如影隨行：2020薛保瑕個展
展期｜2020/09/26-2020/11/28
地點｜耿畫廊
開幕｜2020/09/26 (六) 4:30 p.m.
耿畫廊榮幸地將於 2020 年秋季舉辦「如影隨行：2020薛保瑕個展」，為各位帶來亞洲抽象繪畫前鋒薛保瑕近三年新作。呈現藝術家於「抽象藝術如何定義自身」的叩問歷程中，東西方哲學的差異、主客體的相互對位，乃至抽象藝術與現實世界的關連效度，將如何於色彩、造形、構成、動勢、肌理的結構鋪陳下渾然合流，令種種位於兩極的哲學提問「如影隨行」地牽引出當今文化社會混合界的場域，導引觀者跨越「我執」設限，隨著薛保瑕的「抽象」探索之路，於冷熱抽象對話間穿梭，進而重新思考對抽象藝術認知轉向的可能。
此次展出的新作有著不同於過往的起點，薛保瑕先以九條不同色域的冷抽象語彙作為畫面的構成基調，隨後再賦予熱抽象的表現；如此表現所涉及的創作方法，在冷熱兩端抽象語彙的交錯中生成一種具滲透性的「合流」境域。指涉上，「9」可代表現實世界中衡量成果標準的基數，而在0至9的迴圈中，9也預示了即將準備面臨下一個歸零或進位的開始，是將要退位，亦是即將開始的臨界。而薛保瑕的九條色域更觸及了色彩研究的領域——同色系與互補色的不同比例、冷暖色調的協調與對位；透過畫筆加疊出豐富的空間層次，於顏料光澤與溫感、線與面所交疊出的意象維度內，渲染出不同季節性、自然情感以及普遍性的經驗記憶等美學感知，於觀者面前交織出可見與不可見的時空景深，讓抽象藝術的空間造境轉譯為嫁接感知體驗的一瞬之光。
凝視著薛保瑕繪畫中交錯且具滲透性的合流時空，知名藝術評論者高千惠於評述中提供了一條介入此抽象藝術之旅的閱讀新徑：
「基於薛保瑕的作品都與『看不見的生命動能與其消長，如何被視覺化』有關，閱讀其新系列作品時，可想像用VR進入其「九九之境」。在那個虛擬實境，這些如內視鏡世界、如電光交錯的意識萌發景觀、如神經叢林般的洪荒與節氣，可以大小宇宙般的空間感，將人包覆在其間，產生一種體感。」
｜藝術家：薛保瑕
1956年生於臺中臺灣，美國紐約大學教育學院藝術博士。現任國立臺南藝術大學榮譽教授。曾任國立臺灣美術館館長、財團法人國家文化藝術基金會執行長，國立臺南藝術大學視覺藝術學院院長、藝術創作理論研究所博士班專任教授暨所長，和國立臺南藝術學院國際藝術交流研究中心主任等。長久以來選擇以抽象語彙做為藝術創作的表現形式，作品主要以冷熱兩種抽象符號表現混合性的現實，並因應時代的改變進一步探討當代抽象藝術的特質。其作品多次於臺灣、中國、美國、法國、義大利、韓國，和日本等地展出。作品為國立臺灣美術館、台北市立美術館、高雄市立美術館、北京中國美術館、澳洲白兔美術館等機構典藏，以及私人收藏等。
---
One and the Other: 2020 Solo Exhibition of Ava Hsueh
Exhibition Dates｜09.26.2020–11.28.2020
Venue｜Tina Keng Gallery (1F, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei, Taiwan 114)
Reception｜09.26.2020 (Sat.) 4:30 p.m.
The Tina Keng Gallery is pleased to present One and the Other: 2020 Solo Exhibition of Ava Hsueh, comprising the artist’s latest body of work from the past three years. In her ongoing investigation of how abstract art defines itself, she examines the differences between Eastern and Western philosophies, confrontation between subject and object, and the relation between abstract art and the real world. The interplay of color, form, composition, dynamism, and texture allows the artist to navigate the socio-cultural landscape, ushering the viewer across the threshold of ego onto an exploration of abstract art through its hot and cold dichotomy, in an effort to redefine abstract art.
Taking a different approach from her past practice, the artist first lays the foundation with one of the nine color strips of cold abstraction, upon which she layers gestural brushstrokes of hot abstraction. This method educes a realm of confluence as the visual languages of hot and cold abstraction become intermeshed. In the real world, the number nine can be a cardinal number to evaluate results. If we consider the numbers zero to nine as a loop, the arrival at nine also means a new beginning where it should either return to zero, or move to another decimal round. It is the threshold to abandon all, as well as to start over. The artist’s Nine Lines Method further draws on color research. Different proportions of the same and complimentary tones coalesce, cold and warm hues coordinated and juxtaposed, visual depth rendered through interweaving brushstrokes. Pigments’ luster and warmth commingle with lines and planes, conjuring seasonal, emotional, and universal experiences, as well as visible and invisible depths of temporal and spatial fields. An effulgent realm of abstraction unfolds and irradiates the viewer’s perception.
In a close scrutiny of the confluent space-time in Hsueh’s painting, art critic Kao Chien-Hui has provided a new way to delve into the artist’s abstraction: “Because her work revolves around how the invisible kinetic energy of life — and its growth and decline — can be visualized, viewers may be inclined to imagine using a VR device to enter Hsueh’s Nine-Nine Realm as they confront the artist’s new series. Within that virtual reality, phenomena such as endoscopic realms, landscapes of burgeoning consciousness, and the chaotic states of a neurological jungle can create cosmic universes that enwrap the viewer in psychosomatic sensations.”
｜Artist: Ava Hsueh
Born in 1956 in Taichung, Taiwan, Ava Hsueh obtained her D.A. degree in arts from the New York University. She currently serves as a honorary professor at the Tainan National University of the Arts. She served as the director of the National Taiwan Museum of Fine Arts, chief executive of the National Cultural and Arts Foundation, dean of the College of Visual Arts, and chair of the doctoral program in art creation and theory at the Tainan National University of the Arts. Hsueh’s artistic practice has long pivoted around the visual language of abstraction. Her work of biomorphic forms and geometric shapes convey a hybrid reality that resonates with the stylistic shifts of contemporary abstract art.
Ava Hsueh has exhibited internationally, including in Taiwan, China, Korea, Japan, France, Italy, and the U.S. Her work is housed in private and renowned public collections, such as National Taiwan Museum of Fine Art, Taichung, Taiwan; Taipei Fine Arts Museum, Taipei, Taiwan; Kaohsiung Museum of Fine Arts, Kaohisung, Taiwan; National Art Museum of China, Beijing, China; and White Rabbit Museum, Chippendale, Australia.