林義隆、陳琳惠、潘麒方
Yilung Lin、Linhuei Chen、Chifang Pan
25 October - 28 October, 2024
木木藝術很榮幸將在第31屆2024 ART TAIPEI 台北國際藝術博覽會與各位見面，此次在展位A02我們將帶來三位台灣藝術家林義隆、陳琳惠以及潘麒方作品。三位藝術家將帶來立體雕塑、裝置型創作與平面繪畫，藉由藝術家們對日常生活與風景的觀察與思考，以作品與各位開啟一段對話及旅程。
At the 2024 edition of Art Taipei, MUMU GALLERY will situate its contemporary program in lively conversation, bringing together works by Yilung Lin, Linhuei Chen and Chifang Pan.
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#林義隆生於台北，畢業於國立台北藝術大學美術系碩士班創作組，主修版畫。
藝術家將記憶中的影像片斷與接收到的感官訊息，壓碎過濾後成為自己的創作養分，藉由時間發酵，生長成作品中各種樣貌的個體及它們所處的空間。作品中的個體並非已知生物的再現，而是經由事物觀察與想像編織重塑完成的新個體與空間，這些個體投射記憶中的感性片斷，在屬於它們的曼荼羅內日復一日的活著。
LIN Yi-lung is a Taiwanese artist based in Taipei, Taiwan. His works are inspired is inspired by the fragment and phenomenon happening in his daily life. They could be artificial, natural, fluid and also sensual elements, which is hard to be defined or classified. However, he is deeply fascinated by the way they exist.
#陳琳惠出生於台灣澎湖，高雄成長，台北求學，目前居住在荷蘭鹿特丹。
陳琳惠作品主要探討受當代社會漸漸普遍的離散或移居影響而生的的跨文化現象，以及移居經驗是如何影響跨文化族群對家的定義， 並常以記憶為創作的切入點。其作品早期以個人離散經驗為主軸，逐漸地擴展到台灣移民在荷蘭、亞洲移民族群， 以及其他跨文化族群的群體經驗觀察。目前進行中的創作計劃，是希望結合透過一個虛構的科幻故事去討論人類大遷移的狀況下，文化記憶將會對人類的生存，扮演什麼角色。
Linhuei Chen (b. 1981) is a Taiwanese Dutch artist based in Rotterdam. Her work investigates how migration impacts transcultural individuals’ notions of home and cultural hybridity within the discourse of transculturalism influenced by contemporary migration and diaspora. She explores this topic through personal experiences and collective memory/ideas on migration, Dutch colonisation in Taiwan and cultural hybridity, providing perspectives between East Asia and Europe.
#潘麒方生於台北，國立清華大學藝術與設計研究所碩士，以油彩為主要創作媒材。
對藝術家而言，在視覺的世界裡，真實的物件和空間，有時融於彼此；有時是清楚對立的關係；有時是從模糊不清到漸漸明朗的曖昧地帶。在種種關係中，他發現自己會針對有興趣的景物，並描繪他們的各項「關係」。潘麒方作品歷年來獲得臺灣銀行藝術祭、全國百號油畫大展、桃城美展 、大墩美展、全國美展…等眾多獎項肯定，亦獲玉山銀行、清華大學及新竹市文化局之作品公眾典藏。
PAN Chifang, graduated from National Tsing Hua University. Most of PAN’s works focus on the scenery, in the process of painting, he finds that he is more interested in expressing the relationships between these scenes. Regardless of themes, characters, colors, objects, these different things must be experienced and expressed through "people". Those different connections translate into certain smells, memories, impressions, and various emotional experiences.
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林義隆 Yilung Lin, 須彌-006 Still Life-006, 陶 Ceramic, h.18.5 × w.28 × d.13.5 cm, 2024, TWD 54,800
林義隆的創作是透過觀察日常周遭所處的空間維度內發生的各種事物。它們來自於人造的，或者是自然的；是流動的，或者是感性的。它們可能難以捕捉或是歸類，而他卻深深為它們的存在而著迷。
須彌系列作品從2023年開始，是個與時間有關的系列作品。
林義隆的創作以日常生活的觀察與巧遇靈感，有別於標本室系列肖像式的凝視，須彌系列則是往後退了幾步觀看這個世界，須屬片刻，彌則長久。將自然與寧靜揉入作品中，保留陶土帶來的層次與手感，須彌系列以完整的個體形象帶來更多對時空的想像，模糊幻象與真實間的界線。
Lin Yi-Lung is inspired by the fragment and phenomenon happening in his daily life. They could be artificial, natural, fluid and also sensual elements, which is hard to be defined or classified. However, he is deeply fascinated by the way they exist.
LIN's creations are born from everyday observations and serendipitous inspirations. Unlike the portrait-like gaze of the Herbarium series, the Still Life series takes a step back to view the world. Still Life refers to fleeting moments, by blending nature and tranquility into the works and preserving the texture and tactile quality of clay, the " Still Life series presents complete individual forms that evoke greater imagination about time and space, blurring the line between illusion and reality.
藝術家常以居住地的日常物件作為創作的題材，透過物件來探索她的文化及身份認同。在這件作品中，藝術家親手縫製了縮小尺寸，荷蘭常見的擦碗巾，並以膠彩細緻描繪出複刻版本，隱約呈現的雙手與水珠，象徵她身為台灣籍配偶及母親，在荷蘭生活中的內心掙扎。
The artist often uses everyday objects from her place of residence as subjects for her work, exploring her culture and identity through these items. In this piece, the artist hand-sewed a scaled-down version of a common Dutch dishcloth and meticulously painted a replica using traditional pigments. The faintly visible hands and water droplets symbolize her inner struggles as a Taiwanese spouse and mother living in the Netherlands.
陳琳惠 Linhuei Chen, 擦碗布 Handdoek, 壓克力顏料、手染布 Acrylic on hand dyed cotton, 25 × 18.5 cm, TWD 28,000
陳琳惠 Linhuei Chen, 隱喻立體鏡 : 懷舊物件－大同寶寶，1969，台灣 Metaphoric Stereoscope viewer: Reminiscence Object － Tatong Doll, 1969, Taiwan, 10 × 11.5 ×5.5 cm ( 立體鏡 stereoscope）, 5×11.5 cm（畫 painting）, 黃銅、鏡片、水彩、鋁片 Brass, lens, watercolor on photography , 2024（立體鏡 stereoscope）, 2023（畫/攝影 painting）, TWD 32,000
從2021年開始，藝術家持續發展一系列結合光學眼鏡與圖畫的作品，透過特定的光學系統來觀看來自不同國家的物件。這不僅讓觀者以有趣的方式體驗不同的文化圖像，對藝術家而言，觀看的過程也提供了跨文化經驗的隱喻。2023年，藝術家收集了一系列具有台灣懷舊風情的物件，其中包括大同寶寶——這是1970年代許多台灣家庭中的常見物件。藝術家拍攝了這些物件的3D立體照片，並手繪還原其顏色，讓觀者在欣賞作品時，能感受到懷舊風情，勾起兒時的回憶。
Since 2021, the artist has been developing a series of works combining optical glasses and paintings, using a stereoscope viewer to observe objects from different countries. This not only allows viewers to experience cultural imagery in a fun way, but for the artist, the viewing process also serves as a metaphor for cross-cultural experiences. In 2023, the artist collected a series of nostalgic Taiwanese objects, including the Tatong Doll—a common item in many Taiwanese households in the 1970s. The artist photographed these objects in 3D and hand-painted their colors, allowing viewers to feel a sense of nostalgia and evoke childhood memories when appreciating the work.
潘麒方 Chifang Pan, 艷陽耀景 Dazzling Sunshine Scenery, 油彩、畫布 Oil on canvas, 112 × 162cm, TWD 235,000
潘麒方的創作展現了日常生活的詩意，他將日常風景中的細微變化，如天氣、溫度和情感等，轉化為充滿層次感的色彩拼貼。這些作品不僅保留了色彩的真實性，還融入了他對當下氛圍的敏感觀察，使畫面充滿生動的情感和記憶。潘麒方運用不規則的色塊組合，將現實景色重構為多層次的視覺體驗，讓觀眾能夠感受到似曾相識的景象，卻又重新發現其中的美感。
他的油畫風格輕盈而獨特，筆觸如同水彩般靈動，雖然使用油彩，但卻避免了傳統油畫的厚重感。他的繪畫過程強調人與景物之間的互動，這些互動透過感官、記憶和情感進行轉化，體現出他對景物與人之間關係的深刻理解。潘麒方的作品不僅呈現出可見的風景，還探索了那些無法量化的感性面，試圖捕捉直觀的真實感受，讓觀者在觀賞時重新體驗日常風景中的情感與美好。
潘麒方 Chifang Pan, 山巒 Mountains, 油彩、畫布 Oil on canvas, 27 × 41cm, TWD 20,000
PAN’s creations reveal the poetic nature of everyday life. He transforms the subtle changes in daily landscapes—such as weather, temperature, and emotions—into richly layered color collages. These works not only preserve the authenticity of color but also incorporate his sensitive observations of the present atmosphere, filling the canvas with vivid emotions and memories. Pan's use of irregular color blocks reconstructs real-world scenes into multi-layered visual experiences, allowing viewers to recognize familiar landscapes while rediscovering their beauty.
His oil painting style is light and distinctive, with brushstrokes that flow like watercolors. Although he uses oil paints, he avoids the traditional heaviness associated with the medium. Pan’s painting process emphasizes the interaction between people and scenery, translating these interactions through the senses, memory, and emotions, demonstrating his profound understanding of the relationship between the two. His works not only depict visible landscapes but also explore the intangible emotional dimensions, seeking to capture intuitive feelings and invite the viewer to re-experience the emotions and beauty found in everyday landscapes.
潘麒方 Chifang Pan, 生機-2 Vitality-2, 油彩、畫布 Oil on canvas, 45 × 60cm, TWD 32,000