馳騁藝術荒野的先鋒者
Pioneers in the Territory of Ton Fon Modern Art


以李仲生為精神導師的藝術家們，於1956年成立「東方畫會」，視現代抽象為目標，冀望在作品中傳達前衛的理念，並表達個人多元而大膽的風貌。

大象藝術以「學術先行、市場在後」的理念為畫廊定位，以獨樹一格的畫廊品牌形象立基於台灣推廣當代藝術，並以抽象藝術為畫廊的推廣主軸，自2007年創立以來，多次舉辦東方畫會成員的個展與聯展，2022台北當代藝術博覽會展位A05，以《馳騁藝術荒野的先鋒者》為展覽主題，策劃展出八位藝術家，分別為朱為白(1929-2018)、霍剛(1932- )、蕭勤(1935- )、蕭明賢(1936- )、夏陽(1932- )、李錫奇(1938-2019)、歐陽文苑(1928-2007)、吳昊(1932-2019)，他們以自由的創作態度融合東方底蘊，開創新的抽象表現形式，在台灣美術史上具有重要地位。

此次推出從1957年至2009年期間作品，藝術家在孤寂驅使的環境中，讓同個平面軸點展現出各自的觀點，在不同形式、不同介面的載體下，詮釋桀傲不遜而又理性的脈絡紋理，將其生命精神轉為獨特的符號形體，暢響每一次的創作歷程。



"Ton Fon Art Group" was founded in 1956 by a group of artists who had seen of LI Chuh-sheng as their mentor. They advocated modern abstractionism as their ultimate goal, trying to advance avant-garde and to express their personal diversity in creation.

Da Xiang Art Space, a gallery based in Taiwan that promote contemporary art with a unique brand image of concept "Academic first, Market Behind", has taking abstract art as the main promotion axis and has held several solo and group exhibitions for the members of “Ton Fon Art Group” since establishment in 2007.

The curation of this time exhibits eight artists including founding members and members of "Ton Fon Art Group":
CHU Wei-Bor (1929-2018), HO Kan(1932- ), HSIAO Chin ( 1935- ), HSIAO Ming-Hsien (1936- ), HSIA Yan(1932- ), LEE Shi-Chi(1938-2019), OYAN Wen-Yuen(1928-2007) and WU Hao, they combined the oriental heritage with a free creative attitude and created a new abstract form of expression, which has an important position in the history of Taiwanese art.

This time, will present works from year of 1957 to 2009, which the artists turn its life spirit into a unique symbolic form while facing the environment of loneliness. Each has their preferred media to describe their emotional states. they defiantly and rationally choose unique media to manifest their own point of view with amazing courage.



歐陽文苑的作品隱藏著某種無垠神秘，其思想與情感始終體現東方價值，在他的油畫作品中，流動而難以言說的色彩、色塊，像是在深淵中馳騁，而墨態的筆觸，流逝一些之後再重生一點，隱含出原相所給予的真實力量，並非技巧所能撼動的感受，整體深邃而蒼淒的內在氣息，在堅毅兼具溫柔的建構下，湧出不畏的生命。

There is a certain boundless mystery within OYAN Wen-Yuen’s works. His thoughts and emotions have consistently reflected Asian values. In his oil paintings, the flowing and ineffable colors and color blocks are like soar in the abyss. The genuine power imparted by authentic imagery implied in a reading of his brush and ink paintings, the courage for incremental rebirth with the gradual passage of time are not limited to the senses conjured by technique, under his steadfast yet tender brushstrokes, an unwavering life force surges forth from the depths of a bleak inner aura.


朱為白內省與唯心的藝術創作，超越了線、布、棉花棒的物質形體，將其媒材轉化成另種表現形式，看似簡單的作品，經由排序疊合構成的增與減，再沒有多餘顏色的彰顯中，沈靜如白，黑的穩重，沈默而內斂，承載更多歲月感悟後的生命價值。

The introspective and idealistic artistic creations of CHU Wei‐Bor transcend the physical forms of thread, cloth, and cotton swabs, to transform his media into alternative forms of expression. Variations constructed through an ordered layering, where the taciturn and restrained quietude of white and solemnity of black are highlighted without an overabundance of color. The ostensible simplicity of his work is a vehicle for the realization of the value of life that come with the passage of time.


霍剛從七○年代至今的作品，畫中色彩愈來愈濃烈鮮明，構圖也趨向明快簡潔，常見對稱性與突發性現身的點、短直線交替展現，有時線與塊面凝住對峙，閃爍的小點線一觸即發，激擾平靜寂浩瀚的畫面，卻又可發現這些靈活的小符號是拆卸了書法線條的重組樂章。

HO Kan's works from the 1970s to today, his colors have become increasingly dense and bright, his compositions increasinglylissome and minimal, frequently expressed in symmetrical, spontaneously manifested pointsand overlapping short, straight line segments. Sometimes lines and fields freeze in mutualopposition. Scintillating points and lines suddenly materialize, disrupting a tranquil, expansiveimage. Yet at other times, one discovers these supple little symbols serving as a reassembled musical movement of disassembled calligraphic lines.


蕭勤的創作中，表現出潛意識裡恣意與恆定，看似柔和的揮灑姿態，也正是遼闊蒼穹賦予的力量，雖受西方文化的啟發，但依舊從東方的道家思想與禪宗哲學，尋求本我內在的精神，作品中，書寫流動的大勢線條湧現出"曲則全"的勁道，圓點、長條造型的律動，給予空間的平衡，他總是用靜的腳步，讓觀者感受浩浩蕩蕩的重量。

In HSIAO Chin's creation, he shows the willfulness and permanence of subconscious, his seemingly soft swaying gesture is also the power endowed by the vast sky. Although inspired by Western culture, he still seeks the essence from Eastern Taoism and Zen philosophy and searching for inner spirit of the self. In his works, the general trend of writing and flowing lines emerges the strength of "partial yet complete", the rhythm of dots and strips giving the balance of space, he always uses quiet steps to let the viewer feel mighty weight.


蕭明賢的作品以抽象水墨表現夢幻詩情，線形與團塊墨韻交集成抽象空間，他用線條在宣紙上或在畫布上，鉤勒出自然形象以外的另類造形，粗線條、細線條在不同的媒材上產生律動變化的視覺符號，令人印象相當深刻。

HSIAO Ming-Hsien uses abstract ink painting to express fantastic scenes and poetic sentiments, in which linear shapes and masses interlaced with the cadenced flow of ink to form abstract spaces. On either xuan paper or canvas, he painted the outlines of imagined forms not found in nature. Lines, alternately coarse and fine, formed visual symbols, engendering rhythmic changes in combination with different materials, to memorable effect.


夏陽的繪畫題材內容，取自於民間宗教、神話、寓言故事及傳奇人物，他以顫動的線構成人形在空間穿梭，畫面中的毛毛人以寓言象徵表現超現實的意境，既擺脫物像原本的含意，同時亦象徵人處於都市叢林之不安與疏離感，毛毛筆觸轉變成似是而非的物象，鮮明的動勢牽引出敏感機智的圖像語言。

HSIA Yan draws the subject matter of his paintings from popular religion, mythology, fables and legendaryfigures. He employs vibrating lines to compose human figures moving about within spaces. The "fuzzy people" in his pictures serve as metaphors or symbols, expressing a realm of surreal imagery, and by breaking away from the original state of physical images, he also symbolically represents the unsettled alienation of people living in the urban jungle. His blurry brushstrokes are transformed into illusory forms, vivid motion producing an acute, agile language of visual images.


李錫奇的創作風格多變，1990年開始發展漆畫作品，從「後本位」、「本位‧新發」至「風起‧水湧」系列，於漆黑厚重的肌理中，並置文化與傳統元素，在方形、圓形、印記、書法拆解的重組下，詮釋「傳統中找新意」的內在精神，另「墨語」作品，則藉由排筆而成的皴法，帶來獨有的墨態色相，靈透而詩意。

The creative style of LEE Shi-Chi is changeable, he began to develop lacquer paintings in 1990, from the series of "Post- Orientation ", "Orientation‧New Discovery" to "Rising Wind‧Surging Water ", under the reorganization of squares, circles, imprints and calligraphy dismantling, it interprets the inner spirit of "Finding Innovation within Tradition", juxtaposing cultural and traditional elements in the dark and thick texture. Other "Inktalk" works show unique ink tones through the arrangement of brushstrokes, which are translucent and poetic.


吳昊早期的作品介於超現實與抽象之間，具有東方古樸之神秘意境。吳昊擷取古文物與民間廟宇彩繪的色彩，例如：紅綠相映、綠色與桃紅色互襯、寶藍妝點深黃，這些色彩顯得十分迷人，然而畫面上的構圖總是以“飽滿”物象佔據整個畫面，在視覺上形成強烈壓迫感之張力。他藉由奇觀式的造形與構圖，畫出了自己的感覺，從而建立獨特的藝術語彙。

WU Hao's early works were somewhere in between surreal and abstract, expressing simple yet mysterious images with an Eastern sensibility. Wu appropriated colors from antique artifacts and the paintings in neighborhood temples – for example, complementary red and green, contrasting green and magenta, or sapphire embellishing a deep yellow. These colors were extremely enchanting, yet his compositions were packed full of objects occupying the entirety of his pictures, forming a powerfully claustrophobic visual tension. Through spectacular forms and compositions, he painted his own feelings, thus creating a unique artistic vocabulary.



【2022 台北當代藝術博覽會(Taipei Dangdai)】
大象藝術 | 展位A05

展 期：2022 年 5 月 20 至 22 日11:00 AM – 6:30 PM
地 點：台北世貿中心一館 (台北市信義路五段五號)