非池中藝術網

安卓藝術

【「岩石、月光與山花小徑」林銓居個展 】

  • 展期

    日期:2024-01-20 ~ 2024-03-02

  • 地點

    114台北市內湖區文湖街20號1F

  • 參展藝術家

    林銓居

  • 安卓藝術很開心於 2024 年的伊始推出藝術家林銓居的全新個展「岩石、月光與山花小徑」,這是繼2020年「對照集」後林銓居於畫廊舉行的第三檔個展。展出的近百件風景寫生,呈現出藝術家身處自然、欽羨自然並取於自然的創作過程,我們在閱讀藝術家暢快淋漓的繪畫性筆觸與傳統筆墨交會的同時,也走入他以自身作為天地間藝術生產載體之探索與蛻變。展覽將於1 月 20 日到3月2日之間舉行,我們誠摯邀請您的蒞臨。

    步入耳順之年的林銓居,在過往三十多年裡,將他的藝術獻給自然界豐富美景中的質樸與形式的昇華。他的寫生旅程是與土地以及自己的深度對話,最終在筆墨技法的淬煉,與無異於這片土地上農人、漁夫、伐木者般的生產勞動中達到了獨特的融合與平衡。無論是不起眼的港邊沙丘,還是令人心潮澎湃的龍洞灣峭壁,或和平島公園裡在強風中顫抖的嫩黃小花,林銓居都以無比的激情來欣賞和凝視它們,進而畫下它們;他相信它們在他下筆時所提供的意外色彩、驚喜的構圖、豐富的細節、與源源不斷的靈感。而林銓居洗筆水盂中始終清澈的水,尤其透露出他技法的本質—實用彈性、豐富調度—他極致發揮了傳統水墨裡用筆的深淺濃淡色調,以筆結合書法線條的濃重與變化,幾乎沒有剩餘的將墨在紙上用罄,這看似「惜墨如金」的古訓,卻是他細膩控制的筆下功夫與藝術哲學的見證。

    作為一位被大自然主宰並鼓舞的藝術家,林銓居的風景畫也與不同時代的藝術前輩共振並進,從宋代山水畫大師、到余承堯、郭柏川,乃至當代藝術家大衛.霍克尼(David Hockney)等人。霍克尼曾於1981年造訪中國,並受到中式傳統卷軸的觀看方式與反透視特點的深刻影響,於後體現在他的攝影與寫生作品中。中國傳統繪畫在滋養霍克尼的創作時,無疑地也同時哺育了林銓居,更加地豐富他在換位思考時的語境,甚至更進一步鼓舞他的色彩表達。《崖下的小花之一》中,彩墨在紙上滲透與混合,仿若即興舞出的抽象背景,與豐富線條交織的轉筆一同勾勒出植物的莖脈輪廓與其強健的生命力。《紫色山影》使用更多自由原始的筆墨線條,粗獷在山脊起伏間與溫潤並行。《和平島公園之二》裡鬆緊收放與色彩層次間的轉換,則展現自然的溫柔與猛烈卻始終深情的本質。如同藝術家在自述中寫道:「如果說許多藝術家將大自然當作一個有距離的對象式的主題,那麼他必須穿越過個體生命、日常生活、社會架構、時代氛圍和文化語境,最後才能到達巨大的自然主題;我不是這樣的人,或者說,我是一個將上述過程、上述關係揉合成一體的人,大自然實際就是我采風的主題、我生活的方式、我仰慕的文化和我信賴的秩序,最後那個高高在上的大自然成為了我的精神返照,我們互為表裡,如此而已。」


    關於藝術家
    1963年出生於新北萬里的農村。中國文化大學美術系學士,北京中國藝術研究院美術研究所藝術史碩士結業文憑,美國Goddard College跨領域藝術碩士(MFA- Interdisciplinary Arts)。2000年獲邀芝加哥藝術學院訪問藝術家。曾任職《典藏雜誌》執行編輯、東海大學美術系專任助理教授,2008年回到故鄉萬里居住後,投入大量時間「師法自然」,在大山大海的開放環境中進行創作。

    林銓居以文人與農民的兩種詮釋身份,在當代藝術領域中獨樹一幟,作品的形式包括繪畫、地景、行為、動畫與寫作等跨領域藝術,多年來以各種面向的形式探討生命存在的流動性本質與普世價值;他的作品內容涉及自身的成長背景,融合土地關係、自然題材、農民經驗、文人文化與宗教覺知,創作媒材不拘一格,繪畫方面他主張筆墨精神與現實意義互為表裡,著重文藝思想對繪畫內涵的蒙養。代表作品「晴耕雨讀」曾被《藝術家雜誌40年年鑑》選為 2007年年度大展。

    展覽日期|2024年1月20日–2024年3月2日(春節公休 2月8-14日)
    開幕座談|2024年1月20日(六)2:30-4:00 pm
    林銓居 vs 沈裕昌
    開幕酒會|2024 年 1 月 20 日(六)4:00-6:00 pm



    Mind Set Art Center is thrilled to launch artist LIN Chuan-Chu's brand new solo exhibition Rock, Moonlight and Mountain Flower Path at the beginning of 2024. This is the third solo exhibition held at the gallery by Lin Chuan-Chu following the 2020’s “Interpretation”. The exhibition's nearly one hundred plein air landscape paintings present the artist's creative process of being in nature, admiring nature, and drawing from nature. As we read the artist's exuberant and fluid painting strokes intersecting with traditional ink, we also step into his exploration and transformation as a conduit of artistic production on the planet earth. The exhibition will be held from January 20 to March 2, and will kick off with a talk between Lin Chuan-Chu and Shen Yu-Chang at 2:30 PM on January 20 (Saturday), followed by an opening reception at 4 PM. Concurrently, the satellite exhibition space Project Room will present “Chemistry to Burn Bittersweet Romance” by the Romanian artist Oana Farcas, and for the first time, One-piece Room will unveil the works of Andreea Medar. We cordially invite your presence.


    Entering his golden years, LIN Chuan-Chu has dedicated over three decades of his artistry to the sublimation of simplicity and form found within nature's rich beauty. His plein air journeys are deep dialogues with the land and himself, culminating in a unique fusion and balance achieved through the refinement of brushwork techniques, akin to the productive labor of farmers, fishermen, and lumberjacks of this land. Whether it's the inconspicuous dunes by the harbor, the exhilarating cliffs of Longdong Bay, or the tender yellow flowers trembling in the strong winds at Heping Island Geopark, LIN Chuan-Chu admires and gazes at them with unmatched passion, capturing them in his paintings; he believes in the unexpected colors they provide at the stroke of his brush, the surprising compositions, rich details, and the endless inspiration. The perennial clarity of the water in LIN Chuan-Chu's brush-rinsing bowl particularly reveals the essence of his technique—practical flexibility, rich modulation—he maximizes the traditional ink wash's depth and tonal variations, with strokes that combine the intensity and variation of calligraphic lines, using up nearly all the ink on the paper. What seems to be the ancient maxim of 'treasuring ink like gold' is actually a testament to his delicate control and the philosophical witness of his artistry.

    As an artist dominated and inspired by nature, LIN Chuan-Chu's landscape paintings also resonate and progress with the artistic predecessors of different eras, from the Song Dynasty landscape painting masters to YU Chengyao, GUO Bochuan, and even contemporary artists like David Hockney. Hockney, who visited China in 1981, was profoundly influenced by the viewing method of traditional Chinese scrolls and their characteristic of reverse perspective, which was later reflected in his photography and plein air works. The nourishment of Hockney's creativity by Chinese traditional painting has undoubtedly also nurtured Lin Chuan-Chu, further enriching the context of his perspective-taking and further inspiring his color expression. In Small Flower Under the Cliff I, the color ink permeates and blends on the paper like an abstract background improvised in dance, with richly interwoven lines and brushstrokes outlining the contours of the plant's stems and veins and their robust vitality. Purple Mountains employs more freely primitive brush and ink lines, rough and vigorous amid the undulating mountain ridges, parallel to its gentle warmth. Heping Island Geo Park II, with its transitions between tight and loose strokes and layers of color, exhibits the gentle and fierce yet always affectionate essence of nature. As the artist wrote in his own words: "If many artists see nature as a distant, objectified subject, then one must traverse individual life, daily living, social structure, the atmosphere of the era, and cultural context before finally reaching the grand theme of nature; I am not such a person, or rather, I am someone who blends the aforementioned process and relationships into one, where nature is actually the theme of my field studies, my way of life, my admired culture, and my trusted order. In the end, that exalted nature becomes the reflection of my spirit, we are each other's inside and out, just like that.”

    About the artist
    LIN Chuan-Chu was born in Wanli, New Taipei in 1963. He received his B.F.A. in Chinese painting from Chinese Cultural University in Taipei, and attended M. A. program in Art History at Fine Arts Academy of China, Beijing. In 2000, he received his M.F.A. in Interdisciplinary Arts from the Goddard College in Vermont, U.S.A. He taught at Tunghai University as an Assistant Professor. In 2008, he moved back to his hometown and started to immerse himself in nature and creation.

    Switching identities between a literato and a farmer, LIN Chuan-Chu is regarded as the distinct artist in Taiwan contemporary art scene. Through the various media from painting, land art projects, performance, animation to writing, he found a complex yet complete interdisciplinary art inwardness to inquire into the nature of the flow within existence.

    Composed of nature, farming, literati culture as well as awareness of Buddhism, his creations constructed “A Man’s History” which is a complicated, authentic and separated being, attempting to unearth the shared themes lying in his family and the whole society at the time. His signature artwork “Landscape Journal” was selected for the top exhibition in 2007 by the Yearbook of Artist Magazine 40th anniversary.

    LIN Chuan-Chu: Rock, Moonlight and Mountain Flower Path
    Date|20 January – 2 March, 2024
    Gallery closed for Chinese New Year from 8 to 14 Feb.
    Venue|Mind Set Art Center
    Opening talk |2:30-4:00 pm, 20 January, 2024
    LIN Chuan-Chu vs SHEN Yu-Chang
    Opening Reception | 4:00-6:00 pm, 20 January, 2024

安卓藝術林銓居展覽岩石、月光與山花小徑

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