黃耀華
Wong Lo Wa
關於
幽玄之森
黃耀華 1947-
掌握色彩層次，描繪似靜而非靜之境黃耀華創作的色彩層次相當地豐厚，他相較於一般色彩多樣性較高的作品來說，更著重於以單色調來詮釋其所體會到的氣韻及禪境，不過有趣的是，我們在欣賞他的創作時，第一眼並不會發現他是以單色調的手法來表現，往往是在進入他的心境之後，感受到了作品主體性與觀者客體性之間的心靈契合時，最終才會驚嘆其在畫面形式與內容之間，有著許多巧妙的安排，並以單色調來演繹。原因在其對於筆觸、形式、色彩之間的深遠有著特殊的鋪陳，並透過水溶性顏料的半自動性技法及留白搭配，整合了具象與半具象景物之間的視覺效果，使畫面的結構重心不落於窠臼，更是有著許多動態構成及元素之間的共伴關係考量，並藉此充分地展現藝術家個人意識及原創性價值。
Yugen no Mori
Wong Lo Wa 1947-
Mastering the color hierarchy and depicting the seemingly static but not static environment Huang Yaohua's creation is quite rich in color hierarchy. Compared with the general works with high color diversity, he pays more attention to explaining the charm and Zen environment he has experienced with monochromatic tones. Interestingly, when we appreciate his creation, we will not find that he is expressed with monochromatic tones at first sight, often after entering his mood, when we feel the spiritual fit between the subjectivity of the work and the objectivity of the viewer. The reason lies in the special exposition of the profound relationship between brush strokes, forms and colors, and through the semi-automatic technique and blank collocation of water-soluble pigments, the visual effect between figurative and semi-figurative scenery is integrated, so that the structural focus of the picture does not stick to the old pattern, and there are many dynamic components and the consideration of the common relationship between elements, so as to fully show the artist's personal consciousness and original value.