of childlike quality, pleasure, and freedom

continuous life of the universe.' A person's mission in life has always

as well as the force of libido. Many of his paintings employ the visual

been to create the life that continues the universe since the mother's

elements of many interweaving, overlapping male and female sexual

pregnancy. From a narrower point of view, the mission is to produce

symbols and reproductive organs. The images are stunning and

offspring and carry on the family name; from a simpler perspective,

surprising. However, when talking about these canvases of shocking

it is the outcome of love between a man and a woman; and from

images, Hsiao still replies with an easy smile, "sex between a man and

a rawer viewpoint, it is purely sexual pleasure between the two

a woman is the most natural thing in the world, isn't it?" Such baffling

sexes. Many people avoid this topic. It is understandable that a buyer

contrast should really be a case for psychological and behavioral

would have to be really brave to purchase a painting depicting two

studies.

sexual organs and hang it on his wall. However, a creator is not a buyer; he does not need to worry about that. A creator must be

In Freud's theory of sexuality, "libido" refers to a kind of instinctual

true to his feelings and ideas. I believe 'sexual' desires and needs

drive that conflicts with society and civilization. It resides in the deep

are only so natural, a natural phenomenon. So, I treat it in a positive

unconscious and is the primitive driving force of sex. This force

way and feel like expressing it." This is how Hsiao has seriously

does not recede and disappear as human civilization evolves and

explained his imagination that reminds people of an adolescent youth.

progresses. Although it is forced into the unconscious, it creates pressures on and stirs the relationship between society and individuals

In Hsiao's opinion, "art is the work of a higher spirit as it converts

in a pervasive way.

concrete appearances into imageries and transforms thoughts into artistic creations. It is a business that is full of life."

Closely observing Hsiao's work, one would see that the libido, which 16

Comparing to his other works mentioned above, there is another

Therefore, Hsiao displays his symbolic, semi-abstract and semi-

series featured in this exhibition that appears to be filled with childlike

figurative paintings from an earlier period on one side of a corridor

innocence and is extremely adorable. This series was inspired by the

in the exhibition space; on the other side, he has custom-designed

entire company's trip to Prague. Hsiao used to be a designer, and

and hand-painted a streetscape with fairytale houses reminiscent

has always liked the simple and pure beauty of flatly applied colors.

of Prague's cityscape. Along the way, there are six houses that

Whether the images are clear, dramatic, dark and dangerous, or joyful

respectively present six scenarios. Audience can look into the keyhole,

and pleasant, the composition and color arrangement present an easy

mailboxe, transom, window, or door of these houses of childlike

task for the artist. However, the essential element in these seemingly

innocence and view the paintings, videos, readymades that reveal

harmless, innocent scenes is the contents and scenarios of sexuality

provocative contents of someone taking a bath, people having sex,

he has aimed to delineate. In these harmonious scenes, viewers get

pornographic magazines, etc. Below the transom, the artist even

to pry into sexual activities that manifest the force of the libido

prepares bricks for audience to stand on, making it easier for people

carried out by humans or animals; and these sexual activities are what

to pry into those private scenes, as if they were naughty teenagers

substantiate the vital force of life.

who had always had the tools ready to spy people's domestic life in a small village. I believe this design would surely make the male

None of Hsiao's sexually explicit images or his illustrative, innocent

audiences of the exhibition smile knowingly.

style is commonly seen in contemporary academic painting. However, Hsiao has never had any difficulty painting his subject matter, and he

In this exhibition space, there are two main gallery rooms, which Hsiao

certainly does not have any worries or concerns over expressing his

displays his landscape series created in a recent period in one room

themes. I would guess that, instead of being influenced by art history

and the illustration-like series developed after the trip to Prague in

and the academic art, Hsiao's personal and long-term relationship

the other. Connecting the gallery rooms is a gateway decorated with

with Max Liu has been what really affected himâ&#x20AC;&#x201D; it is Liu's artistic

a naked couple having sex in a rather rough and fierce manner. The

concept of expressing the profound and complicated aspects of life

lower halves of their bodies look strong and large due to continuous

in an innocent and sincere way to share with the public that Hsiao

labor; and they bookend a two-meter archway. Because of the traffic

has been drawn to.

flow of the exhibition, audience must enter the male's body and exit the female's, and in the tunnel-like archway, they would hear the

Obviously, Hsiao likes and excels in rich and rhythmic painting of

sound of running water, bringing them back the day they were born.

flatly applied colors with carefully designed compositions. In this series, we can see a background of starry, dark blue sky with singing

The way of how the exhibition is choreographed as well as Hsiao's

nightingales, the moisture morning air that seems to be permeated

installations aim to reinforce what he aims to express and emphasize

with the scent of banana magnolia, or grape vines with lush green

in his paintings, which is the desire of life and pleasure of sexual love.

leaves and purple grapes. In a quiet, cozy neighborhood depicted in

This pure force of the libido has driven him to create his art over the

the image, one can imagine looking through a binocular and seeing

past two decades, and it is currently the most important subject in

someone in the shower or a couple having sex. In each frame, the

his life as well as his art.

painting reveals a different scene. Maybe even the cats and dogs are forming a family as well. Each painting seems to cast a spotlight on a different area, tell a unique story, and put on a brilliant show. Candid Eroticaâ&#x20AC;&#x201D;Amorous Paintings by York Hsiao represents an important milestone for the artist. For the first time, his paintings are not showcased in quotidian spaces or traditional art spaces, such as

Independent Curator

department stores, art galleries, and art fairs. Instead, he is showing his works in a contemporary art space that has a younger audience and is known for its fresh and experimental exhibitions. Having created exhibitions for twenty-five years, Hsiao naturally knows that the key to this challenge is how to make use of this space for the paintings that he has mastered with ease. 17

我的真、性、情 —— 好色之ㄊㄨ ˊ 蕭耀－自序接續前年以『意象三部曲』之名，發表了個人一系列創作之後『好色之圖』已然成為我的重要創作重心。

情 - 好色之ㄊㄨ ˊ』歷程之形，論述情慾或生命或愛的藝術結晶。

『好色之圖』系列確實具備豐富的議題性與畫面的衝擊

『真』，即真我，以更真誠、自然且坦率的態度。面對人

性，不論對觀眾或我個人而言，交流過程都是全新的碰撞與刺

性的情思與慾念，是情慾昇華的符號表徵。符號性的直觀創

激。慶幸的是，今年能在台北當代藝術館 MOCA Studio 中，

作，不僅是表面所見的直接，更深層的意義在於創作時因愛而

展出『好色之圖』系列的作品。這些都是我精心選出的創作。

生的能量，衝擊觀者的視覺。

MOCA Studio 本是一實驗性質的展場，特別受台北當代藝術館前館長，也是這次的策展人石瑞仁先生。有了他的愛護與提

『性』，屬於『人間繪本』式的創作解讀。是以更純真童

攜，成了最好的場域。此次個展主題『真．性．情 - 好色之ㄊ

趣的畫面與物件，不刻意放大性議題的方式。以溫柔、幽默、

ㄨ ˊ』由策展人發想與命定，已為展覽做出了深度的詮釋。

詼諧、隱晦的無形間，當觀眾正細看作品中的情慾情境之時。

在此我僅簡述創作時的概念與註解。

透過觀者，發現正窺探畫中春色的反應。並與藝術家交換生活意念人間情事之共鳴，激盪出更不同的藝術思維。

『好色之ㄊㄨ ˊ』的創作中，是情慾昇華的表現，我認為藝術，是人類欲望壓抑後的精神昇華。當情慾成為創作的原動

『情』，是以自然萬物的鬼斧神工之景，藉由男女性徵符

力，秉持著以愛的原動力而創作，透過這種行為的醞釀、體現、

號轉化於作品之中。可以聯想至史前藝術對性器崇拜之意義，

轉化、昇華為藝術創作，而以情欲之型式賦予此種愛的轉化，

也可說是大地即為生命之母孕育出你我，引發屬於人類最真實

是人行高尚情操的顯現。因此「情慾昇華」的結果，是藝術家

的情懷。對生命價值與意義的探索，解放心靈之眼。在天地萬

創作的結晶。更精確的註解，就是生命的創造。

物中找尋那原始的初衷。

藝術，是社會意識的凝結。創作，是時代所賦予藝術家對

最後，以注音符號式的『ㄊㄨ ˊ』字，以童趣之諧音給予

人類情感的衝動體現。兩者透過觀察與經驗相輔相成，源自心

觀者更多不同的想像思維。『好色之ㄊㄨ ˊ』可以是好色之

底深處的愛。此類愛的表現，彰顯出情慾的本體狀態。當我超

徒，忠於自我的人性本色；也可以是好色之圖，刻劃出世間愛

脫出情慾昇華的體現時，不僅僅是打破藝術傳統的視覺禁錮，

慾的生命繪本；更可以是好色之途，呈現創作路途甘苦的一里

更期盼以愛之名透過創作的傳達。來探索自所建構的『真．性．

程碑，毫無保留的呈現出我的情慾、生命與愛。

My Truthfulness, Sexuality and Feelings - Amorous Paintings by York Hsiao Artist's Preface After publishing a series of paintings that I called The Image Trilogy, the series of Amorous Paintings has taken the center stage of my artistic creation. In terms of issues and images, the series of Amorous Paintings does present a strong impact. Whether for audience or myself, the process conveys fresh collision and excitement. It is a great blessing to be able to present this solo exhibition of Amorous Paintings at MOCA Studio. The paintings on view are carefully selected by myself. Originally, MOCA Studio is an experimental exhibition space. Because of the support and assistance of Mr. J. J. Shih, the former director of MOCA Taipei as well as the curator of this exhibition, MOCA Studio has become the most ideal space to publish this series of paintings. Mr. Shih came up with the exhibition theme, Candid Erotica - Amorous Paintings by York Hsiao, which has provided an insightful interpretation of the exhibition. Therefore, I would briefly state my artist concept and personal view here. When I create Amorous Paintings, I believe that art represents the sublimation of suppressed desire. Sexual desire, for me, is the driving force of artistic creation, and it is the social manifestation of "sexuality," from which artistic creation can be formed, realized, transformed, and sublimated. It demonstrates human's intellect and sentiments, and therefore, "sublimation of sexual desire" gives birth to artistic creation, and hence, the works of art. The series of Amorous Paintings expresses the sublimation of sexual desire. The creative process has been powered and propelled by the force of love, which is transformed through the form of sexual desire. A more precise way to describe it is the creation of life. Art is the materialization of social consciousness; artistic creation is the manifestation of artists' powerful emotions. Through observation and experience, the two become mutually supportive, driven by the love from within. Such expression of love reveals the nature of sexual desire. When I attempt to sublimate sexual desire and represent it through artistic creation, I not only aim to break the visual restraints of artistic tradition, but also hope to create art in the name of love

and explore the creative journey of making the series of Amorous Paintings, which can be divided into three types of paintings, Truthfulness, Sexuality, and Feelings. By doing so, I aim to discuss sexual desire, life, or love in the form of art. Truthfulness refers to the true self, and a more sincere, natural and candid attitude in facing human emotions and desires. It represents the sublimation of sexual desire through a symbolic approach. This symbolic and intuitive series not only aims to express appearances in a straightforward manner; in a more profound way, it allows the energy arisen out of love in the creative process to form a visual impact for the viewer. Sexuality represents a series of "earthly depiction," which portrays pure and innocent images and objects. Without focusing on the subject of sexuality, the series leads viewers to see scenes of sexual desire in a gentle, humorous, playful and ambiguous way. As viewers unknowingly pry into the sexual scenes embedded in the paintings, a sense of resonance is formed between the viewers and the artist as they exchange thoughts on life and amorous feelings, giving rise to more different artistic ideas. Feelings aims to portray the magnificent and magical nature with male and female sexual symbols. They can be associated with pre-historic worship of sexual organs as well as the land that is the Mother of all life, bringing out the most truthful feelings of humanity. The series represents the exploration of life's value and meaning, liberating the mind's eye to search for the primitive and original intention among all things between heaven and earth. Finally, the Mandarin phonetic symbols show a playful way to add more imagination and interpretation to the Chinese exhibition title. It refers to an amorist who is truthful to the human nature; it also refers to the amorous paintings that illustrate the lust and desire in life; and it can also be understood as the artistic journey of creating these amorous paintings, serving as a milestone that marks my unreserved expression of sexual desire, life and love.

真『真』，即真我，以更真誠、自然且坦率的態度。面對人性的情思與慾念，是情慾昇華的符號表徵。符號性的直觀創作，不僅是表面所見的直接，更深層的意義在於創作時因愛而生的能量，衝擊觀者的視覺。『真』，就是真誠面對人性中一直被壓抑著的情思和慾念。不過，當這些話題成為一幅幅的創作時，並不是赤裸裸或很直白，而是經過了迂迴化或謎語化處理的，解讀這批作品，因而也需要動用一些想像力和幽默感。『真』的另一個定義，就是釋放內心的頑性和藝術的玩興。

Truthfulness Truthfulness refers to the true self, and a more sincere, natural and candid attitude in facing human emotions and desires. It represents the sublimation of sexual desire through a symbolic approach. This symbolic and intuitive series not only aims to express appearances in a straightforward manner; in a more profound way, it allows the energy arisen out of love in the creative process to form a visual impact for the viewer. The series of Truthfulness conveys the idea of facing humanity's suppressed feelings and desires in a candid and honest way. However, when Hsiao painted this series, he did not adopt a straightforward or obvious approach, but rather presented his subject matters in a wayward manner or a riddle-like design. So, the interpretation of this series requires a bit of imagination and the sense of humor. Another implication of Truthfulness is to free one's nature and show the playful aspect of art.

逛花街綜合媒材 22

Red Light District Mixed Media on Canvas 97 × 130 cm 2015

芳草碧連天綜合媒材

Green Lawn

Mixed Media on Canvas 97 × 130 cm 2015

挪威森林綜合媒材 24

Norwegian Wood

Mixed Media on Canvas 130 × 97 cm 2016

櫻木花道綜合媒材

Cherry Blossoms

Mixed Media on Canvas 130 × 97 cm 2016

愛的心聲綜合媒材 26

Love's Whisper

Mixed Media on Canvas 130 × 97 cm 2016

心靈發條綜合媒材

Winding Heart

Mixed Media on Canvas 130 × 97 cm 2016

高潮迭起綜合媒材 28

Climax

Mixed Media on Canvas 163 × 130 cm 2017

美國夢綜合媒材

American Dream

Mixed Media on Canvas 130 × 97 cm 2009

笑口常開綜合媒材 30

A Happy Smile