藝術性 — 探索之路行走的距離

好的作品一定要有意向的生成，這些意象就變成作品的核心，無論是藝術家想主張的觀念或面對當下時代所產生的反思，意象的生成都是必須的，能夠讓觀者有意向的生成才會是好的作品，即使是沒有視覺形象呈現的觀念藝術，它都必須要有意象的生成，若連意象生成都沒有，就代表這件作品沒有內容，它就不能成為一件藝術作品。

Sep 12. 2024

淺談藝術性

想像藝術的追求之路，就如同在一片漆黑的迷霧森林中前行，這路線的探索是一趟獨身的旅行，創作有時就是這麼的私密又孤獨，尚未到達的地方始終保持著未知，唯有自身經歷過的路程，才得以看清周遭的風景樣貌，而這樣貌卻只有創作者能夠心領神會；每個人行走的路線不同，就如同每位藝術家的創作追求不相同，創作經歷的不同，因此藝術的視野也不同，任何人都無法完整看清藝術的全貌，唯有獨自行走的距離才是藝術性唯一的測量方式，無論是什麼年代的藝術家，在這片神祕森林前都是一視同仁的，這是趟體悟及探索的修煉之路，若有天你到達了一處無人之境，你就能夠成為一名偉大的藝術家。也許眾人的視野寬度還無法想像你所看到的樣貌，也許眾人的藝術深度遠遠被你拋在身後，也許時代的藝評結構還需要幾年才能夠到達你的高度，但至少你深信不已，你已經達到了自身旅程的目的性。

Sep 12. 2024

何謂藝術作品的收藏性、保存性與流通性

購買藝術品之前，收藏家往往會考慮到後續的三個特性，即是「收藏性」、「保存性」與「流通性」，簡單來說，收藏性看重的是「價值與價格」，保存性看重的是「永續與維護」，而流通性看重的則是「變現與效益」，這三者間著眼不同卻互相影響，並影響我們的收藏判斷，因此針對上述的三者分述如下：

Oct 04. 2022

藝術世界的需求—身為職業藝術家所需的交換

從史前時代開始人類社會建立後，逐漸發展出文明與社會分工，人類演進到現代後，我們發現「職業」其實就是順應著社會的需求而誕生的，原本藝術的創作是自由開心且豐富滿足，但時常發現創作如果成為職業後，就並非如同原始的初心般這麼純粹又療癒，不過擁有遠大藝術夢想的創作者，就會思考如何把成為職業這件事，當成達到遠大藝術目標的手段，是因為要達成遠大的藝術目標，而需要滿足一些能持續創作的條件，我想以職業作為手段的這個想法是需要深度理解的，畢竟成為職業藝術家後，所要經歷的磨礪鍛鍊是業餘者所無法體會的，在藝術家一職的道路上雖然可以期待政府、社會、畫廊、企業、收藏家等的協助，但期待過多難免會失落，靜候著藝術產業環境的改善，與收藏風氣的養成是需要時間的，因此，開始思考有什麼是藝術家現下可以做的，或許是職業藝術家較為積極的心態。

Oct 04. 2022

欣賞雕塑的幾個方向

許多藝術入門的人認為繪畫較雕塑容易欣賞，至少平面圖像式的表達是比較常見的，而雕塑的學問好似很深，令人不知該從何處開始進行審美，其實一般的雕塑大概有幾個不同的面向可以進行欣賞與探討，例如：體量大小與造型、周圍環境的關係、社會的時空背景、材質屬性、技術層面、觀看的視角、三維構圖、主題/素材的意涵、建築與雕塑的相互影響等，以下分別簡述說明：

Oct 04. 2022

呂迦諾個展《讓我安放》評論：光束般的告白

Lu Chia-Nuoh’s solo exhibition Let Me Settle offers a unique viewing experience, embodying the intimate connection between the artist, the canvas, and the specific moments of creation. The Trinity series invites viewers to confront the artist’s evolving emotional state in response to his father, ranging from turbulent waves to calm seas. The works reconstruct the memories of his father’s battle with cancer and eventual passing, a process that coincided with the artist’s own time from his father’s stroke to his departure. Amid the pressures of his graduate studies, the artist’s inner world oscillated between the desire to overcome these difficult periods and the awareness that doing so meant bidding farewell to his father. This interplay of pain and happiness is vividly conveyed in the works. In this exhibition at Cloud Gallery, the compositions of Trinity use vertical and horizontal overlaps to symbolize the fluctuations of the artist’s emotions. The solemn black of the gallery space reflects the heavy atmosphere surrounding his father’s passing. Lu Chia-Nuoh treats the exhibition layout as part of the creative process, altering the materiality of the works and the perception of space, thereby engaging with the three core issues in his painting practice: illusion, space, and materiality. By employing masking tape and sponges instead of traditional painting tools, he expresses the passage of time through the act of applying and peeling tape. This physical labor becomes inseparable from the creative process, ultimately producing a synchronized, almost spiritual visual experience. The First Be, Lest Be series highlights the artist’s methodical approach and the trace of paint, corresponding to his practice of exploring selfhood through repetition. By repeatedly applying and removing tape, the canvas accumulates a grid-like pattern, with each layer of paint revealing its sequential presence. Variations in repetition create differences in hue and density, making the creative process visible. The canvas thus becomes a record of existence, a testament to the artist’s presence. A Confession Like a Beam of Light Lu Chia-Nuoh’s works impart a sense of solace, like a linear confession: “I hang, I paint; I remember you.” The exhibition’s atmosphere mirrors the artist’s religious experiences, with the intensity of light serving as a visual metaphor. The Heavenly Gems series reflects the artist’s closeness to and longing for both God and the spirit of creation, continuing the symbolic and spiritual visual language of medieval imagery. These works, reminiscent of the rose windows of Gothic cathedrals, emphasize pattern, form, and the symbolism of light, conveying sanctity and revelation. Lu Chia-Nuoh integrates his Christian identity into the exhibition, transforming the space into a church-like environment. Through his Composing Paintings approach and interaction with light, viewers feel the presence of the divine, bathed in luminosity, as the gallery transforms into a golden sanctuary of prayer. Gems Resonating on the Canvas In Lu Chia-Nuoh’s recent works, I am reminded of Mark Rothko’s insight: “You are sad, I am sad—and my art is where these two sorrows meet, so that we feel less sorrowful.” The artist skillfully directs the viewer’s gaze, merging life experiences, bodily engagement, and creative tools into crystallized works of art. These works, like gemstones, exhibit unique beauty, rarity, and durability, symbolizing eternal beauty. Emeralds represent prosperity and rebirth, while rubies signify passion and vitality. I believe that on his future creative journey, Lu Chia-Nuoh will continue to retain the sharpness and brilliance of a gemstone, shining persistently through his art.

Sep 18. 2024