安卓藝術將於2019年10月19日至11月30日推出代理藝術家謝鴻均個展｢擦抹情境｣，睽違四年，暨2015年的｢來龍去脈｣個展後，藝術家於安卓藝術第三度發表的大型個展。開幕酒會將於10月19日(星期六)下午3:00舉辦，我們誠摯邀請您的蒞臨。

謝鴻均的創作由切身的生命經驗開展，延伸環扣個人思考辯證，深入挖掘匍匐於當代歷程的生命課題。她的作品涵蓋素描與繪畫的双元特性，一方面展現女性的細膩洗練與堅韌寬宏，另一方面將自身多重角色所歷經的掙扎、矛盾與思辯，昇華轉譯為圖騰符碼交織有機動態的奏鳴曲。

「擦抹情境」破題道出藝術家一直以來在顏料與碳筆的擦抹過程中，試圖為繪畫留下素描性，為素描留下繪畫性。本展的情境敘述交疊遛狗途中所見雜草滋長到枯黃之生命循環、曾為校園放養的家犬托托迷戀腐食所刨挖出的鳥屍遺骨與腐肉、30年前藝術家在紐約二手書攤購入成為畫室「視覺聖經」的醫用人體解剖參考書。作品《複製動態》(Duplicated Movement)中，似蹲似臥的軀體、腿足或臂膀，雜存於草葉藤蔓之中，是謝鴻均的文明認知與鄉野生命的一種相處模態。筆觸與線條的尖銳及姿意，解析著混沌也重建了紀律，過程是修行之路，她全力擦與抹、小心推與搓，然即便用心經營似乎仍難覓必然的方向或終點。切換至藝術家工作室的常態情境，她的身心仿若一塊使用頗久抹布，無論如何需要反覆搓揉清洗的抹布，擦抹著內在思維， 並常態性地擰出固態的象徵與液態的流變意涵，她在圖像平台留住它們的階段性符號。層層覆蓋的浮華疊影持續延伸，回應著遛狗之途的種種。她往返於文明符碼與野生情境，在畫布/紙上紀錄為自己量身訂製的世界。如藝術家自述之結語：「擦抹於創作與闡釋的過程，是心眼與肉眼共存的太極圖。 」

【關於藝術家】
1961 年出生於台灣的謝鴻均，1984年自台灣師範大學美術學系畢業後，於1989年取得美國紐約普瑞特藝術學院藝術創作碩士，1995年獲得紐約大學教育學院藝術創作博士，現職國立清華大學藝術與設計系專任教授。謝鴻均在身兼女兒、妻子、母親、學者和藝術家的多重角色裡，一步又一步地匍匐前進並從中汲取養份，她的作品以層疊交融的圖像與豐富的互文指涉展現生命裡的巨大能量，同時提出對於身體與性別議題深刻的觀看視角。謝鴻均經常受邀於國立臺灣美術館、臺北市立美術館、高雄市立美術館、臺北當代藝術館的展出，作品獲得國立臺灣美術館、臺北市立美術館、高雄市立美術館、國立歷史博物館、澳洲白兔美術館等機構所典藏，為當今台灣藝壇中生代女性創作者中的代表人物。

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Mind Set Art Center is pleased to present the solo exhibition of Juin Shieh, Appearances under Erasure, in Taipei from 19 October to 30 November 2019. It is her third major solo exhibition with Mind Set Art Center after The Context of My Humble Life in Paintings and Drawings in 2015. You are cordially invited to attend the opening reception on 19 October, Saturday, at 3 pm. The artist will be present.

Shieh has unfolded the art with her very own life experience, embedded with the contemplation and dialectics on individuals, which deeply weaves her practice with intellectual enquiries and social structure of the contemporary era. Endowed with dual characteristics of drawing and painting, also feminine attentiveness, her art simultaneously is tenacious and magnanimous.
Besides, the exquisite rendering transforms the bitterness, struggle, pursuit as well as sweetness of her many roles in life into images like a sonata imbued with dynamic symbols and organic patterns.

Appearances under Erasure gives the theme that the artist’s long attempt to retain the drawing within painting and the other way around during rubbing and erasing in between the charcoal and oils. The exhibition piles appearances of narratives of grass’s life cycle she observes while walking dog, the bird remains and rotten flesh dig out by TuoTuo, her current family dog but used to be free-ranging at campus, and the studio “Visual Bible”, a reference book entitled Color Atlas of Human Anatomy the artist bought from a New York book stand 30 years ago. In Duplicate Movement, there is a seemingly squatting or lying body, legs and feet or shoulders in overgrown weeds and vines. It is a stimulation of how Shieh’s cognition of civilization getting along with her country life. The harshness and freedom of the strokes and lines illustrate chaos meanwhile reconstruct disciplines. The process is the path of meditation. Despite that she exerts her strength to erase and wipe, deliberately to rub and polish, the ultimate direction and inevitable destination have not yet been discovered. Switching to an ordinary appearance of the artist’s studio, her mind and body as if an enduring rag that demands repeatedly cleanings with rubs, it wipes the inner thoughts, and consistently squeezes out significations in solid state and liquid connotations floating along. She retains their symbols in stages on her imagery platform. Layers of resplendence continue to expand, in resonant with the scenes of walking dog and more. She travels back and forth between symbols of civilization and wild appearance, tailor making a world for herself on the paper or canvas. As the artist concludes in the statement- “Erasure to creation and the process of interpretation is the Tai Chi Diagram of the coexistence of the mind and the physical eyes.“

【About the artist】
Juin Shieh’s work often features exquisite motives blending with rich intertextuality, as well as untied reason and spontaneous brushworks as evidenced in Abstract Expressionism. Shieh brings further concrete images yet not fix in definition, similar to the revival of concrete but defacing figuration in works by Francis Bacon. As the latter concerned more on human existential solitude, Shieh seems not to abandon the belief of genuine human relations, despite the burdens of complex secular relationships could often be heavy. Born 1961 in Taiwan, Juin Shieh obtained her B.F.A. from National Taiwan Normal University in 1984, and later received the M.F.A. degree from Pratt Institute, New York in 1989, followed by a Doctor of Arts from New York University in 1995. She currently lives in Hsinchu and is also a Professor at the Department of Arts and Design, National Tsing Hua University. Her works are in the collections of White Rabbit Gallery (Sydney), National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, National Museum of History (Taipei).