出生於1990年，畢業於彰化師範大學美術研究所。
顏安的創作常來自於生活經驗---由細微、纖細的私人感觸堆疊於潛意識中，顏安試著將這些難以言喻的碎片集結於在腦海中，並幻化為她的創作。
顏安選用木媒材裝盛這些記憶，在不斷地切割、細雕的過程中，鮮明了這些大家習以為常看似微不足道的生活軌跡，在蜿蜒連綿的馳騁間刷上記憶淡雅的色暈。
顏安近期常用樟木作為她的作品的首選，樟木質地堅韌卻又柔軟地不至於難以雕刻，宛若人們最深處的深層意識，不經一番的挖掘不會體認到這些之所以珍貴的緣由，但一旦再次浮現於眼簾，頃刻間滿溢的情思也耐人尋味。顏安的作品多為孩童輪廓的木雕，她認為: 這些牽連交織而成的回憶在她腦海中化為一個個孩子的形象，也代表了未出世、未經過社會推移的自我，一種回歸原初的平靜與純真，也帶領著觀眾面對最真實的自身存在。
從意識的反身性出發，跳脫私人感官經驗的框架並走入公眾，在顏安對於記憶與存在的詮釋中，觀者皆能沉浸、細聽潛藏在她作品中的溫暖細語。

Yan Ann
Born in 1990, Yan Ann was graduated from the Fine Arts Departement of Changhua Normal University.
Yan Ann’s sculptures often come from life experiences---stacked with subtle and delicate personal touches in the subconscious. Yan Ann tries to gather these indescribable fragments in her mind and turn them into her art.
Yan Ann chooses wood for her priority media, and within it to hold her memories. In the process of cutting and carving finely, she has manifested these seemingly insignificant life trajectories that everyone is accustomed to, and brushed the memory of the elegant colors.
Yan Ann has used camphor wood for her works recently. Its texture is tough but soft enough to carve. It is similar to people’s deepest consciousness. Without a excavation, they won’t realize the reason why these memories are precious; However, once it reappeared in eyes, the emotions overflowing are also intriguing. Yan Ann＆#039;s works are mostly wooden sculptures in children outlines. She believes that these intertwined memories are transformed into children in her mind, and they also represent the unborn and untransformed self, a kind of return to the original. Calmness and innocence also lead us to face the real self-existence.
Conceiving from the reflexivity of consciousness, and breaking the framework of private sensory experience then entering to the public. In Yan Ann＆#039;s interpretation of memory and existence, viewers can immerse and listen to her warm whispers hidden in her works.

*為防疫需求，觀展過程需全程配戴口罩