非池中藝術網

1975年 出生於臺灣臺北

2015年 畢業於國立臺灣師範大學美術學系 美術創作理論組水墨組 博士

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重要經歷

2019　國立臺灣師範大學美術學系兼任助理教授

2022－2023　臺北市立教育大學聰明老化跨域創新中心兼任助理教授

2017－2018　國立嘉義大學視覺藝術學系暨研究所專案助理教授

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藝術家自述

華建强，1975年出生於臺灣臺北，畢業於國立臺灣師範大學美術學系美術創作理論組博士班水墨組，中國北京中央美術學院造形藝術研究所博士交換生，國立臺北藝術大學美術系創作碩士班。現居臺灣。

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創作表現形式多元，除了慣以截然不同於臺灣傳統表現的膠彩入畫之外，仍以水墨、雕塑、影像、版畫、裝置與觀念等作為其創造的展現。開創出屬於華建强個人嶄新風格的作品面貌。藝術重心的所在是以鮮豔色彩的表象，環以戲謔、幽默的手法含括個人內在省思，關注環境社會乃至宇宙世間的國際動態。

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作品曾多次在國際美術館中展出：國立臺灣美術館、臺北市立美術館、高雄市立美術館、嘉義市立美術館、臺南市立美術館、鳳甲美術館、關渡美術館、洪根深美術館、上海月湖美術館、韓國光州市立美術館、日本相田光男美術館。並有多次駐村經歷：美國舊金山赫德蘭藝術村、美國紐約POINT B藝術村、法國巴黎西帖國際藝術村、中國桂林愚自樂園國際藝術創作營。

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作品曾獲國立臺灣美術館、臺北市立美術館及鳳甲美術館典藏，並出版個展畫冊：《空谷幽蘭》、《從繪畫開始》、《槍砲與西裝》、《人奸仙淨》、《新仙花形》。

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創作理念

《骨肉分離》系列

肉體得利於基因，藉由時間長成一個個可被指認的外貌。世人們驅縱於優越事物的追尋，往往誤認美好的事物就代表了一切。進而迷失在遺傳的系譜中。

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骨骼掌管了肢體的動態，主導了行動的能量。就像一條根莖般，拓展在表體的深處。其隱諱與不顯露的特質，讓外界無法窺探得知。

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從此，肉體與骨骼分了家，是因為外表與內部的動能已逐漸被知識的灌輸與界分給拆散了。它導致行為與思想的歧異，以及所思所行的非一致。於是骨肉分離自此成為某種常態，共構出一個虛偽官能的現存宇宙。

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作品《恨狐發電機》

一隻鳥，背負著一座發電廠。用牠的內臟還有血液維持著充足的電力。可發電的機座從人的胸腔導入，或進或出提供了彼此的養分和氣力。在不著陸的情況下，他們互相依靠且賴以為生，因為過往的世界早已逝去，唯有持續地在空中飄浮，生物們才能夠感覺到踏實。

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《鴞形懷爐》（與藝術家朋友的創作交換計畫）

這個計畫是由我與從事版畫製作的藝術家黃椿元共同執行。我們各自在空白的畫布上以自己擅長的媒材發想、製作，之後交換彼此的畫布，在看到對方的成品後，試圖添加上自己對這個作品的想像，然後持續交換進行形同程序直到彼此都認為不用再加入任何元素為止，作品完成。

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作品《園丁周休二日-驚恐圖》

田地裡種了各式蔬果，每日施水灌溉或除草，維持著井然有序的調性。負責園藝的人是園地的靈魂，掌握了一年四季的輪動。他就像是城市或國家的律法，有了明確的賞罰制度以確保區域內的平和。園丁週休二日，意味著一段時間的無政府狀態。雜草得以自由叢生、藤蔓不會被固定在安排好的枝架，以及酒駕不需要擔心警察的臨檢等等。無政府狀態使得規範得以鬆解。任何可能或不可能的事情，在這週休二日期間都可以為所欲為。等到周休結束之後，一切又回歸於園丁的操控。縱情與脫線的二日就成為了每週備受期待的項目。

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作品《親愛的那並不是寂寞》

在異山水的結構中，我將黑色的溪水以直線的筆刷帶出畫面。在我看來，寂寞就像是這些被帶出的黑水，蔓延在景色的週邊，跟著山水景物，滲透在畫面的各個角落。親愛的那並不是寂寞，陳述的是每個不同的個體對於情感、依戀或失去的心神狀態。是被線條切割過後的那顆不完美的形體，也是早期電視螢幕中的失焦畫面。是淚眼婆娑而模糊的視線，也是因線條速度所帶來的晃動感知。那穿插在畫面週邊的多彩色塊，是紐約廣場倒數結束後的碎紙、是夏夜裡閃閃發光的螢火蟲。是飛機降落前望見的點點星火，更是無數人心中的那片小小希望。那麼親愛的，你說的寂寞到底是不是寂寞？

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作品《後花園5》

花園瀰漫著香氣，植物因陽光生生不息。流連在藤蔓交錯與花朵綻放的園地。自此而後，我決定不當英雄了。

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在動盪的社會與世界裡，創作者期以藝術製造來反映時事與嘲諷現實，以為自己能替世界發聲而成為英雄。反抗的動作為作品提供了正當性。但藝術的聲量在現實世界中卻極為渺小。一旦作品無法為社會乃至世界帶來具體的改變時，藝術創作還剩下些什麼？

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和煦的微風下滴流著處理園藝的汗水，提供了身處在花園裡的思想出路。反覆裝飾園地正如反覆裝飾畫面經營般，由一個點狀開始鋪滿整個畫面。裝飾性的圖騰紋樣在作品上成為了掩飾虛偽以及妝點不堪情狀的物件。裝飾性的圖騰紋樣在花園的經營規劃裡得到了解脫。它試圖重返古代紋飾在宗教儀式上的重要意涵，又或者試圖重返西歐在新世紀初大眾品味上的青睞。繪畫此時所要表現的，就是以形式之名重拾視覺觀賞的必要，進而夾帶刺激之物予以突擊。這些迴返的思路歸咎於繪畫在當代的時刻裡，仍能生產出什麼樣的聲響，以及如何迂迴地不以英雄的姿態來回應現下的世界。

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當繪畫不再具備英雄式的反動抗爭後。至此，於前線戰場退下的，是繞著另一種裝飾性方法的遠路。在看似迎合大眾欣賞品味的同時，也為未來的出擊發出一聲偽裝性的語句：齁！我不當英雄了。

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作品《一條理智的線1》

在殘料中，層層疊疊的敷色過程，一件作品挨著一件小作。後花園的作品完成了，小作也隨著敷料而結束。每一件小小的抽象作品，其色料皆來自於另一件母體的殘存。在未使用完的殘料中，賦予這些小作們空間與時間。

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待靜置一段時間過後，一條理智的線引導著我貫穿於作品的色料與色料之間。它對應於幾盡理性的後花園系列，而自成為了另一個感性塗抹的場域。然則，白色的理智線將感性的塗抹收編，並且選擇了一個適當的時機結束，以自成一局。

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b. 1975, Taipei, Taiwan.

2015 Ph. D. Department of Fine Arts (Ink), National Taiwan Normal University

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IMPORTANT EXPERIENCE

2019　 Assistant Professor, Graduate Institute of Visual Arts, Department of Fine Art,National Taiwan Normal University, Taiwan, Part-time

2022－2023　Assistant Professor, Center for Innovative Research and Practice on Smart Aging, University of Taipei, Taiwan, Part-time

2017－2018　Assistant Professor (Project Faculty), Graduate Institute of Visual Arts, Department of Fine Art, National Chiayi University, Taiwan, Full-time

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ARTISTS STATEMENT

Hua, Chien-Chiang (b. 1975) was born in Taipei and currently resides in Taiwan. He holds a doctoral degree in Ink Painting from the Graduate Institute of Fine Arts at National Taiwan Normal University, where he specialized in art theory and creative practice. He was also a doctoral exchange scholar at the School of Experimental Art, Central Academy of Fine Arts in Beijing, and completed his Master of Fine Arts at the Graduate School of Fine Arts, Taipei National University of the Arts.

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Hua’s artistic practice is diverse and multidisciplinary. While he is known for his use of gouache (traditional mineral pigment painting), which diverges from conventional Taiwanese techniques, he also works across ink painting, sculpture, video, printmaking, and installation. Over time, he has developed a unique visual language that reflects his personal style.

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His work is characterized by vibrant colors and a humorous, theatrical aesthetic that often carries introspective undertones. He is deeply concerned with the dynamics of society, the environment, and the broader universe, frequently embedding reflections on global and social issues within his art.

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Hua’s works have been widely exhibited in museums both in Taiwan and internationally, including the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, Chiayi Art Museum, Tainan Art Museum, Hong-Gah Museum, Kuandu Museum of Fine Arts, Hung-Ken-Shen Art Museum, Yuehu Museum of Art in Shanghai, Gwangju Museum of Art in South Korea, and institutions in Japan.

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He has also participated in several international artist residency programs, such as Headlands Center for the Arts (San Francisco, USA), POINT B Worklodge (New York, USA), Cité Internationale des Arts (Paris, France), and the Yuzizhuyuan International Artist Residency (Guilin, China).

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His works are part of the permanent collections at the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, and Hong-Gah Museum. He has published several monographs, including Orchid in the Valley, Painting Becoming, Gun and Suit, Reality in Wonderland, New Blossoms of the Divine.

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CREATIVE CONCEPT

Divided in Blood

Benefitted from its DNA, a body matures and gains identifiable features over the course of time. In the pursuit of excellence, people are often misled by the fair appearance of things and lost in the genealogy of inheritance. Bones control the motion of limbs and the energy involved in their movement. They are like stems embedded deep within one’s flesh, a concealed quality that can not be pried about by the outside world.

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Hatred-Driven Generator

This power station is powered and borne by a bird, for its organs and blood carry sufficient electricity. The bedplate of its generator is introduced through the thoracic cavity of the human body. And the flow of electricity supplies strength and nutrients for both the station and the bird. Without ever touching the ground, they rely on each other for survival. The old world has passed, and the only way organisms can feel grounded and undoubtedly alive is by continuing to float in the air.

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Exchange Project with An Artist Friend

This project is co-executed by gravure artist Huang Chun Yuan and I. It began with us sketching ideas using materials we were familiar with on two separate blank canvases. Then we swapped canvases, made interpretations of each other’s work, then added our own thoughts to them. This exchange continued until the point we both agreed that no more elements should be added, which marked the completion of this joint project.

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The gardener is closed for two days a week- Whale and peacock

Various fruits and vegetables are planted in the fields, tended daily with watering and weeding to maintain a sense of orderly rhythm. The person in charge of gardening is the soul of the land, possessing a deep understanding of the seasonal cycles throughout the year. Like the laws of a city or a nation, the gardener upholds a clear system of rewards and punishments to ensure peace within the area.

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The gardener’s two-day weekend marks a brief period of anarchy. Weeds are free to grow wild, vines no longer bound to their designated trellises, and drunk driving faces no fear of police checkpoints. In this state of anarchy, order loosens its grip. Anything—possible or impossible—can happen during these two days of liberty. And once the weekend ends, everything returns to the gardener’s control. These two days of indulgence and chaos become the most anticipated part of the week.

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Honey, it ’s not lonely

I used straight brushstrokes to depict the black stream cutting across the canvas. To me, loneliness is like this black water—drawn out and spreading across the edges of the scenery, seeping into every corner of the landscape alongside the mountains and rivers.Dear, That’s Not Loneliness speaks to the emotional, psychological states of individuals—our feelings of attachment, longing, or loss. It is the imperfect form left after being sliced by lines; the out-of-focus image on an old television screen. It is the blurred vision through tearful eyes, the trembling perception caused by the velocity of brushstrokes.The colorful fragments scattered around the painting are like the confetti after the countdown at Times Square in New York, or the glowing fireflies on a summer night. They are the tiny flares seen from a plane about to land, and more profoundly, the flickers of hope that dwell quietly in the hearts of many.

So, my dear—this “loneliness” you speak of… is it really loneliness at all?

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Back Garden No.5

The garden is filled with fragrance, as plants flourish under the sun. Wandering among the intertwining vines and blooming flowers, I made a decision: I will no longer be a hero.

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In a turbulent society and world, artists often aim to reflect current events and critique reality through their work, believing that by doing so, they can speak on behalf of the world and become heroes. The act of resistance gives their creations a sense of legitimacy. Yet, the voice of art remains minuscule in the grand scheme of the real world. When an artwork fails to bring tangible change to society—or even the world—what remains of artistic creation?

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Under a gentle breeze, sweat trickles down while tending the garden, offering a new path for thought within this floral sanctuary. The repetitive act of decorating the garden mirrors the process of composing a painting—starting from a single point, gradually filling the entire surface. Decorative patterns and motifs in the work serve as a disguise, a way to beautify and conceal what is unbearable. In the garden’s design, these ornamental symbols find liberation. They attempt to return to their sacred roles in ancient religious rituals, or to the favor they found in Western popular tastes at the turn of the century.

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Painting, in this moment, seeks to reclaim the necessity of visual pleasure in the name of form—carrying with it elements of surprise to strike unexpectedly. These cyclical reflections speak to what kind of sound painting can still produce in the contemporary moment, and how it might respond to the current world without assuming the heroic stance.

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When painting no longer holds a role in revolutionary resistance, it retreats from the front lines, taking a long and winding path paved with another kind of decorative strategy. While seemingly catering to public taste, it releases a disguised signal for a future strike:

Ugh! I’m done being a hero.

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A Sensible Line 1

Within the remnants, through layer upon layer of applied pigment, each small piece is created alongside a larger work. When a piece from the Back Garden series is completed, a smaller work also reaches its end, having absorbed what remains of the materials. Each of these small abstract paintings is tinted with leftover pigments from a parent work. Through the unused residue, these smaller pieces are granted their own space and time.

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After letting them sit quietly for a while, a rational line begins to guide me—threading its way through the fields of color across the surface. This line corresponds to the nearly rational nature of the Back Garden series, yet it establishes a new, emotionally driven realm of gesture and expression. The white, rational line ultimately gathers and disciplines the emotive strokes, choosing just the right moment to bring the process to a close—thus completing a self-contained composition.