陳奕伶
CHEN, Yi-Ling
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關於
1972年 出生於臺灣臺南，現生活與創作於新北市
1990年 畢業於國立臺灣藝術大學 美術學院 造形藝術西畫組 碩士
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重要經歷
2015 作品《PAPER》獲 國立台灣美術館－青年藝術家 典藏
2012 榮獲《中華民國第15屆國際版畫素描雙年展》入選
2006 榮獲《中華民國第12屆國際版畫素描雙年展》入選
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藝術家自述
陳奕伶，1972年出生於台南。畢業於國立台灣藝術大學 美術學院 造形藝術研究所。
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自幼生長在台南市中西區赤崁樓邊，祖業為金銀紙舖，父親從事印刷業，在紙堆中長大，無論在金銀紙舖或是家裡常整過程中充滿各式手印到工業化的紙張在生活裡，成長過程看到都是堆疊起來的紙張側邊，一直認為時至今日，仍是受自幼時的視覺經驗，紙張側邊為創作的靈感已影響來源。
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創作理念
展出作品《偽石版系列》是以不能印製的石版工作室為發想，在堆疊的多塊假石版中，創作出看起來是石頭的版，但也是透過版印印出圖像，形成作品，呈現出去功能化的假版狀態。以印刷歷程中，最後發展出的平版版種感光鋁板（ＰＳ版），再印製於第一個平版發明的石版，為平版的歷史進展以最初與最終為循環辯證。
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《偽石版系列》仿造印刷分類中的平版最原初可印製的石版。是以卡紙分層 分片多次加工黏貼，刻意將紙版重疊粘貼形成約九公分厚度，在立體的側邊進行敲擊、破壞、上色後，以平版分類中的PS版，將圖像印製在假石版平面上。而貼合 後的紙版側邊外型，再以砂輪機將紙製的偽石版破壞改造，形塑成紙製的石版。
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b. 1972, Tainan, Taiwan. Lives and works in New Taipei City, Taiwan.
1990 M.F.A. in Western Painting, Graduate Institute of Plastic Arts, College of Fine Arts, National Taiwan University of Arts.
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IMPORTANT EXPERIENCE
2015 Artwork “PAPER" Acquired by National Taiwan Museum of Fine Arts – Young Artist Collection
2012 The 15th International Biennial Print and Drawing Exhibition, R.O.C., National Taiwan Museum of Fine Arts, Taichung, Taiwan.
2006 The 12th International Biennial Print and Drawing Exhibition, R.O.C., National Taiwan Museum of Fine Arts, Taichung, Taiwan.
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ARTISTS STATEMENT
The author grew up near Chihkan Tower in the West Central District of Tainan City. Their family business was a joss paper shop, and their father worked in the printing industry. Growing up surrounded by piles of paper—whether in the joss paper shop or at home—meant being immersed in a world of paper, ranging from handmade prints to industrial paper. Throughout their upbringing, what consistently caught their eye were the stacked edges of paper. Even to this day, the visual experiences from childhood continue to influence their creative inspiration, with the edges of stacked paper serving as a key source of artistic ideas.
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CREATIVE CONCEPT
The planned exhibit, Pseudo-Lithograph Series, is inspired by a lithography studio where printing is no longer possible. The work is composed of multiple stacked fake lithographic stones—plates that appear to be made of stone, yet still function as printmaking plates used to produce images. These works present a state of de-functionalized, pseudo-plates.
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The series references the historical progression of lithographic printing by combining the earliest form of lithographic plates—stone plates—with the final stage in lithographic development: photosensitive aluminum plates (PS plates). In this way, the project creates a dialectical cycle between the beginning and the end of lithographic history.
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The Pseudo-Lithograph Series mimics the earliest form of printable lithographic stones in the classification of printing methods. Using layers of cardboard, the artist cuts, processes, and pastes the material multiple times to deliberately create a thickness of about nine centimeters. The sculpted sides are then struck, damaged, and colored. On the flat surface, an image is printed using a PS plate. The shaped cardboard edges are further modified using a grinding machine, transforming them into a paper-based simulation of lithographic stone.
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The layering and gluing of paper gives the work a heavy, stone-like volume. The artist attempts to shift the perspective of how paper is viewed—not only as a flat surface but as a three-dimensional form. Each pseudo-lithograph has six sides, allowing the cardboard to become part of a spatial structure and offering a new angle for viewing and reading paper in space.
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The Pseudo-Lithograph Series is displayed on pallets in response to the studio setting. The pallets and artworks are either stacked in an irregular manner or hung on the wall, becoming part of the overall exhibition space and presentation.