展期｜2021.03.06 – 2021.05.08
地點｜耿畫廊 (臺北市內湖區瑞光路548巷15號B1)
貴賓預展｜2021.03.06 (六) 下午4:30
2021年開春第一檔，耿畫廊將於地下一樓展廳，推出袁慧莉歷經四年苦心孤詣完成的《隱身皴》新作個展。
「皴法」是中國水墨畫中最重要的造型元素，也是現代水墨畫運動革新中主訴對象，皴法從古典水墨的筆墨技法到現代水墨強調物性肌理，還能如何再推進其形式意涵? 此次袁慧莉以「皴法」為題，將展示其花費十餘年深入思考的創作成果。
袁慧莉 Yuan Hui-Li | 袁氏皴譜：譜名頁＋畫石序 Manual of Yuan’s Texturizing Strokes: Cover and Preface | 2019 | 水墨．楮皮羅紋宣 Ink on Taiwanese handmade paper | 80.4 x 142.7 cm
袁慧莉認為，從格物致理的五代宋朝，發展到側重筆墨意趣的元明清，乃至現代水墨畫新技法下的皴法，不論其型態筆墨變化如何，不論形似或不似，皴法的符徵或符旨，被指涉於或附屬於自然山石肌理的形意語法範疇，歷來並不曾改變，也就是說，皴法未曾被獨立地觀看。
同時，袁慧莉從女性主體意識出發，觀察到中國山水畫是以男性主體為主所建構的歷史，女性畫家往往依附在男性主導的水墨論述與形意體系中，這個體系向來欠缺女性主體意識自身發展的形意語境。
袁慧莉 Yuan Hui-Li | 太虛No. 1 Ambiguous World No. 1 | 2008 | 彩墨泥金．灑金淨皮宣 Color, ink, and golden glue on sprinkle gold-leaf Chinese handmade paper | 49.7 x 228 cm
那麼如何置入女性主體意識於皴法中？並且改變原本皴法只作為指涉自然的形意詮釋規律？這兩個提問促使她十餘年來不斷透過《太虛》系列、《類山水》系列進行探索研究，最終在《袁氏皴譜》完成她所追索的答案。
此次「隱身皴」個展中，袁慧莉透過「皴法」這一議題，巧妙地借著水墨藝術中最基礎且最模件化的技法，自綿延傳承的水墨脈絡中撬開小孔，鑽入其中進行顛覆。在與水墨歷史的對話間，袁慧莉以女性視角作為路徑、以《袁氏皴譜》、《類山水》的形意重構為方法、以「差異並置」的美學為概念、以塊狀模件拼貼重組為生產模態，出入情緒與物性之間，穿梭於古今辯證之間，跳出過往水墨畫論述的窠臼，展現當代的創新思維。展名「隱身皴」雖名「隱身」，卻於皴塊形意中揭示藝術家主體的存在，雖隱實顯，不以具體身體現身，但其身影魂魄卻隱於其中。
袁慧莉 Yuan Hui-Li | 類山水小屏風No. 6 THEY Shanshui Small Screen No. 6 | 2020 | 楮箋六折小屏風．水墨設色．書法 Color and ink on sixfold Chinese paper screen, with calligraphy on the back | 18 x 53 cm x 雙面 two sides
Yuan Hui-Li: Hidden Emotion in Texture
Exhibition Dates｜03.06.2021–05.08.2021
Venue｜Tina Keng Gallery (B1, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei, Taiwan 114)
Vernissage｜03.06.2021 (Sat.) 4:30 p.m.
To welcome spring 2021, the Tina Keng Gallery is pleased to present Hidden Emotion in Texture, Yuan Hui-Li’s latest solo exhibition — a culmination of her painstaking efforts of the past four years — in the exhibition hall on the underground floor.
Cun (皴), or texturizing, is one of the essential techniques in traditional shanshui painting, as well as the primary subject in the revolution of contemporary ink painting. Evolving from an ancient, fundamental ink technique to a contemporary emphasis on physical texture, how can texturizing further transform itself?
袁慧莉 Yuan Hui-Li | 類山水No. 67 THEY Shanshui No. 67 | 2020 | 彩墨．灑金淨皮宣 Color and ink on sprinkle gold-leaf Chinese handmade paper | 49.7 x 227.3 cm
Guided by female consciousness, the artist came to the realization that shanshui painting chronicles a history shaped by the male perspective. Female painters are often considered an auxiliary of the male-dominated ink discourse, where a vocabulary of form and meaning developed by the female consciousness is absent. How should the female consciousness be embedded in the texturizing method, and change the way this technique has been applied to simply refer to nature? This question has galvanized Yuan’s 「Ambiguous World」 and 「THEY Shanshui」 series, and led at last to 「Manual of Yuan’s Texturizing Strokes,」 where she has found answers.
袁慧莉 Yuan Hui-Li | 類山水PS.早春圖 Displacement Plan:Displacing Guo Xi’s Early Spring in THEY Shanshui | 2015 - 2021 | 單頻道錄像．投影 Single-channel video, projection | 影像長度：5'35" 尺寸依現場而定 Dimensions variable
Through her investigation of cun, the artist subverts the ages-long tradition of ink by reconstructing form and meaning in the Manual of Yuan’s Texturizing Strokes and 「THEY Shanshui」 series, where juxtaposed differences emerge as her aesthetic concept, collages of blocks as her painting style. Unhindered, she moves between emotion and materiality, tradition and contemporaneity. While the exhibition delves into hidden emotion in texture, it reveals in the form and meaning of cun blocks the artist’s subjectivity, not in physical manifestation, but in spirit and interiority hidden in plain sight.
About Yuan Hui-Li
Born in 1963 in Taipei, Taiwan, Yuan Hui-Li is also known as Yuan Shu.
She received a bachelor’s degree from the first Chinese ink painting program of the National Institute of the Arts (now TNUA) in 1987, a master’s degree in ink painting from the Taipei National University of the Arts in 2005, and a doctoral degree in art creation and theory from the Tainan National University of the Arts in 2016. She is currently an adjunct assistant professor at the Center for General Education of the National Tsing Hua University.
Her work is housed in the collections of several international institutions, including the UBS (Union Bank of Switzerland), London, UK; National Taiwan Museum of Fine Arts, Taichung, Taiwan; Art Bank Taiwan, Taichung, Taiwan; Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan; Kuandu Museum of Fine Arts, Taipei, Taiwan; Juming Museum, New Taipei City, Taiwan; and Han House Museum, Hangzhou, China. Notable exhibitions include Force Field and Variations: The Cross-Culturally of Ink Painting, Remarkable Cultivation Art Gallery, Tainan, Taiwan (2017); Reading the Landscape: Stories From Artists, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan (2016); A Place of One’s Own: Juming Museum Collection, Juming Museum, New Taipei City, Taiwan (2016); Reshaping Tradition, China Central Academy of Fine Arts, Beijing, China (2015); Collection and Dialogue — Taiwan’s Contemporary Ink Painting, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan (2014); The New Space: 2009 Exhibition of Contemporary Cross-Strait Ink Paintings, National Taiwan Museum of Fine Arts, Taichung, Taiwan (2009); Form, Idea, Essence, Rhythm: Contemporary East Asian Ink Painting, Taipei Fine Arts Museum, Taipei, Taiwan (2008); and Innovational and Experimental Chinese Ink Painting, Taipei Fine Arts Museum, Taipei, Taiwan (1992).
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臺北市內湖區瑞光路548巷15號1樓
1F, No.15. Ln.548, Ruiguang Rd.,
Neihu Dist, Taipei 114, Taiwan
T. +886.2.2659.0798
F. +886.2.2659.0698
info@tinakenggallery.com
Opening Hours
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Sunday & Monday Closed