Juin Shieh's Art謝鴻均
記憶皺褶:陰性空間
Grumpled Memory:Maternal Space
藝術家謝鴻均的創作開展於生命經驗,延伸個人哲思與辯證,匍匐於生命課題,並以女性命題為視角,引出巨大的創作能量。她的創作涵蓋了素描、油畫、複合媒材與空間裝置,在顏料與碳筆的描繪擦抹中,為繪畫留下素描性的線條,也為素描留下繪畫性的筆觸,將繪畫與素描兩者的交融發展出個人的視覺語彙。這次圖書館特別邀請本校藝設系謝鴻均教授展出創作作品《記憶的皺褶I空間對話》和《陰性空間—未能完成篇》,呈現記憶的皺褶和陰性空間之間的對話。
展覽期間
2023.09.13 (Wed) - 12.31(Sun)
展覽地點
國立清華大學總圖書館5F-6F藝想空間
關於謝鴻均
1961 年出生於台灣苗栗的謝鴻均,1984年自台灣師範大學美術系畢業,1989年取得美國紐約普拉特藝術學院藝術創作碩士,1995年又獲紐約大學教育學院藝術創作博士,現職國立清華大學藝術與設計系專任教授。謝鴻均經常受邀於國立臺灣美術館、臺北市立美術館、高雄市立美術館、臺北當代藝術館展出,作品受國立臺灣美術館、臺北市立美術館、高雄市立美術館、國立歷史博物館、藝術銀行、澳洲白兔美術館等機構所典藏,為台灣藝壇中的女性代表人物。

謝鴻均的創作多由自身經驗開展,延伸環扣個人思考與辯證,並深入挖掘匍匐於當代歷程的生命課題。她在身兼女兒、妻子、母親、學者和藝術家的多重角色裡,一步步地匍匐前進並從中汲取養份,作品以層疊交融的圖像與豐富的互文指涉展現出女性生命的巨大能量,同時對身體與女性意識提出深度地觀察與詮釋。謝鴻均的畫作同時涵蓋素描與油畫的双元特性,她總是在顏料與碳筆的描繪擦抹中,一方面為繪畫留下素描性的線條,一方面又為素描留下繪畫性的筆觸,為油畫和素描兩者的交融發展出新的視覺語言。(安卓藝術)
Juin Shieh was born in Taiwan’s Miaoli County in 1961. She graduated from the Department of Fine Arts of the National Taiwan Normal University in 1984, and proceeded to earn an M.F.A. at the Pratt Institute in New York. In 1995, Shieh received her Doctor of Arts from NYU. She currently teaches at the National Tsing Hua University, Department of Arts and Design. Shieh’s works have been frequently exhibited at institutions such as the National Taiwan Museum of Fine Arts, the Taipei Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the Museum of Contemporary Art Taipei, the National Museum of History, the Art Bank and White Rabbit Gallery, making her an exemplary figure among Taiwan’s female artists.

Shieh’s works are mostly rooted in her own experience. By imbuing her creation with introspection and self-analysis, the artist aims to explore the significance of life in a contemporary setting. She takes inspiration from the experiences of her multiple identities, including daughter, wife, mother, scholar and artist. This allows her to enrich her works with multi-layered visuals and intertextuality in order to fully express the energy of women as well as to explore depth of the female body and consciousness. Shieh’s work contains elements of sketches and paintings as she uses both paint and charcoal pencil in her process. This allows her to draw lines that take on the characteristics of sketching and painterly quality. By intertwining the two mediums, the artist manages to develop a new visual language. (Mind Set Art Center)
記憶的皺褶Crumpled Memory
展區清大圖書館藝想空間5F
記憶的皺褶 I紙、環氧樹脂、線、Led、壓克力燈箱| 40X40X450公分|2022
Crumpled Memory Ipaper, epoxy, acrylic, mix media, led|40X40X450cm|2022
展區清大圖書館人社分館
記憶的皺褶.IV紙、環氧樹脂、線、Led、壓克力燈箱|直徑140x20公分、直徑100x20公分|2022
Crumpled Memory IVpaper, epoxy, acrylic, mix media, led|140 diameterx20cm, 100 diameterx20cm|2022
草圖與手稿是我的日常,長期累積了大量的圖像,一本又一本,一疊又一疊,量太大了,它們總是暗無天日地存在或無所不在地散佈在工作室。我曾在白立方體展牆所掛展的作品下方,隨興地放置揉捏後的草圖與手稿,其皺褶體當下對我呼喚著:「本尊在此!本尊在此!」作品的原尊確實在此!

藝術家的草圖與手稿總被視為成就一件作品的輔助與過程,無緣成為鎂光燈下的存在;然而在我的創作思考中,它們是創作的原點甚或核心。於是,我在《記憶的皺褶 I》解放了長期累積的大量草圖與手稿,引它們脫離暗無天日地的集冊與命運,我以環氧樹脂硬化它們並以架入LED燈條,賦予自體發光的模式,且順著牆角延爬走4.5公尺。在可輕可重的介殼裡,低調且悠悠道出創作過程的彻悟,介殼與韻光的呼應如人腦皺褶所承載的記憶。

創作有如日日推石登上山頭的歷程,歷史告訴我要等待日出的光輝照印在作品,然我卻耽溺於推動與滾動的過程,那是具有現實感的動態愉悅。相對於停留在山頂的短暫靜止時刻,介殼上所留下的皺褶則是存在的見證,是記憶的趨力。
Drafts and manuscripts are my daily. I have amassed a large number of images, booklets after booklets, stacks after stacks. They are scattered in the dark around my studio corner and everywhere. I once placed a few crumpled drafts and manuscripts on the floor under my exhibited paintings, the crumpled ones cried out loud: “I’m here! Your originality is remarkable right here!”

Artist's drafts and manuscripts have been regarded as mere help and process for making of a work, and thus have no chance to be seriously taken under the spotlight. However, for my best concern, they constitute the origin and the core of my art works. Therefore, in "Crumpled Memory I", I liberated a large number of drafts and manuscripts from their darkness. I soaked them with epoxy resin and shape them to elongate to 4.5 meters as translucent hard shells along the corner of the wall in a self-luminous mode correspondent to the brain fold bearing our halo-like memory.

Making art is similar to a process of pushing a stone up to the mountain top day by day as Sisyphus did. A master piece being said will shine under spot light, yet its process of making and rolling is what I’m addicted to. It is a dynamic pleasure with a strong sense of reality. The crumpled marks on epoxied shells become my witness of existence and a firm drive toward royal memory therewith.
陰性空間未能完成篇Never Ended Maternal Space
展區清大圖書館藝想空間6F
陰性空間—未能完成篇紙/碳精筆/保麗龍版/磁鐵/線網|300x850公分|2023
Never Ended Maternal Spacepaper/compressed charcoal/ magnetic/iron ring/net/300x850cm|2023
層層記憶總是停留或載浮於北一女宿舍的壁花圖騰,那是父親任教的學校宿舍,一段關於「家」的回首與揮之不去的童年記憶。隨著父親的提前離席,壁花圖騰詭秘地滲入我的青澀年歲,埋伏於青壯的狂傲,邁入今日則明確銜接了女性生命史的一段關於「內囿性」的詮釋。我耙梳著生命必需妥協的脈絡,在逐漸熟悉的陰性空間裡,喜見女性系譜的宿命與音籟在三盞舞台投射燈下,高調發出嘆聲。

《陰性空間—未能完成篇》,我以數百件大小圓形及橢圓形壁花素描,以裝置手法浮置於牆面,以此進入似是重複卻頑固獨立的圓形/橢圓素描體。隨著炭筆的輕重運行與擦抹,清晰與疏離,攀附在思緒與肉身的對話中。在重複後的重複裡,陰性空間得以在排列與協商、失焦與聚焦、結構與解構、定格與游牧中倔強地存在。

創作有如日日推石登上山頭的歷程,歷史告訴我要等待日出的光輝照印在作品上,然我卻耽溺於推動與滾動的過程,那是具有現實感的動態愉悅,相對於停留在山頂的短暫靜止時刻,無特定主題的投射光圈,則是記憶的趨力。
Layers of memories stayed and floated among the wallflower pattern. They are lingering in stories of my childhood in the dorm of Taipei First Girl’s High School where my passed away father used to be member of the faculty. As those images infiltrating my innocent youth and lurking behind arrogance of my adolescence, I finally realized they’ve marched into my “immanence” era elucidating “Maternal Space” for a long time.

In “Never Ended Maternal Space”, I installed hundreds of different sizes of round as well as oval wallflower pattern drawings, and made them floating on the wall under three stage projection lights. The seemingly repetitive drawings are stubbornly independent. With the lightly or heavily moving and even erasing of the charcoal pencil, with the clarity or alienation of the visual dialogue between mind and body, aforesaid processes I worked on are my daily. The persistence of maternal space could be in arrangement or negotiation, focused or defocused, structured or deconstructed, settled or nomadic. They are all sighing in a high-pitched manner about their fate and nevertheless, expressive for our feminine genealogy.

Making art is similar to a process of pushing a stone up to the mountain top day by day as Sisyphus did. A master piece being said will shine under spot light, yet its process of making and rolling is what I’m addicted to. It is a dynamic pleasure with a strong sense of reality yet without a specific purpose.
手作活動 點一盞記憶皺褶的明燈
指導老師
謝鴻均教授 / 國立清華大學藝術與設計學系
活動時間
4小時
  • 手作體驗-10/2(一)晩上7:00-9:00
  • 嵌燈整形-10/4(三)晩上7:00-9:00
    考量作品需等待36小時乾燥期,請參與者務必以能參加兩天活動為優先,把作品帶回家
地點
總圖書館1F清沙龍 / 藝術工坊
需自備工具
承載著自己專屬記憶的列印張紙(彩色或黑白)與小型物件、口罩
在這個忙碌的世界裡,無數珍貴的瞬間藏匿在我們的心靈深處,等待著被掘起。圖書館邀請藝術與設計學系謝鴻均教授於圖書館5F-6F展出創作作品《記憶的皺褶I空間對話》和《陰性空間—未能完成篇》,呈現出記憶的皺褶和空間之間的對話。本次配合展覽特舉辦記憶明燈手作活動,讓參加者更容易體會謝老師的作品世界,穿梭在自我記憶的起皺和扭曲之間,感受著時間的流逝和生命的痕跡。

手作活動將承載專屬記憶的張紙與物件浸入環氧樹脂,硬化後成為代表心中值得定格的時刻,有如寶藏般挖掘出來,讓記憶得以具象化。在鑲入LED燈後,記憶開始譜一曲韻光。最後將這份獨特的記憶之光擺放在桌上掛在牆上,溫暖著心靈。我們誠摯邀請您參加我們的手作活動,一起讓記憶在光中閃爍!
《預期成品》
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