台北展覽｜双方藝廊殘片－顏妤庭個展

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展覽介紹

双方藝廊將於2023年12月16日至2月17日推出藝術家顏妤庭個展「殘片」。本展覽為藝術家首次與双方藝廊合作舉辦個展，將帶來十餘件系列平面繪畫以及雕塑作品。她的創作關注水墨繪畫敘事的可能性，探討其文化脈絡與當代生活經驗之間的對話與再詮釋。此次個展中她更進一步轉化水墨傳統技法，謄寫新聞時事標題於畫面並使其蔓生滋長，將對世界的觀察與紀錄映射而成對自我內在世界的內觀與書寫。

顏妤庭常以個人經驗和虛構情境為基礎，結合新聞影像及文字，轉化傳統水墨語彙，試圖捕捉當代社會中一種集體躁動而失神的精神狀態，以及伴其而生的荒謬與趣味。本次個展〈殘片〉揭示了藝術家的繪畫過程，有時彷若在訊息之流中汲取殘存的記憶片段，透過層層疊染從與之交纏的線條中重新提取文字；有時則如同再次注入日常的殘餘物，以筆墨乾擦在紙面上謄寫最新的新聞頭條。同時其也是藝術家近年的進一步試驗，將水墨傳統中的「皴法」與新聞時事相結合，不同於以往色彩明亮輕快的的工筆膠彩作品，此次的新作僅以墨色堆疊，以更純粹的方式構建充滿包覆感、靜謐感與壓迫感的內在空間。

傳統水墨畫家強調「皴法」作為表現自然地貌和賦予物件造型的筆法工具，顏妤庭則將「皴法」視為她近期創作的焦點核心，透過長時間的搜集和摹寫，將新聞標題謄寫於畫面中，使文字伴隨時間與時事共同生長變化。透過展出的作品，一部分顯示她持續拓展「皴法」的可能性，另一部分則展現她將此筆法再投放回畫面結構的試驗成果。文字、訊息和記憶在書寫與繪畫的不斷變動中交織，反覆穿梭於「提取（罩染）」與「消抹（書寫、皴擦）」之間，傳統「皴法」不僅被延續，更被轉化為描述記憶和心理狀態肌理的手法，成為她抒發個人思緒、紀錄當代時事和緬懷的核心元素，賦予作品得以紀錄內外世界獨到卻極具共感的敘事美學。

顏妤庭，1989年出生於台北台灣，畢業於國立臺北藝術大學美術創作碩士班。曾獲選為台北國際藝術博覽會MIT新人及文化部選送出國駐村及交流計畫代表藝術家，作品亦曾獲香港M+視覺文化博物館、澳洲白兔美術館、國立台灣美術館、關渡美術館典藏。2019年獲選為「文化部出國駐村及交流計畫」之代表藝術家至歐洲陶藝中心駐村，並於2021年成立陶瓷工作室Yeeen Studio，除了將創作延伸至工藝領域，亦嘗試策劃陶瓷媒材之展覽，試圖透過更多元的方式探索陶瓷媒材的可能性。

Double Square Gallery is delighted to present The Fragments, which is artist Yen Yu-Ting’s latest and first solo exhibition at Double Square Gallery, and will run from December 16 to February 17, 2023. The exhibition features more than a dozen of two-dimensional paintings and sculptures. Yen’s practice revolves around the possibility of narrative in ink painting, exploring and re-interpreting the cultural context of ink painting and its dialogue with contemporary life experience. In this exhibition, she further transforms traditional ink painting techniques through inscribing news headlines in her images and letting them grow and sprawl, conveying her introspection and writing of her inner world reflected by her observation and documentation of the world.

Yen often draws inspiration from her personal experiences and fictitious scenarios to form the foundation of her work. She then combines this foundation with news images and texts to transform traditional ink painting vocabularies as a way to delineate the collective restlessness and absent-mindedness in contemporary society, along with the absurdities and intriguing qualities therein. The Fragments reveals the artist’s painting process: sometimes she seems to withdraw residual pieces of memories from the information flow, utilizing layers of ink rendering to extract texts from entangling lines. At other times, she seems to bring back everyday remnants by inscribing the latest news headlines with dry ink. This is also her latest experiment in recent years, through which she blends traditional ink technique of “ts’un” (wrinkle or texture strokes) with news events, creating works different from her previous fine brush paintings of Eastern gouache that have a light, bright palette. Using solely the layering of ink, this group of new works reveals an enveloping, serene, and repressive inner space constructed in a purer way.

Traditional ink painters place an emphasis on “wrinkle strokes,” which form the brushwork to express natural terrain and create the forms of objects. Yen, on the other hand, has viewed “wrinkle strokes” as the focal point of her creative work. Gathering and inscribing news headlines in her images for a long period time, she enables the texts to grow and change together with time and news events. Through the works on view, the artist demonstrates her endeavor in expanding the possibility of “wrinkle strokes” as well as the experimental result of re-incorporating the brushwork back into the structure of the images. Consequently, texts, messages, and memories become continuously entwined through writing and painting, repeatedly oscillating between “extraction (glazing)” and “erasure (writing, wrinkling).” In this regard, the technique of traditional “wrinkle strokes” is not just continued through her work. To a large extent, it has been transformed into an approach of delineating memory and the texture of psychic states, as well as the central component to express personal thoughts, document contemporary events, and reminisce, thus infusing Yen’s work with a narrative aesthetics informed by her highly unique yet emotionally resonating portrayal of both the external and the inner worlds.

Yen Yu-Ting (b. 1989) was born in Taipei, Taiwan. Yen holds an MFA from Taipei National University of the Arts. She has been selected into “Made in Taiwan” at Art Taipei and the artist exchange and residency program by the Ministry of Culture. Her works have been included in the collections of various major art institutions, including M+ (Hong Kong), White Rabbit Gallery (Australia), National Taiwan Museum of Fine Arts (Taichung), Kuandu Museum of Fine Arts (New Taipei City), etc. In 2019, she received the grant of the Ministry of Culture’s “International Residency and Exchange Program for Artists,” and conducted an art residency at the European Ceramic Work Centre (EKWC). In 2021, she founded her ceramic studio, “Yeeen Studio,” and began extending her creative work to the field of craft, while engaging in curating ceramics exhibitions to explore the possibility of the medium through more diverse approaches.