劉育妏
LIU YU-WEN
關於
畢業於國立清華大學藝術與設計學系，以傳統水墨元素為基礎，結合寫生與畫譜中的符號，並融合了西方的色彩表現，意圖在水墨畫的大量傳統中，走出眾人對於水墨的既定印象，讓工筆重彩、膠彩與寫意水墨得以融合；尤其致力於將大自然的豐富與當代日常的物件，透過藝術思考，創造出獨特且貼近生活的意象。
國立清華大學藝術與設計學系學士畢業
國立臺灣師範大學美術系肄業
2021年 新竹美展 水墨膠彩類 佳作
2019年 高雄科技大學青年藝術家典藏徵件展 典藏獎
2018年 國立清華大學藝術與設計學系學生及校友優秀作品典藏
2018年 南投縣玉山美術獎 水墨膠彩類 優選
創作理念
以鄉間再平凡不過的雜樹、現代物件為題材，木葉之間透過秩序性的符號、點劃，推疊出饒富裝飾意味與韻律感的世界。創作起於水墨的學習歷程中，對傳統的疑惑...繽紛絢麗的工筆畫與講求文人情懷的風景畫，兩者間的色彩似乎壁壘分明；寫意水墨中符號的運用，又與自然的意象有所落差，畫者面對水墨畫大量傳統與自然兩大藝術根源，努力改革與挖掘，以過去西畫創作中常用的點描、重複的元素，融入水墨的創作，運用平凡不過的鄉間景色為題材，呈現出淡雅且富裝飾性的世界。
清華大學副教授 胡以誠 評述：
劉育妏的作品清新而優雅，以筆墨勾勒夾葉並多有符號性的表達，乍看之下，就像是傳統山水畫的手法，然而，其纖細疏朗的線描、粉色與水墨黑白相間的搭配，卻展現出異於傳統的風貌。
劉育妏投入極大的心力觀照鄉野與生活中的尋常之景，既有靜觀之特寫，亦能作叢樹層山之宏大空間。類似於古人將自然萬象提鍊成筆墨符號，育妏針對雜亂的台灣山林景象進行分析與調配，不論是樹叢、樹幹、草葉與瓜藤，勾畫與點染之間，逐漸幻化成一片充滿韻律的抽象造形，細觀卻又是熟悉之景，令人拍案。
除了勾線、符號與墨韻等傳統元素，育妏亦參考了西畫之「點描」手法，加上獨特的配色與過人的層染之功，意圖在「筆與色的調和」中展現「尋常景之不凡」，充滿著浪漫情調的畫面，實則處處展現其理性-意圖調配彩、墨、筆、景之間的「秩序」，可說是在風格光譜中「水墨」與「重彩」兩端之間，尋找其獨特的位置。其細心又溫暖的凝視，透露出對造化萬物綿長之情懷，令人聯想到某些日本畫家筆下的自然韻致，例如菱田春草。
Graduated from the Department of Art and Design at National Tsing Hua University, the artist combines traditional ink elements with sketching and symbolic elements from painting manuals, while also incorporating Western color expressions. The intention is to break away from the conventional perception of ink painting within the extensive traditions of ink art and to merge meticulous brushwork, mineral colors, and freehand ink painting. The artist is particularly dedicated to creating unique and relatable imagery by exploring the richness of nature and everyday objects through artistic contemplation.
Conceptually, the artist takes ordinary trees and modern objects as subjects and uses ordered symbols and dotting techniques to construct a world that is rich in decorative meaning and rhythm. The creative process began with the study of ink, raising questions about tradition. There seems to be a clear distinction between vibrant and ornate meticulous paintings and landscape paintings emphasizing literati sentiments. The use of symbols in freehand ink painting also diverges from natural imagery. The artist faced the challenge of reconciling the vast traditions of ink painting and the natural world, striving to reform and explore by integrating the dotting and repeated elements commonly used in Western painting into ink painting. Through the use of ordinary rural landscapes as subjects, a delicate and decorative world is presented.
Comment by Associate Professor Hu Yi Cheng from Tsinghua University :
Liu Yu-Wen's works are fresh and elegant, employing brushwork to depict leaves and incorporating symbolic expressions. At first glance, they may appear to employ traditional landscape painting techniques. However, the delicate and sparse lines, the combination of pink and black-and-white ink, reveal a distinctive style that differs from tradition.
Liu Yu-Wen devotes significant effort to contemplating rural and ordinary scenes in life. She is capable of capturing close-up details as well as depicting the grand spatiality of dense trees and layered mountains. Similar to ancient painters who distilled the myriad forms of nature into brush and ink symbols, Yu-Wen analyzes and combines the chaotic landscapes of Taiwanese mountains and forests. Whether it's clusters of trees, tree trunks, leaves, or melon vines, through her outlining and dotting, they gradually transform into a rhythmic abstract form that feels familiar yet captivating.
In addition to traditional elements such as lines, symbols, and ink tones, Yu-Wen also incorporates the "pointillism" technique from Western painting. With her unique color combinations and exceptional layering skills, she intends to showcase the "extraordinary in ordinary scenes" through the harmony of brush and color. The paintings exude a romantic atmosphere but are filled with rationality, aiming to establish "order" in the interplay of color, ink, brush, and subject matter. One could say that she seeks a unique position within the spectrum of styles, bridging the realms of "ink" and "mineral colors." Her attentive and warm gaze reveals a profound appreciation for the continuous beauty of creation, evoking associations with the natural aesthetics depicted by certain Japanese painters, such as Hishida Shunso.