非池中藝術網

關於

生於台灣台東池上。1983年文化大學美術系畢業，義大利國立米蘭布雷拉藝術研究院畢業後，旅歐創作八年。在學時期就以創作和自我探索的繪畫方向為主，多年來藝術家的繪畫理想與策展人的工作職涯，如同雙子星座的他，一為二又二為一地雙軌並進，且深深耕耘碩果豐厚。

近年劉永仁雖以台北市立美術館策展人見稱於藝壇，但多年來投入個人創作思考的層面，勢必迫切揭露更清晰面貌。1990至1998年，他的繪畫由抒情演變至抽象構成，其美學核心始終直探時空中倐忽變化之恆常經驗。

90年代中，劉永仁以「呼吸概念」為思考，在藝術與理念轉介過程中，呼吸與繪畫形成互為表裡的深層態度，他將這種自覺意識作為藝術進展的參照點。劉永仁的創作媒材除了油彩，還添加蜂蠟或鉛片附著於畫布上，使色彩與光澤產生視覺的半透明性與溫潤感，作品表現出獨特的精神性。劉永仁提煉出畫面主體物搖動透視的靈動元素，構組成雕塑物件《暫停椅》、《夏秋冬》、《履行世代》、《空城計》等系列單元，進一步詮釋「時光履行者」的完整歷程。

劉永仁常以弧形穿越交織的綿密時空，既輕快又具深沈量感，若隱若現的星光，則暗示出空間力量。從其繪畫可感知宇宙無邊際的圓弧，緩慢而均衡，渾然結為一體。一切畫面都是時空剎那的切片，但又能在意念中無限延伸、位移。呼吸流動的星光和類三角形的蓮蓬，彌漫於深層場域，是自然蛻變的漫長旅程，也是反覆綿延無窮的變化。

Liú Yung-Jen was born in Chishang Township, Taitung County, Taiwan, and graduated from the Department of Fine Arts at Chinese Culture University in 1983. He later traveled to Italy, where he spent eight years broadening his horizons, eventually graduating from the Accademia di belle Arti di Brera di Milano in 1995. As a student, he explored art and himself primarily through painting, and for many years since, he has developed careers as both a professional artist and curator. Born under the star sign of Gemini, Liú has proceeded on a dual track and produced substantial results. Although he is well known in the art world for his work as a curator at the Taipei Fine Arts Museum, for many years he has dedicated himself to his own artwork and ideas, which are worthy of closer inspection.

Since 1990, Liú has developed lyrical expression into abstract compositions, but his aesthetic has always been focused on the inevitability of sudden variations in space and time. He began considering the concept of breathing in the mid 1990s, and in the process of joining this concept to his painting practice, cultivated a profound notion regarding painting as breathing, and took this awareness as a point of departure for further development in his work. In addition to using oil paint, Liú affixes beeswax and lead foil (piombo) to his paintings in order to produce color and luster that are both translucent and mild, and to give his work its distinct spirituality. Furthermore, Liú has recently rendered one of his important painting motifs in three dimensions by casting it in various metals to produce kinetic sculptures. He has also several series; Temporary Chair, which includes paintings and three dimensional works; the Seasons, the Practitioners, and Empty Fort Strategy are installations composed of sculptural objects. These series have inspired the theme of his latest exhibition: A Practitioner of Time: Liú Yung-Jen.

Liú often uses arcs to meticulously weave together time and space in a way that creates both lighthearted and profound feelings. Starlight is interspersed among the arcs, peeking out here and there, to suggest the power of physical space. The infinite arcs of the universe can be perceived in Liú’s paintings, which slowly, harmoniously, and absolutely unite into one. Each painting is a moment in time and fragment of space that can extend or shift infinitely in the mind. Fluidly breathing starlight and triangular lotus pods permeate the deep layers of a field and represent a long journey of natural transformations, as well as continuous and infinite change.