王姿婷 Wang Tzu-Ting

王姿婷　　＜雜訊＞　　116.5×91.0cm

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王姿婷　<感性思維>　 233×182cm

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王姿婷　＜祕密＞　72×91cm

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王姿婷　＜Thinking＞　116.5×91cm

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王姿婷　 　70×70cm


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王姿婷　<大人的溫柔> 　116.5×72.5 cm



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　　以直覺性的繪畫方式引導作為我作畫的開始，不面對任何預設、任何實體的狀態下，作為我影像後盾的是一個龐雜浮動的資料庫，裡面所有的資料包含了主動和被迫性的接收，它們的來源斷裂的無法去追朔，所有的影像、文字、訊息最終是同一件事。心理和身理上的直覺是我繪畫的初步，之後外在的影像和資訊才開始介入，成為作品樣貌的最大影響因素。這些浮動、破碎的特質同時也是我擷取和生活的方式，他們組構出一個我的現況和我的樣貌。所有畫中的臉，是我的臉也是所有人的臉。
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　　裡面的線條具有明確的路徑，交錯的狀態下卻呈現出一種失焦、流動的效果，這之中有種不穩定的性格在我看來是一種普遍存在的性格，因為普遍的虛浮。事實上我想這是我們新的生活方式，或是一種假藉虛無的忙碌來逃避真實的空虛的問題。藉由不停的竄動填補時間的空位，就像是液態的分子在一段時間撞擊下呈現出固態的可能，我們存在的樣貌也會以這種模式顯現出來。
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　　其中富含的陰鬱、漠然、不健康、浮動、破碎的性質是太多人的共相，是新生的模式，是我們的生態。
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　Direct instinctive painting manner guides me creating art work at the first beginning. Without any presumptions and existence conditions, the supporter of my creating image are the huge complicated floating archives which include active and passive receptions and the source has be broken can not be tracing.

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　All of these images, words and massages finally becoming the same thing. The beginning of my painting comes from my mental and physical instincts, and then, the image and information start to involve and become the most influence element to my work. These floating and broken characters are also the way of my living. They organize an appearance and situation of me. All of these faces in the painting are my faces and others too.

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　In my work, the lines have clear route. These show an effect of out of focus and floating. It has instable characters, but in my opinion, because of common impracticality, it is also a character which exists everywhere. In fact, I think this is our new way of living or a way to escape the empty problems of reality by pretending to be busy. Something could fill up the spare space of time by continually movements, like tremble. It can be imaged to be that the molecules of liquid convert into solid since a period of ceaselessly impact. All the melancholy、apathetically、ill、floating、broken factors contained in my works contribute to a pattern of new life, which is our living condition.

Choi Nari

Choi Nari 　”My favorite horse”　72.7x 91cm 　2008

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Choi Nari　”Uneasy love ”　60.6 x 72.7cm　2008

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Choi Nari　”Exit to happiness”　72.7 x 91cm　2008

Choi Nari　”Slide of greed”　145.5 x 112cm　2008

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My work of art consists of concise colors and frames which create interactionsbetween either the men and women or from person to person. These interaction sremind one of mayonnaise and tomato ketchup one representing male and one female, and these continue the story of the picture.

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The picturesque motivation of thework is combined with the food experience and visual image. Furthermore, it symbolizes ‘the differences’ and ‘the relation’ between men and women from which I have experienced and understood through my life. The disillusion of sensitivity from my work which is converted by bright colors, lines and plane actually makes an uncertain boundary disappear through detailed objects regarding correlation between‘the terms’ or ‘the relation’ and result in fulfilling a deficiency of greed.

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The moment of replenishing the deficiency was when I accidentally invented the character,‘Mato & Mayo’, while eating mayonnaise and tomato ketchup. Over and abovethis, the enlargement of deficiency growing from my hands and heart will generate anovel communication space with firm vitality and by a variety of crossing connections between individuals and groups.

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In our rapidly changing world with everything implemented in combinationwith others, our contemporaries' personality has their inherent inner world that cannot be inferred with our ideas, contrary to their outer appearance.

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Directly facing our contemporaries decorated with discrepancy, I have a senseof alienation from them. For our contemporaries in daily business as such, ourlook involves different appearances, possibly implying that it causes more confusionsand complications in relationships with others.

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The characters of mywork focusing on expressing daily life and relationships of our contemporary people have constant and stereotyped appearances and become the means and objects to play representative roles for others.

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With a series of behaviors, the characters visualize our own past, memory, yearning and desires through lines, faces and colors. Also, my lines covered on various expressions and behaviors get sorted out in the pleasure of implication, going toward perfection.While feeling a group of life in mixture with various things including our contemporary men and women living in this hybrid era, plus all kinds of food and place, I would like to stimulate viewer's imagination and give a complacencyand fun communicable to others.

許尹齡 Hsu Yin-Ling

許尹齡　　＜ 長壽俱樂部　(longevity club)>　342 cm x 152 cm

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許尹齡　　<肉眼差距　（megascopic gap）>　436.5 cm x 224 cm

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許尹齡　〈佔領公式〉　233 cm x 80 cm

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維生套裝 　　　　　　　　　　　　　　　　　　 2009

　　我的創作意念主要是在於表達對社會現象的觀察，社會現象是具體可觀看的，但能真正透析的結論卻被各種體制所牽動以至於混濁。過好生活的想像在一點一點的崩解，我們就像一直處於一個被實驗狀態，一直不斷地有許多數據在更新〈經濟成長率、失業率、就業率等等…〉或是說這些數據很具體地描述出我們的生存狀況，所以我在創作的同時的確也有帶著一點點瘋狂的意味，我在想像著我創造了一個莊園，裡面圈養了各式各樣的人類，他們都在被試驗著怎樣才會過的更好，實驗的一開始我找了一個我很關注的東西，就像是那種被建立為與世隔絕的莊園，它們自給自足且任何東西都平均分配，所以他們沒有競爭沒有難過跟痛苦，他們儘可能地把一切都排除掉，他們就像是被從真實時間裏面抽離出來。而這跟我創作的關連就像是我將這樣的莊園模式變成我創作的公式，我將大家可以看到的真實環境透過這個公式轉換到畫面上。

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　　我用抽離、排除、平均分配來構成我的畫面 我希望它呈現出來的是一個很無機質的空間，是很純淨適合人類生存的。 可是這樣的實驗結果卻是很怪異的，用抽離跟排除來削減痛苦，用平均分配來削弱慾望，但是結果卻是貧乏。而這就是我所觀察到的真實環境，兩相對比互補卻照成差距，我們一直處於一種無法找到立場的狀態，然後用預設好的狀態過的很勉強，在這個社會生存越久會使你越來嘲諷每一件事，而我選擇的繪畫方式，就像是我用什麼來看這個空間，這個空間就會是什麼樣子 。

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　　我可以找很多證據去證明我所看到的，大概是類似這樣的方法，繪畫就像是我所擁有的一種能量將人與這個真實環境從我們現在所認知的世界抽離，甚至到達一種完全進化的程度，好像讓一個世界重新開始，照著一個人的主要思考去塑造這個世界，而最後所呈現出的那個世界，是與向來對我們所顯現的世界所不一樣的世界，透過影像再造，我們如願擁有機會從自身這唯一的世界中抽離並且直接處理這些普遍性的困境。對我而言近期內的創作模式都是像這樣帶點劇場形式的莊園模式(或是說玻璃屋的觀點，透露出我內心虛構成真的存在空間)。
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　我的挑戰是去陳述許多事情在一件事情當中，所以我作品的呈現方式多半都是採用拼湊的，它們(作品)同樣的目標任務就是它們在同一個被抽離出時間的空間中進行著，它們就好像是一個經過排練的事件演出場景，試圖捉住人們的注意力，它同時是劇場演出也是真實生活，它們所希望達到的效果是得以干擾他人，對我而言作品在許多層次上運作著真實的理由來說服觀看者去相信那個不合常理的狀態，很純粹的就是去發覺我們從沒想過和挖掘過的自身殘缺。

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　　我們的生活給我們的訊息就是這樣，正常的生活下去，但其實從來沒去正視過自己的人才是真正的缺乏。令人焦慮的題材跟平靜的實事求是，我想一併呈現在同一個畫面中，作品中一大部份神秘，在於它們暗示了畫中所遇到的困境。觀者會懷疑，他們所看到的社會現象是這樣的嗎？他們知道這個世界有多古怪嗎？將這樣的一個塊面回歸到先前所述，我們所認知所看到的自身也是如我們看到的那樣嗎？

黃華真 Huang Hua-Chen

黃華真　＜You're not in the song>　oil on canvas　116.5×91cm　2008555

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黃華真　＜In my pocket>　oil on canvas　61x50cm　2008

黃華真　<Never should say never>　oil on canvas　80x90cm　2009

黃華真　＜unfinished>　oil on canvas　61x61cm (2 pieces)　2008

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不論個體數量，對象是他者或是自身，我試著討論人和人（或是和自身內在）之間的關係，分析過濾其中的一些成份，可稱為共通性的部份情感塊面是存在於每一個人的每一種關係之中，而正因為個體之間的差異以及終將衰敗的事實，在我看來這些成份能構成真實與深刻。

來自於這些根據的繪畫其實接近於一種書寫。如果說書信是寫作的開始，由書信者不在的地方出發，那麼因為試圖證明那些並不僅僅在我不在的地方，有時候是被緊緊包圍著的狀態，有時候是對於無類的無奈的想望，透過這樣的方式我尋找一個值得的重現，或者可以說藉由一個類似重現的步驟實現或是製造一些什麼，能夠用以說服、確認，甚至證實。

等同於文學（註1）的目的，這些就是我試著認識自己，就是不斷地理解和表達人是什麼、我所屬的時代是什麼的過程。

我總嘗試使用一個較為冷靜的語言去陳述或是討論這些意識之外的現實，然而我所分析的卻是不可估量。低彩度的中性色以明顯的筆觸在畫面上堆疊，各自形成迴路而呈現一種矛盾，每一次的迴路都是性格之中直覺與理型想像的拉扯。這個矛盾以不同的樣貌存在每段關係之中，漂移不定或者似是而非，這便是身而為人的複雜普遍性格。


現在我試著站在一個稍遠的位置重新描繪，如此不只是一個狀態，也像是從許多細碎的變異中斷裂出來的新事件，作為事件它描述了一些即時的條件，而當對象是我所熟悉的，經過一次再一次的描繪，不論如何被定義，事件的累積會使我們與我們之間變得豐富，一如我們一直走在年歲遞增的道路上。

註1：參考書目：《小說的方法》 / 大江建三郎，麥田出版

蔡依庭 Tsai Yi Ting

蔡依庭 <晚餐001>

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蔡伊庭 <晚餐002>

蔡伊庭 <晚餐003>

蔡伊庭 <晚餐004>

蔡依庭 <我的新郎> 2009

　　

　　一直以來都畫我的家人，而今年是很特別的一年，就是我結婚了，也開始了自己的家庭，所以這次展覽我希望展出的主軸是原生家庭和我現在開始自己的家庭。

　　畫畫對我很像紀錄片，沒有什麼絕對唯一的真實，只是在我的不同年齡階段，對於我自己的家庭關係裡所感覺到的現實，而經過一些年，看待爸媽的情感關係也慢慢的看見不一樣的體會。而今年我結婚了，也開始意識到「自己的家庭」。2009年某一部分，我想繼續畫我的爸媽，另一部分則是「我的新郎」。

Rob James Kolomyski

Room on the Clinton_2006_22" x 24"_oil

Cruisers_2007_22" x 24"_oil

Head 2_2006_20"x16"_oil

Call Earl_2006_20"x16"_oil

Head 1_2006_20"x16"_oil

I am interested in the journey of painting. For me this begins with specific places, characters and moments from my own world that hold meaning be it sentimental or anecdotal. As the journey progresses, I allow the world of painting to intersect my own world of meaning in a free and open conversation. By the world of painting I mean its rich history and current temperaments, its pour and flow and flake and pile. Throughout this dialog, the original static subject is allowed to change and flow in dynamic cross-pollination with the rich and temperamental speed of idea, action and material. Painting in this sense becomes a concrete tool of investigation with which to more closely observe the enigmatic flux of meaning, and, for me, its trend toward a more open and poetic language. Within this process I find myself continuously at the crossroads where the virtual meets the real, between figuration and abstraction, where the specific velocity of decision-making and problem solving may be most closely observed. I am currently interested in participating with this point in the journey, this dynamic cusp of resolution, and observing its function as a catalyst for a more honest and open recognition of the original sentiment, and its relationship to painting, picture and culture.

Benjamin Swallow Duke

CRASH_oil_75"x 94"_2008

Awakening as Identity Matrix #2_oil_65"x 65"_2008

Awakening as Identity Matrix_oil_60"x 72"_2007

Actant_oil_44"x 54"_2007

SelfPortraitasLePetitJean_oil_60'' x 72"_2006

ManonFire_oil_54'' x 72''_2006

Statement

In my paintings I ask myself “Is this the way the world is?’ I reshape and retool my painting experience to answer that question. But while the question begins with the world, it ends with the work itself: “Is this the way the world is in this work?”

The search is for the world in painting and painting in the world (painting worlds/ paintings world). Am I in the world or is the world in me? I allude to my life, to writers works, to imagery and it is my hope that this record of allusion conjures and creates the same. I am referring to text, theory, idea but I am also finding myself already there, looking out to see in.

With this overarching goal in mind, lately I have been exploring figure ground relationships such that the figure is a composite of multiples: multiple limbs, multiple people and multiple places. The figures are composed such that they combine visually into a larger whole, alluding to the social group as an identity in itself- the machinery of the social order. I seek to locate content beyond the obvious narrative in the arrangement of the visual elements. Through these images I seek to explore the hybrid and composite nature of identity, the intersection between self-conception and social reality and how context impacts the possibilities of self-realization.

黃嘉寧 HUNG CHIA-NING

un-presentable_71x190cm_oil on canvas_2008

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我畫照片，選擇照片對我來說很困難也很有吸引力。

可能有些什麼會藏在隨手拍來的、晃動失焦、各型各色的影像裡?

我想透過這樣的方式去尋找一些模模糊糊、說不清楚暫時稱他為無可名狀的感覺。

FROM黃嘉寧

Samuel T. Adams

White Noise 1 ink, acrylic, acetate on panel 52 x 48 inches 2007

The Curtain ink, acrylic, acryla gouache, acetate on panel 40 x 47 inches 2008

Mutations (after Borges) ink, acrylic, acryla gouache on panel 43 x 31.5 inches 2008

Lullaby to Saturn ink, acrylic, acetate on panel 50 x 44 inches 2008

Limb by Limb ink, acrylic, acryla gouache, acetate on panel 47.5 x 40 inches 2008

My energy as a painter stems from current events, literature, travel, cultural phenomena, from the observed and the imagined. I am not a storyteller; my main concern is painting. I am interested not in conveying a linear narrative, but perhaps its shadow, a gesture of representation. My paintings lie somewhere between the familiar and strikingly other. I do not believe paintings should have a fixed meaning; they should reflect the flux of being in this world. I am interested in the discomfort, incoherence, and, most of all, the absurdity that can characterize the painterly experience- and experience in general.

Stories of Jorge Luis Borges and novels of WG Sebald are parallel correlations of my work; the fantastical writings omit or disfigure facts and indulge in various contradictions in order to perceive an atrocious or banal reality. A mischievous sense of humor resonates in their work, perhaps because their stories are constructed with such minute detail and alluring prose while the maze-like plot is often a disobedient existence.

Yuhi Hasegawa

A Mask, Oil on canvas 9" x 12" inches 2008

In Between, Oil on canvas 54" x 60" inches 2008

Innocently Violent, Oil on canvas 35" x 39" inches 2008

A Self Portrait in A Kid's Costume, Oil on canvas, 54" x 59" inches 2008

Dance, Oil on canvas, 59" x 104" inches, 2008

For me, painting is an essential of my imagination.

I pursue to embody elaborate fantasy world that can only exist in paintings.

I am interested in the instinctive, and the primitive qualities of human being. Such as animalism and ritualization.

Through the process of painting, I want to reveal the concealable inner meanings of human behaviors in private and public situations.

These behaviors constantly sway between the extremes of innate, and acquired human characteristics.

My painting is not literal narratives, rather dark suggestion of the hybrids from nomadic and urban existences,

sophisticated and barbarian in equal measure.

黃海欣

無題＿48x86cm_2008

地下室防空演習2_101x76cm_2008

地下室防空演習1_101x76cm_2008

2008/創作自述

我喜歡拍照，拍出城市有點冷淡又古怪的感覺，那格停住的畫面隱隱約約浮現這個欲言又止的小祕密，我畫照片，照片呈現的是所有人都看到的，繪畫是畫出別人沒看到的。

我對平凡的公共性質類影像感到興趣，像是各類逃生、急救、廣告等具有指示性的圖像，它們美好的表象彷彿隱隱透露出不安的鬼魅氣氛。 我畫已存在的照片，這個一切數位化影像氾濫的時代，很容易找到一堆檔案資料照片，我熱衷於“官方“、現代、儀式性但又缺乏靈魂的淺薄圖片； 以“剪綵“系列為例，很多穿的很整齊的官僚一字排開， 胸前別著一朵半死半活的蘭花 ， 臉上的笑容很開，但又有點勉強，不知道是高興真的還假的，當很多不同的剪綵檔案照片一次全部打開就很有趣，大家都很ㄍㄧㄣ的樣子然後前面都有一陀一陀不知道到底用來幹麻的紅色緞帶花，紅色緞帶花遠遠看變得有點抽象，一群看起來很現實（寫實）的人，同樣為了那一陀陀紅色抽象的東西齊聚一堂擠出一張一張很奇怪的標準笑容；剪綵就是為了剪下去那剎那，留下的影像就是為了保存那剎那，但誰在乎？影像裡假笑的達官顯貴像是陰魂不散的幽魂，僵直一致的永遠存在。

My works explore public images indicative of contemporary life. Particular mass media images reveal to mean ambiguous atmosphere between humor and horror: safety instructions, ribbon cutting ceremonies, political conferences, etc. I explore the threat of violence and fear in society, the absurdity and the loneliness behind these politically-correct, capitalistic images. However, life is full of contradictions, I'm not ridiculing anything or making any demands, but rather outlining a kind of lighthearted contradiction which makes use of the context of signage to create the effect of a symbolic self-negation.