許喬彥HSU Chiao YenBACK
1990年生於嘉義，畢業於國立臺南藝術大學造形藝術研究所。創作常藉生活日常的物料如木炭、紙箱、帆布、塑膠袋等，以蔓延、覆蓋的繪畫性手法，將其在新的空間框架中進行抽象量體的視覺再造。以材料與空間質量轉換顯現著時間與痕跡消長關係，透過繪畫性的創作語言重新建構人們的記憶中的感性輪廓。創作多記錄著生活中諸多正在行進、消逝中的「時間與痕」。2013年分別入圍「桃源創作獎」及「台灣美術新貌獎」於當代藝術圈漸展露頭角，2015年為台北國際藝術村選送至日本橫濱BankART1929駐地藝術家，2016年則以新人之姿入圍「台北美術獎」。 HSU Chiao Yen, born in Chiayi in 1990, and received his master degree at the graduate school of Institute of Plastic Art in Tainan National University of the Arts. He frequently uses daily items such as charcoals, paper boxes, canvases and plastic bags etc., with painting techniques like spreading and covering, to visual re-engineer abstract structures in a new frame of space. The conversion between material and space mass shows the ebb and flow of time and trace. Through the painterly creation language, he reconstructs the sentimental outline of memory. His creations often recorded the “time and trace” which are still constantly growing and fading in our lives. In 2013, he became a rising star in modern art field by being nominated by “Taoyuan Contemporary Art Award” and “Newly Emerging Artists in Taiwan-2D Creation Series”. In 2015, he was chosen to participate in “Artists-in-residence Program” of BankART1929, Yokohama, Japan. In 2016, Hsu was shortlisted by “Taipei Art Awards” as a newcomer. 創作自述 痕跡對我們來說，可以是上一個事件所留下的具體存在事實，也可能是存留在我們腦海中有時清晰、有時模糊的記憶。在我所創造的各式輪廓中，人與空間、空間與物質三者係成為感官記憶的方向導引，場所的意象如同時間封包般地被顯現於此，在層疊的時空中交織出「存留/消逝」、「理性/感性」的並置衝突，也框構出人們之於日常記憶擾動的想像經驗。 For a long time, my creations have been focused on recording a number of ongoing and disappearing memories and traces in our lives. For us, traces can represent the actual existence of a previous event, or memories in our mind which are sometimes clear and other times obscure. Over the years, my creations have primarily used low-cost everyday materials such as charcoal, cardboard, canvas, plastic bags, etc., and further exposed the naked spatial text of human desires in a new form by using these materials to conduct visual reconstruction of the abstract mass in a new spatial structure through a sprawling and covering drawing technique. Out of the various contours of my creations, the three elements: people, space, and materials are direction guides of people’s sensory memory, and images of spaces are presented in a way resembling the feature of time packets. A juxtaposition of conflicts between residue and disappearance as well as sense and sensibility in the interwoven time and space also constructs an imaginary experience in human beings’ everyday turbulent memory.