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李元佳1929年生於中國廣西,1994年逝世於英國坎布里亞,他曾在台北接受師範體系美術教育的訓練,也投身於台灣現代藝術啟蒙者李仲生門下。1962年李元佳前往義大利,1966年轉往英國後就此定居。李元佳的創作範圍廣泛,包含:水墨、油彩、單色繪畫、攝影、複合媒材乃至於行動藝術,他最富代表性的「宇宙點」概念,是由一小點書法筆跡轉化成圓形圖像,以此象徵宇宙的視覺藝術元素,從這次展出的1960年代之作,即可窺見他致力將東方思想融合西方媒材,在抽象形式中傳達深厚的東方哲學思維。
洪藝真1971年生於台南,2011年逝世於台北。1990年代初期前往英國攻讀藝術創作,取得英國瑞丁大學創作博士,2004年返台。1999年還在英國就學期間,洪藝真已開始嘗試拓寬或突破繪畫僅止於在畫面上進行表現或再現的概念。這次展出作品可一窺她在架上繪畫的基礎上,重組畫布、顏料、內框這三種基本元素的相互關係,進而解構繪畫既有的物理框架,延展出更具觀念性的空間結構,甚至某些作品還具有建築性。而後,她更進一步探問「何謂原作?」等本質性的辯證,以玻璃纖維複製自己的畫布作品,或開模再現畫布上的紋路肌理,並將這層壓克力顏料皮膜移植到畫布上,考驗觀者的視覺辨識能力,也以前所未見的方式重訪繪畫。
郭思敏的創作是呈現簡練而優美的幾何雕塑,無論是「境外之石」、「虛實間」或「冉冉」系列,在冷硬的金屬和精細的手工當中,呼應她所學的建築專業背景。郭思敏1964年生於台北,美國康乃狄克州紐罕文耶魯大學建築系碩士,熱愛藝術創作的她,透過不鏽鋼、鐵等金屬焊接出幾何造型,再經多層的表面處理,像是上漆、生銹、止銹、刮、磨等手工的過程,捕捉非具象的空間秩序。郭思敏認為,「抽象之所以迷人,乃因它提供了無限的想像空間。」她探索的抽象並非封閉的實體,而是流動的虛空間所延伸出光影穿梭的路徑,帶領觀者進入巨大而幻化的場域,也讓人在最簡單的構成裡,尋找最豐富的可能性。
ESLITE GALLERY is set to showcase a joint exhibition in July, featuring the artwork of three remarkable artists: LI Yuan-chia, Yi-Chen HUNG, and Szumin KUO. Each bringing to the fore their unique take on abstract creations, their artistic exploration traverses various mediums, from painting and sculpture to mixed media and hybrid forms of painting and sculpture. Employing the fundamental elements of dots, lines, and planes to carve out spatial constructs, their artistic pursuits unravel the essence of art and ignite boundless imagination in the viewers. The pieces on display enter into an interactive dialogue with each other, eloquently expressing the intrinsic poetry of abstract art.
LI Yuan-chia was born in Guangxi, China in 1929 and passed away in Cumbria, England in 1994. His art education was shaped at the institution now known as the National Taipei University of Education and he studied under the tutelage of LI Chun Shan, a trailblazer in Taiwan’s modern art. In 1962, LI moved to Italy, later relocating to the UK in 1966, where he made his home. LI’s creative practice encompassed numerous mediums, including ink wash, oil painting, monochrome painting, photography, mixed media, and performance art. His most iconic concept, the “cosmic point”, evolves from a minuscule calligraphic mark to a circular representation, a visual art element symbolizing the universe. His works from the 1960s, on view in this exhibition, reflect his dedication to fusing Eastern philosophies with Western art forms, conveying deep oriental philosophical ideas through abstract imagery.
Yi-Chen HUNG was born in Tainan in 1971 and passed away in Taipei in 2011. In the early 1990s, HUNG pursued art studies in the UK, earning a PhD in Fine Art from the University of Reading, before returning to Taiwan in 2004. While studying in the UK in 1999, HUNG began experimenting with expanding and challenging the conventional belief that painting was confined to expression or representation solely on a canvas. This exhibition highlights her adept deconstruction of painting’s basic components—canvas, paint, and frame—in an attempt to redefine the customary physical confines of painting. Through this endeavor, she fashioned conceptual and architectural spaces, traces of which can be perceived in some of the showcased artworks. She later ventured to engage in a profound dialectic of “What constitutes an original work?” She utilized fiberglass to replicate her works on canvas or made her own mold to reproduce the texture of the canvas with acrylic paint and transplant this layer onto another canvas, challenging the viewer’s visual discernment. This way, she revisited painting in a groundbreaking manner.
Szumin KUO’s creation presents concise and elegant geometric sculptures. Be it the Metamorphosis, Inversion, or Meandering series, her background in architecture shines through the cool sleek metal, exuding refined artistry in her pieces. KUO, born in Taipei in 1964, received her master’s degree in architecture from Yale University in New Haven, Connecticut. She harbors a deep passion for artistic creation, using metals like stainless steel and iron to forge geometric forms. After several steps of surface treatments, including painting, rusting, rust prevention, scraping, and polishing, she brings forth a non-figurative sense of spatial order. KUO believes that “the allure of abstraction lies in its boundless room for imagination.” The abstraction she delves into is not a finite construct, but a dynamic, intangible space extending along the trajectories of light and shadow. The created space invites viewers into a vast, fantastical realm, enabling them to uncover a multitude of possibilities within the simplest of structures.
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