Untitled_Plan A, version 2026
林瑋萱、田歆、陳薇因
Lin Weihsuan, Tien Hsin, Chen Weiyin
Online Exhibition Project ｜ June 1–19, 2026
On-site Exhibition ｜ June 24–28, 2026
Untitled_Plan A 新銳展覽計畫始於 2022 年，長期關注並持續展出畫廊所關注的年輕藝術家。透過不同形式的展覽規劃，我們希望讓更多人有機會接觸藝術，並逐步累積對藝術創作的理解、喜愛與收藏。
對木木來說，持續推廣新銳藝術家，是讓更多新的創作語言與觀點有機會進入交流之中。新銳藝術家往往保有更直接的創作狀態、實驗性，以及對生活與世界不同角度的觀察，也讓作品本身充滿更多未知與可能。
此次 Untitled_Plan A, version 2026 邀請三位藝術家參與：田歆、陳薇因與林瑋萱。
不同於過往固定展期的形式，2026 年的 Untitled 新銳計畫將隨著每週進度逐步更新。每位藝術家皆以一週為單位，依序在線上展出作品與創作內容，並同步開放限定時間的實體展覽。
面臨史上最熱的夏季，邀請大家和我們一起認識不同創作。不論在線上，或是在夏季夜晚的限定開放中，都能感受作品與空間之間不同的狀態與變化。
Untitled_Plan A is an emerging artist program launched in 2022, dedicated to supporting and presenting young artists through ongoing exhibitions and projects. Through this program, Mumu Gallery hopes to create more opportunities for audiences to engage with, appreciate, and collect contemporary art, while introducing new artistic perspectives and creative voices.
For the 2026 edition, we invites three artists: Lin Weihsuan, Tien Hsin, and Chen Weiyin.
Rather than following a traditional exhibition format, Untitled_Plan A, version 2026 unfolds week by week. Each artist will be featured online through artworks and studio content, accompanied by a limited-time physical exhibition.This summer, we invite you to discover three distinct artistic practices—online and through a series of special evening openings at the gallery.
#林瑋萱 #LinWeihsuan
林瑋萱的創作經常從行走開始。
近年來，她透過登山、速寫與自然書寫累積創作養分，持續關注山林景色、地景變化與植物生長的姿態。這些長時間觀察所累積的經驗，經過整理與轉化後，成為畫面中的色彩、線條與空間結構。除了繪畫創作之外，林瑋萱亦長期投入自然書寫，並出版《耳邊風：山風、草香、獸鳴和速寫本裡的風景》。繪畫與書寫相互交織，成為她理解自然與記錄生活的方式。
Lin Weihsuan’s practice often begins with walking.
Through hiking, sketching, and nature writing, she gathers observations from mountains, changing landscapes, and plant life. These experiences are later transformed into colors, lines, and spatial structures within her paintings.Alongside her painting practice, Lin is also engaged in nature writing and published Whispers by My Ear: Mountain Winds, Grassy Scents, Animal Calls, and Landscapes from a Sketchbook. Together, painting and writing form her way of observing, understanding, and responding to the natural world.
#田歆 #TienHsin
從臺灣到英國，不同地方的生活經驗持續出現在她的作品之中。窗外的植物、街道上的樹木、旅途中經過的風景，以及日常生活中累積的觀看經驗，逐漸成為畫面的一部分。
田歆經常結合壓克力顏料與色鉛筆創作，以鮮明的輪廓線與清新的色彩建構畫面。植物、建築與地景穿梭其中，使不同地方的記憶與生活片段在同一個空間裡交會，形成帶有個人經驗的風景。
Living between Taiwan and the United Kingdom, she draws inspiration from the places she has lived, visited, and observed. Plants outside a window, trees along a street, and landscapes encountered during travel gradually become part of her visual language.
Working primarily with acrylic paint and colored pencils, Tien creates compositions defined by vivid outlines and fresh, luminous colors. Plants, architecture, and landscapes coexist within her paintings, bringing together memories and experiences from different places into imagined yet familiar environments.
#陳薇因 #ChenWeiyin
陳薇因出生於新竹，畢業於國立臺灣師範大學美術學系繪畫組，並於 2025 年完成國立臺南藝術大學應用藝術研究所陶瓷組碩士學位。近年曾於中國景德鎮陶瓷大學、美國阿肯色大學及美國 Baltimore Clayworks 駐村創作。
受到卡通、漫畫、街頭文化與各種流行圖像的影響，陳薇因創造出許多介於人物、動物與虛構生物之間的角色。誇張的表情、變形的身體與鮮明的輪廓，成為她作品中重要的視覺語言。從繪畫到陶塑，陳薇因持續探索圖像與立體之間的轉換關係，並透過陶土發展出獨特的角色世界。
Chen Weiyin works across painting and ceramics. Influenced by cartoons, comics, street culture, and popular visual imagery, she creates characters that exist between human figures, animals, and imaginary creatures.
Exaggerated expressions, distorted bodies, and bold outlines have become key elements of her visual language. Through clay, Chen transforms familiar graphic forms into three-dimensional characters, developing a distinctive world that is playful, humorous, and theatrical.
installation shot
林瑋萱 Lin Weihsuan, 有綠色房子的屋頂 A House with a Green Roof, 油畫 oil on canvas, 53×65 cm
陳薇因系列作品 artworks of Chen Weiyin
installation shot
林瑋萱 Lin Weihsuan, 有綠色房子的屋頂 A House with a Green Roof, 油畫 oil on canvas, 53×65 cm, TWD 63,000
在大片灰色調之中，綠色屋頂成為畫面中最鮮明的色彩，也牽引著視線在建築與樹木之間移動。
林瑋萱經常從日常生活與行走經驗中取材，關注居住環境周遭的樹木、房舍與地景變化。透過色彩、形體與空間關係的安排，畫面中的景物彼此呼應，在熟悉與陌生之間形成獨特的風景。
Amid a field of muted gray tones, the green roof stands out as the most vivid element in the composition, guiding the eye through the surrounding trees and architecture.
Lin draws inspiration from everyday surroundings, paying close attention to the changing relationships between houses, plants, and landscapes. Through the arrangement of color, form, and space, familiar elements come together to create a distinctive sense of place.
田歆 Tien Hsin, 天空之下Sky below, .壓克力彩、色鉛筆、木板 Acrylic, oil pastel on board, 65×40 cm, TWD 19,500
創作於英國里茲求學期間，田歆從宿舍頂樓俯瞰城市，將高處觀看的經驗轉化為畫面。大片藍綠色塊與鮮明的紅色線條交錯，樹木、道路與建築被簡化成近似地圖與模型的形態。
從高處望向城市時，原本熟悉的街區與建築逐漸失去實際尺度，轉而成為色彩、形體與空間關係的組合。畫面中的紅色屋舍、蜿蜒道路與層層堆疊的植被穿梭於藍綠色景觀之間，在鬆散與秩序之間形成流動的節奏。田歆透過自由而直接的筆觸，保留觀看當下的感受，也讓城市風景展現出如同模型、地圖與記憶片段交疊的視覺樣貌。
Created during her studies in Leeds, UK, Sky Below stems from Tien Hsin’s experience of looking out over the city from the rooftop of her student residence. From this elevated perspective, the urban landscape is transformed into a composition of color, shape, and spatial relationships.
Broad fields of blue and green are interwoven with vivid red linear forms, while trees, roads, and buildings are simplified into map-like and model-like structures. Seen from above, familiar urban scenery loses its everyday scale and becomes a landscape of shifting patterns and visual rhythms. Through loose brushwork and a vibrant palette, Tien reconstructs the city as a layered image where observation, memory, and imagination converge.
陳薇因 Chen Weiyin, 白陶土、釉藥 ceramic and glaze, TWD 20,000~ TWD 35,000
陳薇因的陶塑作品圍繞著一群介於人物、動物與虛構生物之間的角色展開。誇張的表情、變形的身體與帶有戲劇感的動作，成為作品鮮明的視覺特徵。
這些角色經常呈現出哭泣、拉扯、跌倒、擁抱、躲藏或發呆等狀態，看似荒謬幽默，卻也反映出日常生活中真實存在的情緒與處境。透過誇大的造型與不合比例的肢體，作品將原本細微的感受轉化為具體而直接的視覺形象。
從平面圖像到立體陶塑，陳薇因持續探索角色、身體與空間之間的關係，讓這些原本存在於想像中的角色，成為具有重量、體積與存在感的雕塑作品。
Chen Weiyin’s ceramic sculptures revolve around a cast of characters that exist somewhere between humans, animals, and imaginary creatures. Exaggerated expressions, distorted bodies, and theatrical gestures define the visual language of the series.
The figures are often depicted crying, struggling, collapsing, embracing, hiding, or drifting into thought. While humorous and playful at first glance, they also reflect familiar emotions and situations found in everyday life. Through exaggerated forms and unconventional proportions, subtle feelings are transformed into direct and tangible sculptural images.
Moving between drawing and ceramics, Chen continues to explore the relationship between character, body, and space, giving physical presence and material weight to figures that might otherwise exist only as images or imagination.