島嶼‧環境‧故事

地點: 新竹市美術館 時間: 2017.9.02(六)-10.29(日) 09:00-17:00(週一休館)

許喬彥HSU Chiao Yen

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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.

參展作品

許喬彥 - 像風一樣 The Wind
許喬彥 - 像風一樣 The Wind2016
胚布、水性白漆料、楓木、 LED燈 / 裝置,尺寸依空間而定 Grey Cloth、White Waterbased Paint、Maple、LED / Varied with space
記憶的擾動有時如風一樣,說來就來,說走就走。當無盡的飄盪勾起了外物的風景,被敲醒的內在心緒也就此激盪了起來。無法言述的空寞好比著身邊來去自如的風,也留不下一點風情,所有的事物終將化為記憶,漸漸褪色。
《像風一樣》作品中藉以枯木粘合油土與大型胚布上的素描創造一處印象中的記憶風景。在這個看似自然與顛置相對並陳的「生活舞台」有著看似飄逸卻又被侷限的擺弄陳設,是比身處在現實與幻想混沌之際的我,想飛卻終究難以翱翔。
木枝梢上的造型物作為生命棲所的隱喻,表述著人們對於棲居的渴望,它們像是自然環境中懸在樹梢上的巢穴,脆弱地在自然中絕望的掙扎。時間像是一場沒有休止的劇情,我在此處凝視著景緻光影,感受著正在流逝中諸多片刻的美好。 “The Wind” creates my impression of a memorial landscape by using withered trees to mix modeling clay and sketches on massive greiges. In this “living stage” which seems to combine nature and displacement, there are some displays that are light and limited at the same time. That is me who has been in a state of reality and illusion, thirsting to fly but couldn’t. The figure on the treetop is a metaphor of habitation of life, which declares humans’ desire for the dwelling. They are similar to the nets on top of trees in nature, flimsily struggle in the natural world with desperation. Time is like a show without pause. Here I stand, gazing the scenery between light and shadow, I feel the joy that is fading with time.
林正偉 LIN Cheng Wei 王鵬達 WANG Penda