【餅乾盒展覽】 I Send You This Short Note.
日期：2016-02-06 ~ 2016-03-13
關於展覽 About Exhibition｜黃華真
Before starting the journey in 2013, I got a package sent by P from Paris. It was a normal sized envelope, slightly overfull, and contained 7 different sizes mini canvas: they’re so tiny that even smaller than her note—seemed like cookies, also could be hold in pocket. I brought them abroad and used for the first (tiny) painting series in Helsinki. I found a gorgeous cookie box for them, imaging about more exhibitions while keeping making new ones. I sent a picture of them to P; we promised to have an exhibition for those tiny babies someday together. The mini paintings are expected to be interesting and warm, yet sometimes made by the inspiration of loneliness. When talking to someone, when getting connection with people, I recalled the beginning spirit of why we try to exhibit from the progress of the exhibition making. Each tiny object carries fragment of the time and space to be a token to remark something. Its lightness allows our insistence of using oil material in travel, also brings a nice balance for the paintings-- thoughtful rather than overwhelmed, playful rather than rude—as a ready exhibition or a gift for random friends in traveling, it would be both beautiful to think of. Ultimately, it is a kind of romance to hold an exhibition in a pocket, isn’t it?
Artist Statement｜Hua-Chen Huang
I’ve brought back the blessings that I received along my journeys, and turned them into blessings for other people. This is the reason for traveling. We are always going through the special experience of “what it’s like to be human”. Each person is unique, but we also shared the same compositions, and these relationships are what have come together to form “us” and the era we are in.
In order to meet people from all the different generations dwelling in this world, I have time and time again ever so lightly filtered through those moments that are difficult to express with words. Each indistinct feature and figures viewed from behind, gestures that have suddenly come to a pause, and impacts incited by nature have all drawn us closer to our other selves from another time. Therefore, all those versions of “us” and “here” have come to meet at this point, and the encounters have become an irreplaceable experience. The shared compositions within the experience all have delicate bone structures constructed with genuineness and profoundness, and they exude a gentle glow. They happen to be the key that can push forward the sense of goodness that has always been indispensible since the history of time.
Therefore, I value my life and appreciate each and every day. I try to get to know more about myself and this world and to talk to more people to collect and pass on more stories and exchange different ideas. Regardless of where we are, we are dedicated, as we stay loyal to the little things and stand by the truth. Eventually they will say that this person has been blessed with the heavenly Father’s grace in life.
Artist Statement｜Pin-Ling Huang
The impulse of my creation often came from the eager to express the abstract perception and imagery which cannot be described by words. I felt like that I was trapped between the reality and the imagination. And this predicament pushed me to paint these scenes down, to make these two dimensions (reality/imagination) linked. My creations rely more on intuition and sensibility. To me, painting is a media which can express the idea most directly. Through the hand and the painting brush export the sensibility onto the canvas, to depict the feelings and the ideas straightly. My works represent the perception in my head which cannot be described by the words. To me, these perceptions are existed in the form of landscape or scenery. The meanings which carried in a place, or a space: Except the describilty, recognizibility properties of the space, the feelings when exposure in the space; There were the memories of past. These memories could be wakened when revisit the place or the similar scene. And through this we could across the different time and spaces. When I was all along, shot down all the outer connections and entered the deeper dimension, I called it: mental structure, a space to settled subconscious. The imagery of this space includes two directions: It’s inside me or I am inside of it. In my works, I abandoned the clues except the scene itself, abandoned the symbols and the referents (characters, buildings, objects…etc) which were too much. I stood along the scene itself, and the images often delivered a sense of loneliness which showed that when speaking of thinking, we are all along. When I review some scenery when painting, visual images was not the all I reviewed. Actually, to me, the most influenced things are the feelings, atmosphere, humidity, temperature in that moment. I see scenery as a scene which can bearing the imaginations, and tried to place myself in.
采泥藝術：【TAIPEI DANGDAI台北當代國際藝術博覽會 2020】柔韌之力：旅外華人女性抽象藝術家—池農深、謝貽娟、王淑鈴
采泥藝術：【1989 最好的青春 】池農深回顧三十年展
采泥藝術：【呼吸的路徑—張永達】The Trail of Breathing—CHANG Yung-Ta
青雲畫廊：【古典當代性的虛實創作】AUNT STELLA詩特莉 X 青雲畫廊－詹喻帆個展
日期：2019-08-17 ~ 2019-11-03｜台灣，台北市
【《一撇明亮的早上》6:15A.M. In a Bright Daylight｜黃品玲個展 】
日期：2019-02-16 ~ 2019-03-24｜台灣，高雄市
【《Glorious Microwave 榮耀微波》｜黃華真 裴靈聯展】
日期：2018-12-22 ~ 2019-02-02｜台灣，高雄市