跨越之聲

從島嶼綻放的女性創作

Voix transcendantes

la création artistique
féminine de Taïwan

Curatrice l Jui-Pin Chang

展覽前言
在Centre Culturel et Artistique Franco - Chinois (法華文化藝術中心）的邀請下，「台灣女性藝術協會」於巴黎2區法國文化遺產的舒瓦瑟爾拱廊（Passage Choiseul）內的史瓦哲畫廊舉辦《跨越之聲：從島嶼綻放的女性創作》展覽。這是一場藝術的展演，也是一段從島嶼出發、穿越語言與文化邊界的創作旅程。核心價值：思想、族群、多元性
展覽聚焦女性藝術家對性別議題的深刻思索，回應社會期待的壓力，並探索個人身份與文化記憶。她們的創作是表達、是質疑與重構、是對多元價值的擁抱。多元背景的創作能量
參展藝術家來自台灣多元族群，以豐富的創作語彙，融合傳統與當代，將族群記憶、女性視角與個人經驗交織在作品中，展現台灣文化的包容與深度。結語：綻放於世界的女性之聲 《跨越之聲》是一場思想與文化的對話。台灣女性藝術家以創作回應社會、連結族群，在巴黎這座藝術、文化交匯之地綻放她們的聲音。希望世界看見台灣的自由、多元與創造力，讓女性藝術在巴黎閃耀。Curatorial Statement (Curatorial Tone Version)
Invited by the Centre Culturel et Artistique Franco‑Chinois, the Taiwan Women’s Art Association presents Crossing Voices: Women’s Art Blossoming from the Island at Galerie Schwab, situated within the historic Passage Choiseul in Paris’s 2nd arrondissement. This exhibition unfolds as a transnational encounter—an artistic trajectory that departs from the island of Taiwan and extends across linguistic, cultural, and ideological thresholds.Core Values: Thought, Identity, Plurality
At the heart of the exhibition lies a sustained inquiry into gender, agency, and representation. The participating artists engage critically with the pressures of social expectation, the construction of identity, and the persistence of cultural memory. Their practices articulate a spectrum of strategies—questioning, reframing, and reimagining—through which women’s voices negotiate visibility and autonomy within shifting social landscapes. The works collectively affirm plurality not as a theme, but as a methodology. Creative Energies Across Diverse Lineages The artists come from Taiwan’s richly layered ethnic and cultural communities. Their works draw from interwoven sources—indigenous heritage, local histories, contemporary social realities, and personal narratives—forming a visual language that is both rooted and forward‑looking. Through the convergence of traditional forms and contemporary experimentation, the exhibition reveals the complexity and openness of Taiwanese culture, situating the island as a site of ongoing negotiation between memory and modernity.Conclusion: Women’s Voices in Global Circulation Crossing Voices proposes an expanded dialogue between Taiwan and the world. In Paris—a city shaped by artistic exchange and cultural multiplicity—Taiwanese women artists articulate perspectives that resonate beyond geographic boundaries. Their works illuminate the values of freedom, diversity, and creative resilience that define Taiwan’s cultural landscape. Through this exhibition, women’s artistic voices extend into global circulation, asserting their presence with clarity and strength.

參展藝術家

Artistes participantes

30.03 - 11.04.2026

主辦 l 台灣女性藝術協會
Organisée par Taiwan Women's Art Association開幕酒會 l Vernissage
lundi 30 mars, 17h - 20h地點 l Lieu
Galerie Choiseul, 77 Passage Choiseul, 75002 Paris

explore the exhibition works

尹信方

Hsin-Fang Yin

尹信方（1966），畢業於國立嘉義大學視覺藝術研究所碩士，現為嘉義文創園區駐村藝術家。她的創作之路始於人生中段的一次重要轉折。自 2012 年起投入藝術創作，透過持續的實作與研究，在藝術中重新建立自我價值與生命信念，並以穩定而持續深化的創作能量，逐步確立鮮明而獨特的個人藝術語言。在形式與觀念上，尹信方以自身姓名中的「信」與「方」作為創作的核心結構語彙。她將文字轉化為線條、幾何結構與空間秩序，透過解構與重組，發展出結合繪畫與空間的創作系統——「思培斯（Imaging Space）」。策展人石瑞仁指出，她偏好的理性構成並非源自流派追隨，而是來自對自身生命結構的內在轉化，在理性與感性的交會之中持續探問「虛與實」、「真與假」的邊界。她的畫面常出現家屋、階梯、鐵道、眼睛與窗櫺等符號，作為記憶、移動與觀看的隱喻，在抽象與具象之間構築詩性的空間語境。美術史學者蕭瓊瑞指出，尹信方透過碎形化的點、線、面建構出介於虛幻與真實之間的心靈場域，讓觀者在熟悉的生活元素中感受到一種可共感的「心靈鄉」。評論者莊宗勳以「尋名造境」概括其創作核心，認為她透過藝術重新確認自身存在的價值與方向；策展學者洪明爵則以「英雄旅程」的結構理解她的創作歷程，從生命的啟程、試煉到回歸與自我和解。在創作形式上，尹信方橫跨平面繪畫與空間裝置。繪畫透過理性構成與色域層次營造空間深度；裝置作品則運用紙材與鏡面建構正負空間與延展視域，使觀者在觀看與行走之間進入一種介於現實與內在感知之間的「思培斯」狀態。近年來，她舉辦多次大型個展並參與五十餘場國內外聯展，展覽足跡遍及巴黎、柏林、威尼斯、東京、首爾與開羅等城市。作品亦獲文化部藝術銀行、台中市文化局與國立中正大學等機構典藏。她以溫柔而堅定的方式，將個人生命經驗轉化為可被普遍感知的藝術語言，邀請觀者走入她所建構的「思培斯」，在形與光之間重新思考信念、覺察與存在的意義。Yin Hsin-Fang (1966) holds a Master’s degree from the Graduate Institute of Visual Arts at National Chiayi University and is currently an artist-in-residence at the Chiayi Cultural and Creative Industries Park. Her artistic journey began at a turning point in midlife. Since 2012, she has devoted herself to artistic practice and research, rediscovering self-worth and life belief through art while gradually developing a distinctive personal visual language.Conceptually and formally, Yin Hsin-Fang bases her work on the two Chinese characters in her name: “信〔Xin〕” (faith/belief) and “方［Fang］” (square/direction). She transforms textual forms into lines, geometric structures, and spatial orders through deconstruction and reconfiguration, developing a creative system that integrates painting and spatial perception, which she calls “Imaging Space.”
According to curator Shih Jui-Jen, her rational compositions do not stem from stylistic imitation but from an internal transformation of her own life structure, continuously exploring the boundary between illusion and reality.Symbols such as houses, stairways, railways, eyes, and windows frequently appear in her works. These are not merely visual motifs but metaphors for memory, movement, and perception, forming a poetic spatial language between abstraction and representation. Art historian Hsiao Chiung-Jui notes
that Yin constructs a spiritual field between the real and the imaginary through fragmented points, lines, and planes, creating a “dreamscape of the mind” rooted in familiar elements of everyday life.Critic Chuang Tsung-Hsun describes her artistic core as “searching for one’s name and creating a realm,” suggesting that her work is a process of rediscovering identity and direction through art. Curatorial scholar Hung Ming- Chueh further interprets her practice through the structure of the “hero’s journey,” tracing a path from hesitation to exploration and ultimately to reconciliation with oneself.Yin’s practice spans both painting and spatial installation. Her paintings combine rational composition with layered color fields to create spatial depth, while her installations employ materials such as paper and mirrors to construct positive and negative spaces that extend the viewer’s perception. In this way, viewers enter an experiential state she calls “Imaging Space,” situated between physical reality and inner perception.In recent years, she has held numerous solo exhibitions and participated in more than fifty group exhibitions worldwide, including in Paris, Berlin, Venice, Tokyo, Seoul, and Cairo. Her works have been collected by the Art Bank of the Ministry of Culture, Taichung Cultural Affairs Bureau, and National
Chung Cheng University.Through a gentle yet resolute artistic approach, she transforms personal life experiences into a universal visual language, inviting viewers to enter her “Imaging Space” and reconsider belief, perception, and the meaning of existence.學歷 Education
國立嘉義大學視覺藝術研究所 碩士
MFA, Graduate Institute of Visual Arts, National Chiayi University, Taiwan現任 Current Position
嘉義文創園區駐村藝術家
Artist-in-Residence, Chiayi Cultural and Creative Industries Park
嘉義大學視覺藝術學系系友會長
President, Alumni Association of the Department of Visual Arts, National ChiayiUniversity典藏 Collections
文化部藝術銀行
Art Bank, Ministry of Culture, Taiwan
台中市政府文化局
Taichung City Government Cultural Affairs Bureau
國立中正大學（常設展出）
National Chung Cheng University獲獎 Awards
2022
全國百號油畫大展 第二名
National Large-sized Oil Paintings Exhibition – Second Prize2022
新北市美展 優選
New Taipei City Fine Arts Exhibition – Merit Award2022
桃源美展入選
Taoyuan Fine Arts Exhibition – Selected2021
宜蘭獎 入選
Yilan Awards – Selected2020 大墩美展優選
DADUN Fine Arts Exhibition of Taichung City – Merit Award2020 磺溪美展優選
HUANG SI ART EXHIBITION – Merit Award個展 Selected Solo Exhibitions
2025
「夢的翅膀」尹信方創作展，米馬羊藝術空間
Wings of Dreams – Yin Hsin Fang Solo Exhibition, Mi Ma Yang Art Space2025
「尋名造境」尹信方創作展，國立中正大學藝文中心
Searching for the Name, Creating the Realm – Yin Hsin Fang Solo Exhibition, Art Center, National Chung Cheng University2024
「尋找屬於自己的神話」，嘉義縣梅嶺美術館
Searching for One’s Own Myth，Chiayi County, Mei-Ling Fine Arts Museum2023
「戀戀思培斯」尹信方創作展，台南美術館
Love in Space – Yin Hsin Fang Solo Exhibition，Tainan Art Museum2021
「思培斯・城市記憶」尹信方創作展，國父紀念館
SPACE CITY MEMORY – Yin Hsin Fang Solo Exhibition
National Dr. Sun Yat-sen Memorial Hall2019
「尹信方・思培斯」創作個展，台南市文化中心
YIN HSIN FANG SPACE – Solo Exhibition, Tainan Cultural Center2019
「我是誰＝我是我」尹信方創作展，屏東美術館
Who Am I = I Am Me – Yin Hsin Fang Solo Exhibition, Pingtung Art Museum

慧眼系列 - 2, 3, 4 Eye of Insight, 2022
壓克力彩, 油彩, 畫布 Acrylic, oil on canvas, 72.5×53cm

「慧眼」系列作品，源於對生命短暫與存在意義的思考。人生如同一個個 閃耀的泡影，在有限的時間中努力綻放自身的光彩，既美麗又稍縱即逝。畫面 中層層堆疊的圓形結構，如漂浮、生成與消散的生命軌跡，逐漸幻化為宇宙般 深邃的星空背景，使微小的個體經驗與浩瀚的宇宙秩序在同一視覺空間中交織，形成一種介於現實與想像之間的精神場域。在「慧眼」系列中，觀看被轉化為一種內在覺察的象徵。畫面反覆出現的眼、階梯與拱形空間，如同通往不同層次的入口，指向人持續向內行走的精神歷程。眼睛象徵洞見與自我理解，階梯與拱門則暗示通往未知的通道，使觀者在觀看與被觀看之間，重新思考自身在世界中的位置與存在。作為女性藝術家，尹信方將創作視為一段持續探索自我與世界關係的旅程。在生命經驗與文化記憶的交織之中，觀看逐漸成為一種溫柔而堅定的力量，使人得以在變動與不確定之中仍然追隨心中的光。透過抽象且具空間感的視覺語彙，作品試圖構築一個開放而沉靜的精神空間，引導觀者在短暫與永恆之間，感受覺察、信念與勇敢前行的力量。This series Eye of Insight series, originates from reflections on the fleeting yet luminous nature of life. Human existence resembles shimmering bubbles—brief yet radiant moments that unfold within the limited span of time.
The layered circular forms in the paintings suggest trajectories of emergence, suspension, and dissolution, gradually transforming into a cosmic field reminiscent of a star-filled universe. Within this visual space, the minuteness of individual life and the vastness of the universe coexist, forming a poetic realm that oscillates between reality and imagination.In the Eye of Insight series, seeing becomes a metaphor for inner awareness. Recurring motifs such as eyes, stairways, and arched passages function as symbolic thresholds that guide viewers through different layers of perception. The eye represents insight and self-recognition, while stairways and arches evoke pathways leading
toward deeper introspection.As a female artist, she regards artistic practice as an ongoing exploration of the relationship between the self and the world. Through an abstract and spatial visual language, the works construct a contemplative environment that invites viewers to reflect on existence, encouraging a quiet awareness of transience, belief, and the courage to move forward.

江心靜

Hsin-Ching Chiang

當代藝術家、作家。1970 年生於台中。上海視覺藝術學院・當代水墨藝術研究院特聘研究員。中國美術學院・跨媒體藝術學院高研班畢。江心靜是一位具備深厚文學底蘊與跨領域背景的當代藝術家。她曾沈浸於台北故宮博物院四年研究古典美學，並以三年時間完成單車環球壯遊，出版十餘本著作。這些橫跨五大洲的獨特生命經驗，賦予其創作宏觀的歷史視野與深刻的人文關懷。受現代水墨之父劉國松啟發，並深入研究法國哲學巨擘斯蒂格勒（Bernard Stiegler）的技術哲學，江心靜的藝術實踐融合了水墨書藝、文本寫作與行為藝術。她敏銳觀察數位時代下的「時間意識」與「記憶」變遷，透過跨媒材的轉譯，創造出具備冥想特質的當代場域。其代表作品〈思網系列〉以獨特的松針筆觸與流淌性線條著稱；〈海洋心象系列〉是身體感知的史詩；〈道隱系列〉則是書寫性與「道」的當代轉譯。而參與式行為藝術《為你奉茶》則結合東亞茶文化與裝置，透過「看不見的茶湯」將情感源起昇華為跨越時空的社會雕塑。江心靜的作品活躍於國際藝壇，近期個展包括日本京都京瓷美術館(2025）、佛光緣美術館台中(2025），並受邀於法國巴黎史瓦哲畫廊、東京久屋大通畫廊(2026)和台北藝術博覽會(2026)參展。她曾獲台灣美術新貌獎、全國美術展等多項殊榮，作品被收錄於台灣康軒版國小藝術課本。其創作廣受公私立機構典藏，包括台北市立圖書館總館、佛光緣美術館、上海大零號灣圖書館及亞洲、歐美私人收藏。個展
• 2026：江心靜 × Audi 藝術跨界展「扭轉乾坤」，Audi 台中展示中心，台中，台灣。
• 2025：一朵雲的行進——江心靜創作發表展，京都市京瓷美術館，京都，日本。
• 2025：星海雲瀑——2025 江心靜創作展，佛光緣美術館，台中，台灣。聯展與藝術博覽會
• 2026：跨越之聲：從島嶼綻放的女性藝術，史瓦哲畫廊 (Galerie Choiseul)，巴黎，法國。
• 2026 東京大都會藝術展：會員聯展, 孔雀畫廊, 東京
• 2025：台北國際藝術博覽會 (ART TAIPEI)，台北世界貿易中心，台北，台灣。
• 2024：威尼斯國際藝術展——穿越邊界的誘惑，阿爾布里齊宮 (Palazzo Albrizzi)，威尼斯，義大利。
• 2023：寶島情緣——台灣名家邀請展，藝術香港空間，香港。獎項與榮譽
• 台灣美術新貌獎，台灣。
• 全國美術展入選，台灣。
• 全球水墨畫大展，香港。
• 作品收錄於國小藝術與人文教科書，康軒文教事業，台灣。公共收藏
• 台北市立圖書館，台北，台灣。
• 佛光緣美術館，台灣。
• 上海大零號灣圖書館，上海，中國。
• 私人收藏遍及亞洲、歐洲及美國。文學貢獻
• 著有十餘本書籍，記錄其跨越五大洲、四十國的全球文化見聞與單車環球旅程。Chiang is a contemporary artist and writer whose interdisciplinary practice is grounded in a profound literary background. She spent four years studying the collection at the National Palace Museum in Taipei and undertook a three-year cycling journey around the world, publishing more than ten books along the way. These experiences across five continents have endowed her work with a panoramic historical perspective and deep humanistic sensibility. Guided by modern ink master Liu Kuo-sung and shaped by her studies in the philosophy of technology under Bernard Stiegler, Chiang integrates ink painting, calligraphy, text, and performance. Her work attends to transformations in temporal consciousness and memory in the digital era, creating meditative spaces through cross-media translation.Her iNetwork Series is noted for its innovative pine-needle brushwork and flowing lines; The Ocean in My Heart Series unfolds as an epic of embodied perception; and The Hidden Way Series offers a contemporary articulation of calligraphic inscription and the Dao. Her participatory performance For You, I Offer Tea combines East Asian tea culture and installation art. Through the ritual of offering “invisible tea,” it transforms an intimate emotional origin into a form of social sculpture that bridges time and space.Chiang has exhibited nationally and internationally. Recent solo exhibitions include the Kyoto City KYOCERA Museum of Art (2025) and Fo Guang Yuan Art Gallery Taichung (2025); she has been invited to exhibit at Galerie Choiseul in Paris , at Hisaya-odori Gallery in Tokyo (2026) and Art Taipei: Taipei International Art Fair (2026). She has received numerous awards, including the Taiwan Emerging Art Awards and the National Art Exhibition Award. Her work is featured in primary school art textbooks in Taiwan. Chiang’s creations are held in various public and private collections, including the Taipei Public Library, Fo Guang Yuan Art Gallery, Shanghai Grand Neobay Library, and private collections across Asia, Europe, and the US.SOLO EXHIBITIONS
• 2026 Chiang Hsin-Ching × Audi Art Crossover Exhibition-Turning the Tide, Audi Taichung Showroom & Service Center. Taichung. Taiwan.
• 2025: The Journey of a Cloud-Solo Exhibition by Chiang Hsin-Ching
, Kyoto City KYOCERA Museum of Art, Kyoto, Japan
• 2025: Starry Sea , Cloud Water fall — 2025 Chiang Hsin-Ching Exhibition, Fo Guang Yuan Art Gallery, Taichung, TaiwanGROUP EXHIBITIONS & ART FAIRS
• 2026: Voices Beyond Borders: Women’s Art from an Island in Bloom, Galerie Choiseul, Paris, France
• 2026 Art Cosmopolitan 2026 Tokyo - Membership Group Exhibition, Gallery Kujaku, Tokyo, Japan
• 2025 ART TAIPEI - Taipei International Art Fair, Taipei World Trade Center, Taipei,Taiwan.
• 2024 Venice International Art Exhibition-The Temptation to Transcend Boundaries, Palazzo
Albrizzi, Venice, Italy.
• 2023 Taiwan Affection – Invitational Exhibition by Renowned Taiwanese Artists . Art Hong
Kong Space. Hong Kong.AWARDS & HONORS
• Taiwan Emerging Art Awards, Taiwan
• National Art Exhibition Award, Taiwan
• Ink Global Exhibition, Hong Kong
• Work featured in primary school art textbooks, Kang Hsuan Educational Publishing, TaiwanPUBLIC COLLECTIONS (SELECTED)
• Taipei Public Library, Taipei, Taiwan
• Fo Guang Yuan Art Gallery, Taiwan
• Shanghai Grand Neobay Library, Shanghai, China
• Private collections across Asia, Europe, and the United StatesLITERARY CONTRIBUTIONS
• Author of over ten books documenting global cultural encounters and cycling journeys across forty countries and five continents.

Email: [email protected]

<海洋心象>系列 - 臨界之潮, 2025
水墨設色紙本 Ink and color on paper, 69 × 69 cm

臨界之潮之ㄧ以礦物藍、煙墨與鈦白反覆疊染，讓水勢在紙面滲透、回旋與停頓，呈現控制與偶然之間的張力。作品不描繪具象海景，而提取潮汐生成與消逝的節奏，將自然的波動轉化為冥想的視覺場域，象徵外在世界與內在情緒的交會臨界。臨界之潮之二運用礦物藍、煙墨與鈦白層層疊染，紙張經水氣浸潤後呈現自然起伏的肌理。顏料隨水勢滲透、逆流、回旋，形成介於控制與偶然之間的流動結構。畫面中隱約可見的筆勢與飛白，宛如海潮在風中翻湧，延伸藝術家對「臨界」的思考——水墨不再是靜態媒材，而是變動中的生命體。Ocean in My Heart Series _ Critical Tide I
Through repeated layers of mineral blue, soot ink, and titanium white, the flow of water permeates, swirls, and pauses on the paper,manifesting a profound tension between control and chance. Rather than depicting a figurative seascape, the work distills the rhythm of tides rising and receding, transforming natural undulations into a meditative visual field—a symbol of the critical threshold where the external world converges with internal emotions.Ocean in My Heart Series_Critical Tide II
Utilizing layered washes of mineral blue, soot ink, and titanium white, the paper reveals a natural, undulating texture born from the infiltration of moisture. Pigments permeate, backflow, and vortex with the water, forming a fluid structure between control and spontaneity. Faint brushstrokes and feibai (flying white) appear like sea tides surging in the wind, extending the artist's contemplation on the "critical threshold"—where ink and wash are no longer static media, but living entities in constant flux.

黃沛瀅

Pei-Ying Huang

黃沛瀅是一位橫跨美術館展覽、當代雕塑與大型公共藝術的藝術家。她長期關注結構中微小而常被忽略的單元，並將瓦楞紙、不鏽鋼華司等工業材料，轉化為帶有孔洞、蔓延與流動感的有機雕塑語彙。從早期裝置作品到逾二十年的公共藝術實踐，她持續在不同尺度與場域中探索生命形態、空間生成與感知經驗之間的關係。學歷
2022 國立臺北藝術大學美術創作 碩士
1999 東海大學美術創作 學士重要獲獎
2024 文化部第九屆公共藝術獎｜管理維護獎
2020 文化部第七屆公共藝術獎｜民眾參與獎
2018 文化部第六屆公共藝術獎｜環境融合獎
2011 全國美術展｜雕塑類金牌獎（國立臺灣美術館）
2007 第五屆台新藝術獎｜年度五大視覺藝術（入圍）
2006 臺北美術獎｜首獎（台北市立美術館）重要個展
2022 《相由心生》佛光緣美術館台中館，臺灣
2020 《靜水流深》國立清華大學藝術中心，新竹
2016 《流．銀川》銀川當代美術館，中國
2014 《Mapping – Naha》沖繩當代藝術中心，日本
2010 《流．高雄》高雄市立美術館，臺灣
2006 《自遊．自在》台北市立美術館，臺灣公共藝術與典藏
近二十年完成六十餘件大型公共藝術作品，設置於城市、校園與公共建築空間，展現其駕馭
空間尺度，並以雕塑回應社會結構與公共對話的能力。
作品典藏機構包含：國立臺灣美術館｜ 國立臺灣博物館｜銀川當代美術館（中國）
高雄市立美術館｜建德市人民政府（中國）Huang Pei-Ying is an artist whose practice spans museum installations, contemporary sculpture, and large-scale public art. She focuses on small and often overlooked structural elements, transforming industrial materials such as corrugated cardboard and stainless-steel washers into an organic sculptural language defined by perforation, expansion, and flow. From early installation works to more than two decades of public art practice, she has continuously explored the relationships among living form, spatial generation, and embodied perception across different scales and sites.Education
2002 MFA, Taipei National University of the Arts
1999 BFA, Tunghai UniversitySelected Awards
2024 Ministry of Culture Public Art Award – Management & Maintenance, Taiwan
2020 Ministry of Culture Public Art Award – Public Partcipation, Taiwan
2018 Ministry of Culture Public Art Award – Environmental Integration, Taiwan
2011 National Art Exhibition – Gold Prize (Sculpture), National Taiwan Museum of Fine Arts
2007 Taishin Arts Award – Visual Arts Finalist
2006 Taipei Art Award – Grand Prize, Taipei Fine Arts MuseumSelected Solo Exhibitions
2022 The Mind Shapes the Form Fo Guang Yuan Art Gallery, Taichung, Taiwan
2020 Still Waters Run Deep National Tsing Hua University Art Center, Taiwan
2016 Flow · Yinchuan Yinchuan Museum of Contemporary Art (MOCA), China
2014 Mapping – Naha Okinawa Contemporary Art Center, Japan
2010 Flow · Kaohsiung Kaohsiung Museum of Fine Arts, Taiwan
2006 Free and at Ease Taipei Fine Arts Museum, TaiwanPublic Art & Collections
Over 60 permanent public art commissions completed in the past two decades across cities,
universities, and public infrastructures, demonstrating a mastery of spatial scale and sculptural engagement with social structures and public dialogue.Collections include:
National Taiwan Museum of Fine Arts, National Taiwan Museum, Yinchuan Museum of Contemporary Art (China) , Kaohsiung Museum of Fine Arts, Jiande Municipal Government (China)

《海潮之聲》Echo of the Tide, 2026
不鏽鋼華司 Stainless-steel washers, 58 × 38 × 25 cm

《海潮之聲》以不鏽鋼華司為媒材，透過細密而反覆的手工堆疊，形成如潮汐般推進與迴旋的有機形體。原本作為工業結構中微小且易被忽略的零件，在作品中被轉化為具有生命感的雕塑語言。中央孔洞如同聲音與氣息的通道，也成為記憶、能量與感知流動的入口。這件作品既是一件可被近距離觀看的獨立雕塑，也保留了向更大空間延展的可能。

Echo of the Tide is composed of stainless-steel washers, meticulously layered by hand into an organic form that evokes the surge and swirl of tides. Elements originally used as small and often overlooked components within industrial structures are transformed here into a sculptural language of vitality. The central void functions as a passage for sound and breath, while also suggesting an opening for memory, energy, and sensory flow. The work stands as an independent sculpture to be experienced at close range, while retaining the potential to expand into a larger spatial form.

陳香伶

Hsiang-Ling Chen

台灣美術院院士
台南應用科技大學美術系專任副教授
國立成功大學建築系兼任副教授1969 出生於臺灣臺南
1991 台北國立臺灣師範大學美術系美術學士
1997 美國紐約普拉特藝術學院美術碩士展歷
2025「2025 Bank Art Fair 首爾藝術博覽會」，SETEC 會議中心，南韓首爾
2025「維度綻放－Art Capital 2025 巴黎首都藝術比較沙龍展」，巴黎大皇宮，法國巴黎
2023「百年再啟」2023年台灣美術院院士大展，師大美術館，臺北
2023「播種者」2023台灣美術院院士大展，高雄市立美術館，高雄
2022「SHERO：臺灣當代女性藝術展」，臺南市美術館2 館，臺南獲獎
1999 第十一屆奇美藝術獎
1994 第六屆奇美藝術獎
1990 第四十五屆全省美展油畫第一名典藏
台中國立臺灣美術館、台南奇美博物館、台北國立國父紀念館、臺南市美術館Academician of Taiwan Academy of Fine Arts
Full-time Associate Professor, Department of Fine Arts, Tainan University of Technology
Adjunct Associate Professor, Department of Architecture, National Cheng Kung UniversityBorn
1969, Tainan, TaiwanEducation
1991 — BFA, Department of Fine Arts, National Taiwan Normal University, Taipei, Taiwan
1997 — MFA, Pratt Institute, New York, USAExhibitions
2025 — “2025 Bank Art Fair Seoul,” SETEC Convention Center, Seoul, South Korea
2025 — “Dimensions in Bloom –Salon Comparisons, Art Capital 2025 ,” Grand Palais, Paris, France
2023 — “Glory of the Century” 2023 Academician Exhibition of Taiwan Academy of Fine Arts, NTNU Art Museum, Taipei, Taiwan
2023 — “Sowers,” 2023 Academician Exhibition of Taiwan Academy of Fine Arts, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2022 — “SHERO: Taiwan Contemporary Women Artists,” Tainan Art Museum, Tainan, TaiwanAwards
1999 — 11th Chimei Arts Award
1994 — 6th Chimei Arts Award
1990 — First Prize, Oil Painting, 45th Taiwan Provincial Fine Arts ExhibitionCollections
Works are collected by:
- National Taiwan Museum of Fine Arts
- Chimei Museum, Tainan, Taiwan
- National Dr. Sun Yat-sen Memorial Hall
- Tainan Art Museum

戀戀紅塵 Love of the Worldly Life, 2025
油彩、亞麻布 Oil on canvas, 72.5 × 91cm

纏綿 Lingering Love, 2026
油彩、亞麻布 Oil on canvas, 80 x 65 cm

陳香伶的畫作色調艷麗、濃稠而厚重，傳達出對入世生命的濃烈愛戀。最常出現的是濃得化不開的紅色，紅色是最熱情、是最激情，也是最危險的警示顏色。「紅顏」指的是女性，是父權體制下、漫漫歷史長河裡必須攀附方能生存的最弱勢，同時卻也擁有足以顛覆局勢的逆轉能力，讓衝冠一怒為紅顏。畫中所現都是女性的骨董衣飾，頂級綢緞布料，面繡細緻圖案，豔麗奪目的花團錦簇，美得令人驚嘆，那是千百年累積的產物，猶似千百年累積建構的父權體系，綿密而堅實、難以突破。現在這些女性的骨董衣飾被置於畫面的正中，是被精細繪製的主角，是被觀者目光聚集的焦點，然而，衣飾不穿戴在人身，卻隨意揉捏、隨意擺置，「褪去」一身的千百年來所累積的華麗傳統，將之丟棄後才適以生成新的生命，隱隱透露著女性受到父權壓力下終於展現與之抗辯的反作用力。意欲「褪去」一身華麗，將之「揉捏」產生縫隙，所需要的是對生命烈愛所凝聚生出的巨大勇氣，所有的希望、所有的可能，都來自「愛」的追求，這股對自我生命的愛如此強烈，才在被拋擲入世的偶發被動性中，生出主動性新的可能希望，陳香伶筆下的女性，在滾滾紅塵中戀戀追求，創造出被拋擲入世的烈愛生命。Chen Hsiang-Ling’s paintings are characterized by vivid, dense, and heavy tones that convey a passionate love for worldly life. The most prominent color is an intense red that seems almost impossible to dissolve. Red is the color of passion and fervor, but it is also the color of danger and warning. The term “hongyan” (literally “beautiful woman”) refers to women—those who, within the long course of patriarchal history, have often been among the most vulnerable, needing to rely on others in order to survive. Yet at the same time, they possess the power to overturn circumstances, inspiring the saying that one might “rise in fury for the sake of a beauty.”The painting depicts antique garments belonging to women. They are made of the finest silk fabrics and embroidered with delicate patterns. Their dazzling floral ornamentation is breathtaking in its beauty. These garments are the result of centuries of accumulation, much like the patriarchal system itself—constructed over long stretches of history, dense and solid, difficult to break through. In the painting, these antique garments are placed at the center of the composition. They are meticulously rendered as the protagonists and become the focal point of the viewer’s gaze. Yet they are not worn by a body; instead, they are casually kneaded and loosely arranged. By “shedding” the layers of splendor accumulated over centuries and discarding them, the possibility of new life can emerge. This subtly reveals the counterforce through which women, long subjected to patriarchal pressure, finally begin to resist and respond.To “shed” the splendor and “knead” it into folds that create openings requires immense courage born from a profound love of life. All hope and all possibilities arise from the pursuit of love. It is precisely this powerful love for one’s own life that transforms the accidental, passive condition of being thrown into the world into a source of new, active possibilities. The women in Chen Hsiang-Ling’s paintings persistently pursue their desires within the rolling currents of the mortal world, creating a passionate life of love within the very condition of being cast into existence.

莊彩琴

Tsai-Chin Chuang

出生於台灣彰化縣
1984 國立台灣師範大學美術系畢業
2017教育部師鐸獎
2022 高雄市資深優良教師 全國資深優良教師 特等服務獎章
個展11次
國內聯展270次以上國際參展
2026 法國 巴黎史瓦哲畫廊（Galerie Choiseul）台灣女性藝術協會
2025 台北 篳蘿國際藝術交流展 台北國際會議中心（TICC）
2025 澳洲 台澳藝術交流展-澳洲布里斯本-台灣中心
2025 大陸廈門 海絲路繪畫藝術展-水映天地 -大陸廈門市海滄區文化館
2024 印尼巴里島 Art in Paradise Arma Gallery
2024 韓國光州國際國際女性藝術聯展
2023 印尼日惹“JOURNEY OF FRIENDSHIP” INTERNATIONAL WOMEN
2021 韓國光州「 With Myanmar 」韓國國立全南大學前主大樓
2021 台北 台日藝術博覽會 台北松山文創園區4號倉庫
2020 馬來西亞檳城A BETTER TOMORROW 藝術節
2019 俄羅斯莫斯科藝術中心 IWAF國際女性藝術家聯展
2019 越南胡志明市國際藝術交流展
2018 泰國"宋卡王子大學"PSU藝廊第10 屆國際女性藝術家友誼展
2017 馬來西亞喬治城藝術節Internation Women's Art Festival
2017 義大利 57屆威尼斯雙年展衛星展-義大利Palazzo Albrizzi,Venezia-
2016 印度加爾各答7th國際ART MEET Club at stadel salt lake Kolkata
2016 韓國光州第五屆國際國際女性藝術聯展
2016 台灣高雄IWAF國際女性藝術聯展 高雄市文化中心至真一.二.三館
2015 馬來西亞檳城Penang State Museum 國際女性藝術家聯展
2014 蒙古國烏蘭巴托Mongolian National Art Gallery IWAF國際女性藝術聯展Education
Graduated from the Department of Fine Arts, National Taiwan Normal UniversityAwards
2017 Ministry of Education Teacher's Award
2022 Kaohsiung City Senior Excellent Teacher, National Senior Excellent Teacher, Special Service MedalSolo Exhibitions 11 timesDomestic Group Exhibitions Over 270 timesInternational Exhibitions
2026 France, Paris, Galerie Choiseul, Taiwan Women's Art Association
2025 Australia, Taiwan-Australia Art Exchange Exhibition - Brisbane, Australia - Taiwan Center
2025 Mainland China, Xiamen, Maritime Silk Road Painting Art Exhibition - Water Reflection World - Xiamen Haicang District Cultural Center
2024 Indonesia, Bali, Art in Paradise, Arma Gallery
2024 South Korea, Gwangju International Women's Art Exhibition
2023 Indonesia, Yogyakarta, "JOURNEY OF FRIENDSHIP" INTERNATIONAL WOMEN
2021 South Korea, Gwangju, "With Myanmar", Former Main Building of Chonnam National University
2020 Malaysia, Penang, A BETTER TOMORROW Art Festival
2019 Russia, Moscow Art Center, IWAF International Women Artists Exhibition
2019 Vietnam, Ho Chi Minh City International Art Exchange Exhibition
2018 Thailand, Prince of Songkla University, PSU Gallery, 10th International Women Artists Friendship Exhibition
2017 International Women's Art Festival, Georgetown, Malaysia
2017 Satellite Exhibition of the 57th Venice Biennale, Italy - Palazzo Albrizzi, Venezia
2016 7th International Art Meet Club at Stadel Salt Lake Kolkata, India
2014 International Women's Art Exhibition at the Mongolian National Art Gallery, Ulaanbaatar, Mongolia

她們各自表述 Each Statement, 2025
油彩於夾板 Oil on plywood, 40x40cmx4張,

這是ㄧ組四件小品組成的作品之ㄧ每件小品各有ㄧ位不同站姿的女人形象，背景是台灣建築，類似的色彩她們訴說著不同女人的故事記憶與經驗。總是叨叨不停日日夜夜，用話語用心思用靈光，對著他者或自言自語，來自記憶與經驗，是形式是風格是色彩是光影，有些含糊有些卻清冽如刃，閃過不同時間如走馬燈快速移動，迴轉疊加或輕輕飄落，像是發洩衝動或只是眷戀情緒毫無意義，攪和混亂漫天飛舞，終究落入虛白畫布大地｡Words and thoughts drift between self and other,nsome sharp, some obscure, swirling, dispersing, all returning to the same ground: the empty clarity of the white canvas.

穿過時間的隙縫，飛越山巔海角，尋訪山水間記憶深處，那個曾經璀璨豐饒綠意繁華的角落，而今卻有些冷卻衰頹與荒蕪，只剩堅守的老者，笑談生命的過往，幾分追憶與嘆息中， 微光依舊在。

山海經 Classic of Mountains and Seas, 2025
油彩於夾板 Oil on plywood ,40 x 80 cm

本作以藍為基調，層疊筆觸與流動顏料生成介於具象與抽象之間的山水。山形、水域與聚落若隱若現，在模糊與辨識之間展開想像的場域。兩幅作品一靜一動，如同同一片風景在不同心境與時間中的顯影。In blue tones, layered brushstrokes and flowing pigment form a landscape between figuration and abstraction. Mountains, waters, and settlements emerge and dissolve, creating a space for memory and imagination. Two works—one still, one fluid—reveal the same landscape across shifting moments of mind and time.

賴純純

Jun T. Lai

賴純純畢業於日本多摩美術大學藝術學院並獲碩士學位，長期參與國際藝術家交流計畫。其創作橫跨繪畫、雕塑、空間裝置、觀念行動與公共藝術等領域。自2000年起，她以「仙境」作為核心創作主軸，延展至青春、島嶼、海洋等重要母題，逐步發展出以場所、感知與臺灣主體性為核心的獨特美學語彙。賴純純曾獲第39屆吳三連獎，為臺灣女性藝術協會創會理事長，並創立 SOCA 當代藝術場域及財團法人台東縣賴純純藝術文化基金會。重要個展
2026 《光成為海：作品作為場》，臺東美術館，臺東，臺灣
2025 《黑潮：賴純純回顧展》，臺北市立美術館，臺北，臺灣
2020 《奇花仙境：倫敦城市雕塑展行前展》，高雄市立美術館，高雄，臺灣
2018 《仙境：賴純純個展》，輕井澤新藝術美術館，長野，日本
2017 《賴純純：仙境》，國立臺灣美術館，臺中，臺灣
2009 《心．之間：存在與變化》，臺北當代藝術館，臺北，臺灣重要聯展
2024 《2024 亞洲當代雕塑展》，福岡亞洲美術館，福岡，日本
2024 《珍珠：南方視野的女性藝術》，高雄市立美術館，高雄，臺灣
2023 《狂八〇：跨領域靈光出現的時代》，臺北市立美術館，臺北，臺灣
2022 《愛麗絲夢遊仙境：夜行生物》，倫敦，英國
2021 《所在：境與物的前衛藝術 1980–2021》，國立臺灣美術館，臺中，臺灣重要公共藝術
2024 〈第一道曙光〉，南迴公路，大武，臺灣
2023 〈t. Hup 宇宙花園〉，宏匯瑞光廣場，臺北，臺灣
2018 〈臺中之心〉，臺中車站，臺中，臺灣
2015 〈海天之心〉，高雄國際機場，高雄，臺灣
2009 〈空中之河〉，捷運南港展覽館站，臺北，臺灣獎項／計畫
2025  獲邀「2025 EXPO 大阪關西世界博覽會公共藝術計畫」，大阪，日本
2022  獲邀「東和鋼鐵國際藝術家駐廠創作計畫」，財團法人東和鋼鐵文化基金會，臺灣
2021  參與「第十、十一屆倫敦城市雕塑展 Sculpture in the City」，英國倫敦
2018  環境融合獎，「第六屆公共藝術獎」，中華民國文化部
2016  藝術創作獎，「第五屆公共藝術獎」，中華民國文化部
2012  卓越獎，「第三屆公共藝術獎」，中華民國文化部
1986  首獎，「現代雕塑」，臺北市立美術館，臺北，臺灣典藏
臺北市立美術館、高雄市立美術館、台灣創價美術館、國立臺灣美術館、白兔美術館、玉山
銀行、臺東美術館、原美術館、桂林愚自樂園國際雕塑園區Jun T. Lai graduated from Tama Art University, Japan, with a master’s degree in art, and has long participated in international artist exchange programs. Her multidisciplinary practice spans painting, sculpture, installation, conceptual action, and public art. Since 2000, she has developed Wonderland as a central creative axis, extending it into recurring themes such as youth, islands, and the ocean. Through these explorations, she has established a distinctive aesthetic language centered on place, perception, and Taiwanese subjectivity. Lai is the recipient of the 39th Wu San-Lien Award, founding chair of the Taiwan Women’s Art Association, and founder of SOCA Contemporary Art Site and the Lai Jun-Tsuen Art and Culture Foundation, Taitung County.Selected Solo Exhibitions
2026   Light Becoming Sea: The Work as Field, Taitung Art Museum, Taitung, Taiwan
2025   Kuroshio (Black Current): Jun T. Lai Retrospective, Taipei Fine Arts Museum, Taipei, Taiwan
2020   Wonderland: Pre-Departure Exhibition for Sculpture in the City, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2018   Wonderland: Jun T. Lai Solo Exhibition, Karuizawa New Art Museum, Nagano, Japan
2017   Jun T. Lai: Wonderland, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2009   Heart • In Between: Being and Transformation, MOCA Taipei, Taipei, TaiwanSelected Group Exhibitions
2024   2024 Asian Contemporary Sculpture Exhibition, Fukuoka Asian Art Museum, Fukuoka, Japan
2024   Pearls: Women’s Art from a Southern Perspective, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2023   The Wild Eighties: Dawn of Transdisciplinary Practices in a Transforming Age, Taipei Fine Arts Museum, Taipei, Taiwan
2022   Alice in Wonderland – Nocturnal Creatures, London, United Kingdom
2021   Where We Are: Avant-Garde Art Between Environment and Objects, 1980–2021, National Taiwan Museum of Fine Arts, Taichung, TaiwanSelected Public Art Commissions
2024   First Light of Dawn, South-Link Highway, Dawu, Taiwan2023 | t. Hup: Cosmic Garden, Honhui Ruiguang Plaza, Taipei, Taiwan
2018   Heart of Taichung, Taichung Station, Taichung, Taiwan
2015   Heart of Sea and Sky, Kaohsiung International Airport, Kaohsiung, Taiwan
2009   River in the Sky, Nangang Exhibition Center Station, Taipei, TaiwanSelected Awards / Projects
2025   Expo Osaka, Kansai, Japan – Public Art Project, Osaka, Japan
2022  Tung Ho Steel International Artist-in-Residence Program, Taiwan
2021   The 10th & 11th Editions of Sculpture in the City, London, United Kingdom
2018   Environmental Integration Award, The 6th Public Art Awards, Taiwan
2016   Art Creation Award, The 5th Public Art Awards, Taiwan
2012   Excellence Award, The 3rd Public Art Awards, Taiwan
1986   First Prize, Modern Sculpture, Taipei Fine Arts Museum, TaiwanCollections
Taipei Fine Arts Museum; Kaohsiung Museum of Fine Arts; Taiwan Soka Museum of Art; National Taiwan Museum of Fine Arts; White Rabbit Gallery; E.SUN Bank; Taitung Art Museum; Hara Museum; Yuzi Paradise International Sculpture Park; City of Sacramento.

《光在深處》系列 Light in the Depths （Series), 2026
複合媒材 Mixed media on mirrored panel, 30 x 40cm

在透明色層的穿透與沉積之間，光不再停留在表面，而是沿著密度、時間與反射，進入更深的觀看層次；作品因此成為一個會因環境而變動的「深處之場」。本作品被視為一個「生成的場 - field of emergence」，而非僅止於一個完成的物件。作品的形成來自於作品本體、空間、光線、觀者與時間之間的相互作用，使形式在關係之中逐步浮現。透過材質／結構／光學／空間條件，作品不再固定於單一視角，而是在觀看與移動中持續變化。觀者在此不只是觀看者，而是生成過程中的一個因素，使作品在每一次被經驗時，都呈現出不同的狀態。Through the penetration and accumulation of transparent chromatic layers, light no longer resides solely on the surface, but moves inward through density, duration, and reflection, entering deeper levels of perception. The work therefore constitutes a “field of depth” that continuously shifts in relation to its surrounding environment.This work is conceived as a field of emergence rather than as a self-contained, completed object. Its formal articulation arises through the reciprocal interactions among the work itself, space, light, the viewer, and time, allowing form to emerge progressively through relational processes. Through its material, structural, optical, and spatial conditions, the work resists fixation within a single viewpoint; instead, it remains open to continuous transformation through acts of viewing and bodily movement.Within this framework, the viewer is not positioned merely as an external observer, but as an active element within the generative process. Each encounter thus produces a distinct configuration of appearance, in which perception, relation, and temporality become integral to the work’s unfolding.

賈瑪莉

Ma-Li Chia

曾任
2015-至今 : 國立聯合大學 原住民專班 原住民工藝 編織工藝講師
2015-至今 : 台中清水眷村文化園區 駐村藝術家
2010-至今 : 米羅室內樂集 執行
2015-2024 : 台灣工藝發展協會 會員
2017-2026 : 台灣女性藝術協會 會員
2004-2015 : 國立台灣工藝研究發展中心-約僱人員, 染織技藝創作教學
2013-2016 : 玄奘大學藝術與創意設計學系-印染設計、纖維藝術講師
2018-2019 : 嶺東科技大學服飾設計系-印染設計技術專業講師
2018-2020 : 弘光科技大學文創系-植物印染、纖維藝術講師技術專業講師
2015-2025 : 弦外織音藝術工作室 負責人
2015-2025 : 清水眷村文史工作室 負責人獲獎紀錄
2011 : 「超越渴望被看見」入選法國天然染色國際織品雙年展
2012 : 「路徑三部曲」入選傳承與創新展, 北京國際植物染藝術設計大展
2013 : 「巢.穴.窩.居」入選傳承與創新展, 北京國際植物染藝術設計大展
2014 : 「窺」入選浙江南通國際當代工藝美術雙年展策展紀錄
2001 : 台中縣眷村文化節「竹籬笆的春天」, 台中縣眷村文化局
2007 : 96工藝新樂園展「工藝種子 心手相連」, 國立台灣工藝研究發展中心
2008 : 97卓越人才培育展「創意生活展」, 國立台灣工藝研究發展中心
2011 : 102卓越研創營人才培育展覽「佇足。遊於藝」, 苗栗工藝研發館
2014 : 103眷村文物特色展<竹籬笆開門>, 臺中市文化局
2015 : 104眷村編織地圖, 臺中市文化局
2016 : 105眷村50年代老照片文件展「時光流逝 解密時代」, 臺中市文化局
2019 : 108眷村植物地圖, 臺中市文化局個人相關著作
2003 : 台中縣文化局 中縣文獻第十期-話說清水的眷村(專題)入選
2014 : 「超越。渴望被看見-2014賈瑪莉纖維藝術創作展」(專輯)
2016 : 小鹿藝廊-2016賈瑪莉纖維藝術創作展(專輯)
2017 : 「編織 五次連方」
2017 : 賈瑪莉纖維藝術創作展(專輯)纖維藝術展覽
2014 : 「窺」入選南通國際當代工藝美術雙年展, 浙江1895文化創意園區
2015 : 寶島台灣．經典工藝－生活美學篇聯展, 總統府藝廊
2016 : 春漾-賈瑪莉纖維創作展, 台北京華城百貨
2016 : 台中市纖維工藝博物館纖維<好好玩 >聯展, 台中市政府文化局
2016 : 台中市纖維工藝博物館臺韓天然染織國際交流展聯展, 台中市政府文化局
2017 : 放封/風台灣女性藝術家協會聯展, 台中市政府文化局
2017 : 小鹿藝廊駐校藝術家「為孩子。編織彩色人生」邀請展, 台中市沙鹿國小
2017 : 眷村文化節-賈瑪莉纖維藝術邀請展, 清水眷村文化園區
2017 : 2017賈瑪莉纖維藝術創作展「編織 五次連方」, 台中市立港區藝術中心
2018 : 清水眷村文化園區 「剪刀 石頭 布」裝置藝術展
2019 : 客委會海外客家行動灶下-美加巡迴展覽
2020 : 臺中清水眷村文化園區駐村藝術家
2021 : 台日國際藝術交流櫻華獎聯展, 台日國際藝術博覽會
2021 : 「創意 /再生 /綠工藝」聯展, 台北當代設計分館
2024 : 2024港區藝術中心纖維創作聯展, 台中市立港區藝術中心

Amour, 2023
日本紙線, 羊毛 Japanese paper yarn and wool, 80cm x 90 cm

原民（6件), 2023~2024
棉麻線 cotton and linen yarn, 3 x 350cm

選擇怎樣的線材、依照怎樣的織圖、織品的鬆緊樣貌或是自由創作，從小就欠缺美學栽培，設計織品吃了不少苦頭。數學不好，計算線束令人頭大，美術不好配色總是膽怯，沒學過幾何造型，立體感表現四不像。我的生命會轉彎，當大家執著於自己的工作目標汲汲營營的時候，總是會有妙不可言的機緣，使我接觸新的工作領域，在成為工藝人之前，我曾當過戰鬥機技術員、國小音樂老師、空軍基地補給員、眷村文化保存者、藝術展演義工、從歐洲慕夏到炎黃文化的導覽解說員。殊不知，一些機緣巧合下，又使我成為一位工藝創作者！曾經那麼渴望被看見，終於在人生的轉彎處，實現了自己的夢想，短短的展覽，更使我堅定自己的方向，在未來的創作之路，期許自己能如那破繭蝴蝶般自由遨遊飛翔於自己的創作世界。Lacking training in aesthetics at a young age, it is tough for me to design woven items, whether it’s about thread choices, following the types of weaving map, facets of the woven items as well as creative designs. I’m not great at math, calculations of the thread numbers bogs me down. I’m terrified at color coordination; I have not learnedabout geometry, so three-dimensional effects seem to be a bit off.My life took turns. When everyone was engrossed in their work goals, I always had miraculous opportunities that allowed me to be exposed to new work fields. Before becoming a craftsman, I was once a military aircraft technician, elementary school teacher, air force base employee, military dependents village preservation worker, arts festival volunteers, and tour guide from Europe to Yanhuang culture. Little did I know that by chance I became a craftsman again!I had once been eager to be seen. Finally at the turning point of my life I achieved my dreams. In the short exhibition, I became even more determined of my own direction. Looking ahead, I hope to break free from the cocoon and fly freely as a butterfly in my own creative world.

張裴舫

Pei-Fang Chang

張裴舫為台灣藝術家，台灣東海大學美術系藝術碩士，創作涵蓋平面繪畫與新媒體藝術。近年重要展歷
個展
2025『微光過隙』個展，亞書藝所，臺灣，台中市。
2025『回聲＆時間定格』雙個展，高雄市現代畫學會基地，臺灣，高雄市。
2025『人詩意棲居』張裴舫創作個展，東海大學藝術中心，臺灣，台中市。
聯展
2025『BANK Art Fair藝術博覽會』，韓國首爾江南SETEC展館，韓國，首爾市。
2025『ART FUTURE 藝術未來』藝術博覽會，台北君悅酒店，大苑藝術 ，臺灣，台北市。
2025《台灣當代女性藝術風華》聯展，台灣女性藝術協會Waa，臺灣，台北市，中正紀念堂。
2025『畫·映之間》聯展，隱藝術，臺灣，桃園市。
2025『小徑分岔的花園』，安成藝術中心，臺灣，高雄市。
2024『洄瀾之聲 — 破浪』聯展，花蓮文化創意產業園區，臺灣，花蓮市。
2024『超框架』聯展，高雄市現代畫學會基地，臺灣，高雄市。
2024 『相繫』女藝會聯展，白屋藝廊，臺灣，高雄市。
2023『堅韌之島』，高雄市現代畫學會，高雄市文化中心，臺灣，高雄市。
2023『 慢．蔓』藝術打嘴鼓聯展，六堆藝廊，臺灣，屏東縣。
2023『 畫藝之旅』，泊. 月白moonmist , 駁二藝術特區，臺灣，高雄市。
2023『 帶我去旅行』 ，輕映19藝術空間，臺灣，高雄市。
2022『時間未了』，雄崗美術館ART.COFFEE SPACE，臺灣，高雄市。
2022 『World Women’s Art Fes2val世界女藝滙流藝術祭 Love and Hope 』，台灣女性藝術協會，東部海洋管理處海洋藝廊，臺灣，台東市。
2022 『小軒窗』東海大學美術系第 39屆美展，台中市大墩文化中心大墩藝廊，臺灣，台中市。
2022 『衡山基金會慈善藝術畫作拍賣會』，高雄圓山飯店，臺灣，高雄市。
2021 『無窮的瞬間』當代女性藝術展， 台灣女性藝術協會 ，成大藝坊，臺灣，台南市。張裴舫來自台灣南方，其創作長期探索光、空間與存在痕跡之間微妙而流動的關係。成長於濕潤的南方環境，在不斷變化的光影與繁茂自然景觀之中，她逐漸培養出對氛圍與空間感知的敏銳感受。受到東方思想影響，尤其是「氣」這一流動於自然與生命之間的能量概念，張裴舫將繪畫視為一種將不可見節奏轉化為視覺形式的方式。透過層層堆疊的色彩、書寫性的筆觸與開放的空間結構，他的作品呈現出空間之中稍縱即逝的氣息與微妙張力。近年的創作系列如《回聲定位》與《超夢幻》，進一步探討光與裂縫作為存在與記憶的詩性痕跡。張裴舫的作品邀請觀者放慢腳步，進入一種沉靜而專注的觀看狀態，在其中感受感知、寂靜與生命節奏的細微流動。Pei-Fang Chang is a Taiwanese artist who holds an MFA in Fine Arts from Tunghai University, Taiwan. Her practice spans painting and new media art.Pei-Fang Chang is from southern Taiwan whose work explores the subtlerelationships between light, space, and traces of existence. Growing up in a humidsouthern landscape shaped by shifting light and dense vegetation, he developed a deep sensitivity to atmosphere and spatial perception.Influenced by Eastern philosophy, particularly the concept of qi—the vital energy flowing through nature and life—Chang approaches painting as a way to translate invisible rhythms into visual form. Through layered colors, gestural brushwork, and open spatial structures, his works evoke fleeting atmospheres and quiet tensions within space.Recent series such as Echo Location and Hyper Dream investigate light and fissures as poetic traces of presence and memory. Chang’s works invite viewers to slow down and inhabit a contemplative space, where perception, silence, and the subtle rhythms of existence can be felt.

超夢幻系列：＜筋斗雲＞ The Somersault Cloud, 2026
壓克力彩、畫布 Acrylic on canvas，72.5 x 60.5 cm

我常在畫布上想像雲如何誕生。那些藍色的氣息在畫面中緩慢聚集，又悄悄散開。它們像是一種在空間裡流動的氣。當筆觸在畫面上滑過，雲霧便在層層色域之間慢慢浮現，如同呼吸一般，時而凝聚，時而消散。畫面下方翻湧的雲形，部分靈感來自東方神話中孫悟空所駕馭的「筋斗雲」。在傳說裡，筋斗雲象徵一種能瞬間跨越天地的力量與自由。對我而言，它更像是一種內在的願望——在不穩定的世界之中，仍然試圖凝聚自身的能量，尋找突破與飛躍的可能。I often imagine how clouds come into being on the canvas. These blue currents gatherslowly, then quietly disperse, resembling a form of breath moving through space. Asthe brush glides across the surface, mist begins to emerge between layered fields ofcolor—like breathing—condensing and dissolving in turn.The surging cloud form in the lower part of the painting draws, in part, from the Somersault Cloud of Sun Wukong in Eastern mythology. In the legend, it signifies a power that can traverse heaven and earth in an instant—a force of freedom and boundless movement. For me, it is closer to an inner desire: within an unstable world, a persistent attempt to gather one’s own energy, to seek a moment of rupture, and the possibility of flight.

回聲定位 Echo Location, 2026
壓克力彩、畫布 Acrylic on canvas, 72.5 x 60.5 cm

我試著在畫布上傾聽空間。那些如雲霧般流動的灰藍氣息，像是一種在世界與宇宙之間緩慢生成的氣。筆觸在畫面上滑過，如同氣流在空氣中留下短暫的軌跡，使空間在微弱的運動之中逐漸展開。畫面中的紅色椅子，是我在這片氣息之中留下的一個位置。它既像停留，也像等待。當雲霧流動，空間出現細微的裂縫，我開始意識到，人或許始終在這樣的裂縫之中尋找自己的座標。有時我也想到，在現實世界裡，人們也常處於某種看不見的裂縫之中——無論是歷史、文化，或身份的邊界。那種難以完全歸屬的位置，使存在本身變得更加敏感而脆弱。這件作品像是一種回聲。當我向宇宙投出自己的存在，筆觸與氣息便慢慢回返，使我得以聽見——自己在世界裡的位置。I try to listen to space on the canvas. The grey-blue currents that flow like mist are not the sky, but something closer to a breath slowly emerging between the world and the cosmos. As the brush moves across the surface, it traces fleeting paths like currents of air, allowing space to unfold through subtle motion.The red chair in the painting marks a position I have left within this atmosphere. It suggests both a pause and a state of waiting. As the mist shifts and the space begins to fracture, I come to realize that perhaps we are always searching for our coordinates within such fissures.At times, I think of how, in the real world, we too exist within invisible fractures — between histories, cultures, and identities. This condition of not fully belonging renders existence more sensitive, more fragile.This work is like an echo. When I cast my presence into the universe, the brush and the breath slowly return, allowing me to hear where I stand within the world.

林秋芳

Chiu-Fang Lin

林秋芳長期投入水墨及版畫創作。善於結合傳統筆墨技巧融入其版畫創作，從水墨畫墨筆墨技法的鍛練中，加入繽紛的版畫油墨色彩應用 。畢業於國立臺灣師範大學美術系研究所,曾任臺南市美術館館長,宜蘭美術館館長。其創作構圖講究分間布白氣韻靈動,近年更追求於傳統中創新之表現,以水墨技法入版畫,逐漸以抽象語彙融入創作。曾應邀於巴黎及河内舉辦水墨個展及澳洲布里斯班版畫個展,創作營與藝術,所到之處包括巴黎、紐約、東京、吉隆坡、馬尼拉、開羅、台北等各國重要城市。林秋芳近年來回穿梭於水墨與版畫創作,試圖關懷環境變遷,找出生命華光與觸動内心永恆之呈現。近年作品可分為「回家」、「山水對話」及「天有異象」反映近年生活與藝術相融淬練之作。有感於故鄉情懷及亞洲大量移工的同理心,以漂流的草坪,來回應當代社會發展狀態 : 而「山水對話」、「天有異象」系列, 林秋芳感知山水有情,並憂心於自然環境受人為危害與宇宙造化的力量,成為近年重點創作。「生命路徑」則於新冠疫情期間以漩渦的線條拉扯與糾結,期展現生生不息的生命力。其作品不僅深富女性細膩的思維,更深具社會關懷,在抒情中更帶有女性藝術家批判性思考。Chiu-Fang (Susan) Lin, the director of Tainan Art Museum, graduated with a MA in Fine Arts from National Taiwan Normal University (NTNU), she devoted her whole life not only in art-making but also in art administration and management. In addition, she is also a professor at Graduate Institute of Museum Studies in Fu Jen Catholic University.Influenced by local terroir of her hometown Jiaoxi Township, Yilan County, famous for bamboo forest, Chiu-Fang pays attention to the empty spaces of the composition and the noble spirit of bamboo, and the ways applying ink stroke with innovation in tradition.In order to break through the traditional framework of creation, Chiu-Fang seeks creative approaches that can transcend media and techniques. In 2012, she served as the director-general of the Cultural Affairs Bureau and started to plan its affiliated Yilan Museum of Art. Doubled as the frst director of the museum, she began to organize an international printmaking exhibition with Professor Shiou-Ping Liao and Professor You-Hui Chung. During this exhibition, Chiu-Fang was deeply inspired by artist Harumi Sonoyama, the Master of Lithography in Japan. Chiu-Fang later had an opportunity and studied printmaking under the guidance of Professor Chin-Yuan Shen.Chiu-Fang incorporated her training by combining traditional brush and ink techniques into her printmaking creations. From inking drills and exercises, her creative expression has been enriched by the application of different ink colors, the use of concave and convex printing techniques, and the nourishment of life. Chiu-Fang aims to recreate the brilliance of life and master the permanence that touches the heart.This exhibition presents nearly 60 recent works of art which can be divided into three series including "Homecoming", "Dialogue between Mountains and Rivers" and "Path of Life". The first series "Homecoming" originated in 2009 when she returned to her hometown, feelings about mobility from pursuing academic achievement to career needs reflected through this series, not only based on her own experiences but also on her empathy triggered by foreign workers.In 2018, Chiu-Fang was invited to Vietnam to participate in an Artistic Camp. After seeing the world heritage site Halong Bay, she was astonished by mountains and rivers rising from the sea and the changing scenes of day and night as if witnessing the creation of the universe. This has triggered the birth of the " Dialogue between Mountains and Rivers" series, which are not only rich in feminine and delicate ideas, but also more socially conscious, with feminine critical thinking in her expressions.The "Path of Life" series uses vortex lines pulling repeatedly to present the entanglement of life. Especially after the Covid-19 pandemic. Chiu- Fang often wondered how one deals with the sudden passing of a beloved one. Chiu- Fang seeks a more positive way to face lives, which also has become the connotation of her creation, epidemic, the author's views on the impermanent life topic. Her works are not only rich in women's delicate thinking, but also deeply concerned about society, and in her lyricism, she also has the critical thinking of female artists.

改變 Changing, 2023
水墨, 紙 Ink on paper, 70 x 40 cm

激情 Passion, 2025
水墨, 紙 Ink on paper, 100 x 40 cm

黃金樹 Gold tree,2025 ,
鋁板, 紙, 油墨 Lithograph on paper, 60 x 40 cm

樹 Tree, 2025
鋁板, 紙, 油墨, Lithograph on paper, 60 x 40 cm

張瑞頻

Jui-Pin Chang

張瑞頻畢業於臺北藝術大學美術系，並於美國加州大學進修，長期旅居英國與歐洲多國。 她的創作跨越繪畫、纖維、剪紙與混合媒材，並以社會觀察與生命經驗為核心。2006 年起，她以象徵性角色「水桶人」聞名，透過無臉孔、無性別的匿名身體介入經典名畫與當代事件，探討人性、慾望、恐懼與權力結構，並延伸至資本、科技監控與網路情慾等議題。近年，她發展出「冰封系列」，以冷冽的藍白色調與凝結的視覺語彙，呈現情緒、記憶與身體在極端環境中的凍結狀態。作品中常見的裂痕、霧面質地與半透明層次，象徵被壓抑的情感、未被說出的語言，以及在時間中被封存的自我。此系列既延續她對人性與社會的敏銳觀察，也轉向更內在的心理書寫，呈現生命在破裂與重生之間的微妙張力。張瑞頻曾於歐、美、亞洲多地展出，並獲英國全國美展優選、NYC Artists Wanted 百大藝術家獎、紐西蘭纖維藝術展優選等肯定。她的創作持續在象徵、寓言與當代議題之間開展獨特的視覺語言。Jui-Pin Chang is a multidisciplinary artist whose practice spans painting, fiber art, paper-cutting, and mixed media. She graduated from the Taipei National University of the Arts and later pursued further studies at the University of California, eventually living and working across the UK and Europe. Her work is grounded in acute social observation and personal experience, often weaving together themes of human desire, vulnerability, power, and the psychological tensions of contemporary life.In 2006, Chang developed her signature Bucketman series—an anonymous, faceless figure inserted into classical paintings and modern events. Through this symbolic body, she examines issues of identity, fear, consumerism, digital intimacy, and the structures of authority that shape human behavior. Over time, her practice has expanded to address capitalism, technological surveillance, and the emotional complexities of online existence.Her recent Icebound Series marks a shift toward introspective psychological landscapes. Using cool blue-white palettes, fractured surfaces, and translucent layers, Chang evokes states of emotional freezing, suspended memory, and the fragile boundary between rupture and renewal. The series reflects her ongoing interest in the tension between inner life and external forces, revealing a quiet yet powerful narrative of resilience and transformation.Chang has exhibited widely across Europe, the United States, and Asia, receiving recognition such as the UK National Art Award (Merit), NYC Artists Wanted Top 100 Award, and the New Zealand Fiber Art Merit Prize. Her work continues to explore symbolic, allegorical, and socially attuned visual languages.