展期｜04/13/2019-05/26/2019
開幕｜04/13/2019（六）4:30 p.m.
地點｜耿畫廊（台北市114內湖區瑞光路548巷15號1樓）
　
耿畫廊將於2019年4月13日推出「神思與物遊─洪少瑛個展」，展覽標題援引自《文心雕龍》中作者劉勰探討藝術創作之篇章，描述人在構思創作時受事物牽引而有情感、思維之交流和共鳴。對藝術家而言，人與天地萬物是息息相關的，「神思與物遊」呼應自身的創作狀態和精神境界，也因此，本次創作題材多圍繞在人文景觀（Landscape）——包含一切可見與不可見的自然元素和隨之發展的人類文明，以及兩者之間的關係。山、海、風、雲等自然元素反覆出現在洪少瑛的作品中，不僅象徵著永恆、力量和超越，也隱喻對文明與自然關係失衡之深刻反思。
　
藝術家運用圖像、符號、顏色區塊作為基本架構，以重組、重疊或並置的手法隱喻不斷變動的一切人事物；部分作品則借用漫畫語言，抽換圖像原有比例，營造出超現實的視覺組合，如畫面中憩息在手上的飛蠅被放大像要展翅的鳥兒，我們所熟悉的山脈卻被縮小為掌中玩物，以詼諧的方式暗諷人與外界事物之不對等關係。自然元素在創作中亦被擬人化，上至色彩堆疊而成的煙雲，成群圍繞著山水和人，下至昇起於黑暗之中的海浪，如遺世而獨立的夜行者，他們或動或靜，彷彿都擁有各自的性格。藝術家也常利用幾何線條或方格座標，打破畫面原有節奏，在設定觀看空間新視角時，反映現實世界潛藏的界限或規範。
　
本次展覽所涵蓋的作品形式多元，除了繪畫更首度展出雕塑作品。其中，每件雕塑作品又分別由多個組件所構成，賦予形式簡潔的人像雕塑和自然靜物多樣化的詮釋空間。藝術家更進一步將相異形式的作品並置為一組，交織出有別於單件作品的新敘事，作品與作品排列組合為一連串謎題，留待觀者聯想、解答。展覽中亦包含累積數年的五十多件手稿，靈感有來自文化歷史記憶，也有觸發自新聞雜誌和周邊的所見所聞，猶如一個豐富的資料庫，原先碎紙片上靈光乍現的素描，在物件的層層堆疊下產生有別於繪畫作品的奇異觀感。
　
荒謬、矛盾和曖昧不明是洪少瑛在創作時秉持的核心價值，這些元素帶動張力，引發作品預料之外的精神力量，也是她認為藝術的精髓和趣味所在。透過圖像重組的藝術語言，她試圖喚起「美觀卻混亂，庸俗卻神秘」的感官體驗，並以詼諧又機智的態度，遊走於這文明變形的萬象世界。
　
❙ 藝術家：洪少瑛
　
洪少瑛，1980年自香港中文大學美術系畢業，1983年赴紐約普拉特藝術學院（Pratt Institute）研讀碩士，從此定居紐約創作和生活。其創作動機多來自於文化歷史記憶和社會時事議題，經年累積的跨文化經驗蘊育出她敏銳且獨到的觀察省思能力。
　
洪少瑛的展覽紀錄遍及紐約、台灣與中國等地，1983年參加香港藝術中心主辦的「藝術雙年展」後，自1986年起陸續紐約的畫廊及美術館展出，包含布朗士美術館（2000年聯展）；1994年迄今，亦多次受邀於台灣的美術館及畫廊舉辦聯展、個展，如2013年於朱銘美術館的「她們－凝視與對話」等。
　
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Date | 04/13/2019-05/26/2019
Reception | 04/13 (Sat.) 04:30 p.m.
Venue | Tina Keng Gallery (1F, No.15, Ln.548, Ruiguang Rd., Neihu Dist., Taipei)
　
Tina Keng Gallery is pleased to present Ying Hung’s latest solo exhibition, Mind and Matter: Derivation, on April 13, 2019. The title of the show is a reference to Liu Xie’s The Literary Mind and the Carving of Dragons, a 5th-century Chinese text in which the author explores chapters of aesthetic creation, describing human interactions and the resonance of emotions and thoughts when artists are drawn to certain issues and occurrences. "Mind and Matter" responds to its own creative state and spiritual realm. The exhibition is centered on the human landscape, which includes all natural elements (both visible and invisible), the development of human civilization, and the relationships which arise between the two. Elements of nature — such as mountains, seas, winds, and clouds — that recur in Hung’s works do not only allude to strength, transcendence, and eternality, but also provide reflections on the imbalances between nature and civilization.
　
Hung uses techniques of repetition, juxtaposition, and re-contextualization to invoke the everchanging nature of the world. She employs the comic pictorial language of manipulating proportions in order to create a surreal visual experience. For instance, she depicts a cluster of mountains — traditionally a symbol of strength, permanence, and grandeur — diminished to fit in the palm of a human hand, thus satirizing the unequal relationship between humans and the natural world. A similar play on proportion can be seen in another work, in which the artist has illustrated a gigantic fly perched atop a tightly clenched fist, posed as if it were a bird preparing to take flight. Here, Hung further evokes the surreal as she compels the viewer to imagine a world where a creature that is regarded as a pest is instead nurtured as a pet. Additionally, she often anthropomorphizes inanimate entities in her paintings; a wave and its shadow exude a corporeal energy as they rise up out of the darkness. In several of her paintings, large masses of clouds embody an almost human presence as they interact with the landscapes and other people. While the artist typically plays with the human/non-human binary in a nuanced manner, she occasionally uses the gridlines of a mesh screen to create visible boundaries within the pictorial space and to reflect upon hidden boundaries in the real world.
　
The works on view in this exhibition are diverse in form. For the first time, Hung’s sculptures will be exhibited alongside her paintings and drawings. Each sculpture is composed of multiple components, and what might otherwise be seen as a simple portrait or still life is transformed into a contemplative object that is rich with interpretive possibilities. Mind and Matter also contains over 50 sketches that the artist has accumulated over several years, forming a rich database of original drawings and inspirational objects. She finds inspiration in cultural histories and memories, as well as from the current news topics discussed in the media and her community. By integrating several disparate mediums into one exhibition, Hung locates her works within a new narrative distinct from the singular artwork. In this sense, her works can be viewed as a series of puzzles which are presented for the viewer to contemplate and from which the viewer may derive their own meanings and associations.
　
The artist’s fascination with ambiguity, absurdity, and contradiction forms the essence of her artistic philosophy. These elements drive tension and trigger the extraordinary spiritual power of her work. Through her use of humor and satire as strategies to confront sociopolitical issues, the artist seeks to evoke a complex sensory experience which she describes as “threatening but witty, beautiful but chaotic, vulgar but mysterious.”
　
❙ Artist: Ying Hung
　
Ying Hung graduated from the Fine Arts Department of the Chinese University of Hong Kong in 1980. The artist received her MFA from the Pratt Institute in 1987 and has since continued living and working in New York. The cross-cultural experiences Hung has accumulated throughout her life have played a crucial role in forming her unique perspectives and nurturing her artistic career. Her creative process is a continuous exploration of culture and identity, and her art approaches sociocultural issues of past and present with an intersectional attunement that provides the viewer with relatable entries into the greater political discourse. Her fragmentary and ambiguous expressions grant the viewer interpretive freedom.
　
She has exhibited in New York, Taiwan, and China. She participated in the Art Biennale hosted by the Hong Kong Arts Centre in 1983, and her works have been shown in major museums in New York, including MoMA PS1 (1990) and the Bronx Museum of the Arts (2000). Since 1994, Hung has also held both group and solo exhibitions in major museums and galleries in Taipei, such as Turning Gazes: Woman and Arts in Dialogue (2013) at the Juming Museum and Perpetual Journey (2010) at Tina Keng Gallery.