非池中藝術網

許瀞云，1985年出生於台灣宜蘭，現居住及工作於台中。

2008年 畢業於東海大學美術系學士班。

2019年 攜帶累積多年的都市踏查經驗，重回學院，繼續膠彩創作。

2024年 畢業於東海大學美術學系美術創作碩士班。

今為膠彩創作者及美術教師。

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出生於一個宗教氣息濃烈的家庭，童年時的家庭活動很多時候在焚香誦經儀式中度過。大學主修膠彩，閒暇喜好觀賞電影，也曾瘋狂追影展。大學主修膠彩。畢業後曾參與多部動畫及影像創作，擔任手繪逐格動畫及2D動畫美術設計，以阿美族原住民勞工的都市漂流，和傳統儀式流變為主題的影像作品《馬拉自在》受邀參加澳洲亞太地區藝術三年展APT7及北京獨立影展。創作受到香港作家黃碧雲影響，其重複的探討出現的人物姓名及帶有意識流般的寫作方式，從女性角度探討身體、民族與後殖民環境之間的關係，時常與自身感到互相呼應。透過藝術創作，我嘗試反覆辯證人性的根本與脆弱面，成為一個觀察者說著自己的寓言故事，以自身創建的世界來呼應現實世界為何，並企圖詮釋個體通往不同定義下死亡路徑過程的狀態，討論消逝、精神與肉身載體為何，並以此確立身而為人的存在價值。

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我的創作主要以不同角度探討「存在」、「自由」和「本能」之間的關係，題材從「人」為主體，漸漸擴充發展到外圍的植物風景或抽象空間。喜歡帶有悲劇色彩的寓言小故事，從重複的重蹈覆徹行為，進而討論出「執念」所帶出的荒謬與意念美感。常以人物題材探討現代人－關係－生存的狀態，運用金屬箔的反覆黏貼摩擦破壞，描寫常處於關係結界，漂流在超時空情境的人類。

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透過帶有宗教性的構圖畫面，交融的身體輪廓，呈現人與人之間的關係變化、精神上的內外對抗及無法捨棄的原始慾望。希望透過膠彩媒材裡的礦物顏料及金屬箔的「物性本質」特性，來相應創作主軸中的「身體存在之於膠彩媒材的物質性」，希望透過膠彩創作來討論「肉體與精神」，達到「形而下到形而上」的能量轉換。

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Emerging from a household steeped in religious traditions, Ching Yun's childhood was woven through with rituals of incense burning and scripture recitation.

Majoring in Asian Gouache in university, she indulged in her passion for cinema during her leisure time, avidly following film festivals. Post-graduation, her path led her through various animation and video projects, serving as a specialist in hand-drawn frame-by-frame animation and 2D art design. Her work, "Family Reunion," focusing on the urban drift of Amis indigenous laborers and the evolution of traditional ceremonies, earned invitations to "The 7th Asia Pacific Triennial of Contemporary Art " (APT7) and "Beijing Independent Film Festival ".

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Ching Yun's creative endeavors are influenced by the writings of Hong Kong's Wong Bik-Wan, whose thematic exploration of character names and stream-of-consciousness technique, from a distinctly female perspective, resonates with her own artistic inquiries into body, ethnicity, and the post-colonial landscape. This shared thematic interest reflects a profound connection with her own experiences and creative journey.

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Through her art, she seeks to engage in a dialogue with the essence and vulnerabilities of human nature, crafting allegorical tales as an observer that mirror the complexities of our existence. Her creations aim to understand the journey towards death under various lenses, to discuss the essence of fading, spirit, and the physical body, thereby affirming the existential value of being human.

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Ching Yun's creations primarily explore the relationships between 'existence,' 'freedom,' and 'instinct' from various angles, with subjects gradually expanding from humans to encompass plant landscapes and abstract spaces. She is drawn to tragic fables and the dissociative feelings experienced in life, using repetitive behaviors to illustrate the imbecility inherent in human nature, thereby highlighting the absurdity and aesthetic beauty of 'obsession.' She frequently examines the state of modern human relationships and existence through the lens of human subjects, employing the repetitive application and friction-induced wear of metal leaf to depict individuals constantly caught within relational boundaries, drifting through transcendent temporal and spatial contexts.

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Ching Yun aims to utilize the 'fundamental nature of matter' present in 'mineral pigment' and 'metal leaf' inherent in Asian Gouache to reflect the 'materiality of the body within the medium of Asian Gouache.' Her goal is to facilitate discussions on 'the corporeal and the spiritual,' while striving for a transformative journey from the physical realm to the metaphysical.