HSIEH MU-CHI 謝 牧 岐
Hsieh Mu-Chi’s art practice has evolved through several stages over the years, his initial focus centered on the perception of painting in contemporary society, or how to define the role of painting within contemporary times. Through the depiction of production processes such as OEM and commodification, his work emphasizes the contrast between contemporary painting with past movements and their inherent implications. Extending the dialogue of the production process of painting, his previous work Muchi & Painting series explores the concept of an artist as a brand. Hsieh uses the intervention of film media to create a music video setting with a jubilant atmosphere, through which he repeatedly dispels the image of a painter portrayed in media. In recent years Hsieh has returned to the concept of painting itself, adopting a more relaxed approach through sketching as a starting point for his works. The artist hopes his work can have a deeper connection with the local community and cultural context of his environment, often exploring the historical context of Taiwan’s traditional landscape painting. Painting has always been a central question in Hsieh’s art practice, exploring the meaning of painting for himself as an artist, as well as how the concept of painting in the context of Taiwan can be realized. This continuous questioning seeks to preserve the uncertainty within the process of creation, allowing the artist to constantly overturn and reconstruct meaning within his art practice.
Hsieh Mu-Chi’s latest work Landscape of Coconut and Banana Tree continues to explore the historical context of traditional landscape painting in Taiwan. Hsieh references notable historical artworks by the predecessors of Taiwanese painting from the early 20th Century. Through a process of editing, reconfiguration and reproduction, Hsieh creates a landscape that points to the past yet firmly belongs to the present. The silver-white checkered pattern throughout his work plays on image-editing software denoting an image where the background has been removed. Hsieh uses this concept of adding and subtracting to suggest a progression of time in the painting process, through superimposed elements added over multiple layers. Whereas the silver-white checkered areas act as a form of subtraction, recalling and re-editing the past. Hsieh’s use of the smiley-face emoji, although originally intended to express his personal sense of humor, it also portrays the use of digital symbols to express emotion in contemporary society, while injecting his emotion into the work, echoing the historical works filled with the emotion of the artists. Within this painting viewers can recognize the works of Chen Cheng-Po, Danshui Sunset, 1935; Lin Yushan, Handing Over Horses, 1943, Liao Chi-Chun, Landscape with Coconut Trees, 1931; Liao Chi-Chun, Courtyard with Banana Trees, 1928. Although they reflect a different time and context, they represent a cornerstone of Taiwan’s development of the arts, capturing the historical values of the time within the landscapes depicted. Through the manipulation and reproduction of painting, Hsieh creates a familiar yet new perspective.
謝牧岐創作自述：
於個人的繪畫創作脈絡，分屬著幾個不同的階段性演變， 初期關注的部分在於當代的人們是如何看待繪畫，或是繪畫之於當代扮演了什麼樣的角色。 因此透過繪畫生產過程的代工化、商品化操作，凸顯當代繪畫別於過往的脈絡與包袱，它可以是 任何事物。接續著對於繪畫生產過程的辯證，畫家如同是一個品牌，透過影像媒體介入創作，拍攝 了「牧岐與繪畫系列」，其中mv式與歡樂的氛圍，不斷消解了媒體中出現的繪畫與畫家形象。近年來則 回歸於繪畫本身，以寫生的命題展開創作，除了是希望能以一個更為輕鬆的方式介入，更希望個人 的繪畫創作能於在地環境與文化脈絡上有更深刻的銜接。進而以繪畫的方式面對台灣傳統風景畫自 身的歷史脈絡。因此對我來說繪畫創作一直是個大哉問，從追問繪畫對我來說是什麼，延續至今繪 畫之於台灣可以是怎樣的容貌呈現，這樣追尋的過程，是希望能保有創作上不確定性，它是個能讓 我不斷推翻又重新建構的對象。
《有椰子與芭蕉樹的風景》作品介紹：
此件作品延續著謝牧岐如何以繪畫的方式去面對傳統風景畫自身的歷史脈絡，透過影像編輯重組及繪畫再現的方式，呈現出一個指向過去但屬於當下的風景。然而畫作中的銀白相間的方格，如同使用影像軟體中，去背的效果。如同加減的概念呈現於畫面中，疊加暗示著繪畫過程的進行，去背的銀白方格如同減法般，暗示對於過去時間的招喚與從新編輯。以及畫中出現的笑臉表情符號，初衷想表達謝牧岐個人幽默感外，也透過這樣數位的符號去呈現一個當代人表達情緒的方式，如同前輩畫家們於作畫時，所注入的感受一般。因此作品中，出現了幾位前輩畫家的作品圖像，包括《淡水夕照，陳澄波. 1935》，《獻馬圖，林玉山. 1943》 ，《有椰子樹的風景，廖繼春. 1931》，《有香蕉樹的院子，廖繼春. 1928》。它們分屬這不同時間與背景，卻也代表著台灣美術發展的一小段切片。它們所代表的不單只是一片風景，而是它背後衍生出來的歷史價值與意義。於謝牧岐作品中，透過重組與再現的繪畫表現方式，讓它呈現出一個既熟悉又陌生的位置。
Hsieh Mu-Chi’s latest work Landscape of Coconut and Banana Tree continues to explore the historical context of traditional landscape painting in Taiwan. Hsieh references notable historical artworks by the predecessors of Taiwanese painting from the early 20th Century. Through a process of editing, reconfiguration and reproduction, Hsieh creates a landscape that points to the past yet firmly belongs to the present. The silver-white checkered pattern throughout his work plays on image-editing software denoting an image where the background has been removed. Hsieh uses this concept of adding and subtracting to suggest a progression of time in the painting process, through superimposed elements added over multiple layers. Whereas the silver-white checkered areas act as a form of subtraction, recalling and re-editing the past. Hsieh’s use of the smiley-face emoji, although originally intended to express his personal sense of humor, it also portrays the use of digital symbols to express emotion in contemporary society, while injecting his emotion into the work, echoing the historical works filled with the emotion of the artists. Within this painting viewers can recognize the works of Chen Cheng-Po, Danshui Sunset, 1935; Lin Yushan, Handing Over Horses, 1943, Liao Chi-Chun, Landscape with Coconut Trees, 1931; Liao Chi-Chun, Courtyard with Banana Trees, 1928. Although they reflect a different time and context, they represent a cornerstone of Taiwan’s development of the arts, capturing the historical values of the time within the landscapes depicted. Through the manipulation and reproduction of painting, Hsieh creates a familiar yet new perspective.
謝牧岐創作自述：
於個人的繪畫創作脈絡，分屬著幾個不同的階段性演變， 初期關注的部分在於當代的人們是如何看待繪畫，或是繪畫之於當代扮演了什麼樣的角色。 因此透過繪畫生產過程的代工化、商品化操作，凸顯當代繪畫別於過往的脈絡與包袱，它可以是 任何事物。接續著對於繪畫生產過程的辯證，畫家如同是一個品牌，透過影像媒體介入創作，拍攝 了「牧岐與繪畫系列」，其中mv式與歡樂的氛圍，不斷消解了媒體中出現的繪畫與畫家形象。近年來則 回歸於繪畫本身，以寫生的命題展開創作，除了是希望能以一個更為輕鬆的方式介入，更希望個人 的繪畫創作能於在地環境與文化脈絡上有更深刻的銜接。進而以繪畫的方式面對台灣傳統風景畫自 身的歷史脈絡。因此對我來說繪畫創作一直是個大哉問，從追問繪畫對我來說是什麼，延續至今繪 畫之於台灣可以是怎樣的容貌呈現，這樣追尋的過程，是希望能保有創作上不確定性，它是個能讓 我不斷推翻又重新建構的對象。
《有椰子與芭蕉樹的風景》作品介紹：
此件作品延續著謝牧岐如何以繪畫的方式去面對傳統風景畫自身的歷史脈絡，透過影像編輯重組及繪畫再現的方式，呈現出一個指向過去但屬於當下的風景。然而畫作中的銀白相間的方格，如同使用影像軟體中，去背的效果。如同加減的概念呈現於畫面中，疊加暗示著繪畫過程的進行，去背的銀白方格如同減法般，暗示對於過去時間的招喚與從新編輯。以及畫中出現的笑臉表情符號，初衷想表達謝牧岐個人幽默感外，也透過這樣數位的符號去呈現一個當代人表達情緒的方式，如同前輩畫家們於作畫時，所注入的感受一般。因此作品中，出現了幾位前輩畫家的作品圖像，包括《淡水夕照，陳澄波. 1935》，《獻馬圖，林玉山. 1943》 ，《有椰子樹的風景，廖繼春. 1931》，《有香蕉樹的院子，廖繼春. 1928》。它們分屬這不同時間與背景，卻也代表著台灣美術發展的一小段切片。它們所代表的不單只是一片風景，而是它背後衍生出來的歷史價值與意義。於謝牧岐作品中，透過重組與再現的繪畫表現方式，讓它呈現出一個既熟悉又陌生的位置。
SYU JIA-JHEN 許 家 禎
Syu Jia-Jhen’s concept for the artwork The Third Memorial derives from the memorials raised during the Japanese occupation era in Taiwan, from the end of the 19th Century through to the mid 20th Century. Originally commemorating Japanese figures, they were replaced due to the change of political power at the end of the occupation. However, their original pedestals are still in use, despite the change into their current form as public statues. Syu terms this historical shift as ‘The First Memorial’ and ‘The Second Memorial’ respectively, drafting a series of molds, sketches and models from the surviving pedestals. His work explores the definition of ‘pedestal’, originally intended as a purely functional object, the perception of pedestals has expanded within contemporary sculpture art practice, where the line between pedestal and sculpture has even become completely erased. The Third Memorial deliberately connects these two strands of historical consciousness, re-examining objects from the perspective of time, as well as commemorating the historical encounters contained within these pedestals. Syu’s latest work The Third Memorial (2018) consists of an imitation of the pedestal at the Taipei Railway Workshop. Sulfur is cast into stalactite structures, exploring the use of form and material to reference the significance of sulfur as a resource in the expansion of an empire.
《第三紀念》的對象是來自於日治時期所設置的紀念碑，原先紀念日本人的雕像因政權轉換的過程被撤換，而新的雕像確沿用原基座，儘管從原先的紀念碑整體至雕像的部分替換，許家禎分別稱呼他們為「第一紀念」與「第二紀念」，基於這樣的歷史次序，許家禎規劃這些基座的翻模、素描以及模型。「基座」的美學意識在現代雕塑被重新擴張甚至消除，《第三紀念》有意地將這兩個歷史意識連結，關照時間的向度對事物本身的探討，同時也是重新紀念「基座」錯綜的歷史遭遇。此件作品是仿製位於台北鐵道機廠的ㄧ座「基座」，透過硫磺燒鑄而產生如鐘乳石的形體，藉由形式與材質的演繹，連繫著硫磺作為過去帝國擴張所需的資源。
《第三紀念》的對象是來自於日治時期所設置的紀念碑，原先紀念日本人的雕像因政權轉換的過程被撤換，而新的雕像確沿用原基座，儘管從原先的紀念碑整體至雕像的部分替換，許家禎分別稱呼他們為「第一紀念」與「第二紀念」，基於這樣的歷史次序，許家禎規劃這些基座的翻模、素描以及模型。「基座」的美學意識在現代雕塑被重新擴張甚至消除，《第三紀念》有意地將這兩個歷史意識連結，關照時間的向度對事物本身的探討，同時也是重新紀念「基座」錯綜的歷史遭遇。此件作品是仿製位於台北鐵道機廠的ㄧ座「基座」，透過硫磺燒鑄而產生如鐘乳石的形體，藉由形式與材質的演繹，連繫著硫磺作為過去帝國擴張所需的資源。
YANG CHI-CHUAN 楊 季 涓
Yang Chi-Chuan’s work often uses the spoken word - personal whispered narratives that evoke our memories of time, space and objects. Yang’s art practice centers on her own memory bank, which she draws upon to produce written texts and spoken word audio installations that are played within the exhibition space. She transforms the accumulated fragments of her memory into the chapters of a story, covering a range of topics related to the humanities, including family, politics, animals and food.
The work Imperfectly Perfect extends her recent method of using text and sound devices, reflecting on the past as well as the future, in response to the exhibition’s celebration of Project Fulfill Art Space’s 10th anniversary. Yang began with attempting to climb back into her past ten years ago to describe the experiences and changes in her life at the time, however in the process of examining the past, Yang found that many of the most important moments were from a period of events that occurred twenty years ago. Thus, Yang strives to turn these distant memories into a story told through an invisible whisper.
楊季涓的作品造型與朗讀旨在透過個人化的綿延呢喃，喚起觀者自身的相似場境，開啟關於時間、空間與事物的相關記憶。其創作核心即為自身的記憶資料庫，經由書寫及朗讀播放於現場，將累積已久的片段記憶轉成篇章故事，內容廣泛涉及家庭、政治、動物、食物等人文科學範疇。
作品《最美好的安排》，延續了近期關於文字書寫與聲音裝置的創作手法，並且以就在藝術空間十週年，具有回顧及仰望未來的時間點做為書寫的基礎。起初試著攀爬回自己十年前的往事，描述關於生命經歷與改變，卻在思索的過程中發現，原來在過往的許多重要時刻，都與自己二十多年前的一段往事有關，於是試著將這段影響自己深遠的故事化做看不見的絮語。
The work Imperfectly Perfect extends her recent method of using text and sound devices, reflecting on the past as well as the future, in response to the exhibition’s celebration of Project Fulfill Art Space’s 10th anniversary. Yang began with attempting to climb back into her past ten years ago to describe the experiences and changes in her life at the time, however in the process of examining the past, Yang found that many of the most important moments were from a period of events that occurred twenty years ago. Thus, Yang strives to turn these distant memories into a story told through an invisible whisper.
楊季涓的作品造型與朗讀旨在透過個人化的綿延呢喃，喚起觀者自身的相似場境，開啟關於時間、空間與事物的相關記憶。其創作核心即為自身的記憶資料庫，經由書寫及朗讀播放於現場，將累積已久的片段記憶轉成篇章故事，內容廣泛涉及家庭、政治、動物、食物等人文科學範疇。
作品《最美好的安排》，延續了近期關於文字書寫與聲音裝置的創作手法，並且以就在藝術空間十週年，具有回顧及仰望未來的時間點做為書寫的基礎。起初試著攀爬回自己十年前的往事，描述關於生命經歷與改變，卻在思索的過程中發現，原來在過往的許多重要時刻，都與自己二十多年前的一段往事有關，於是試著將這段影響自己深遠的故事化做看不見的絮語。
WANG FUJUI 王 福 瑞
Hyper Trace focuses on exploring the trajectory of sound traveling in space. Through the act of listening to sound wave audio frequencies, the work stimulates the junction between sound and illusion, evoking an inner state of consciousness.
Each individual Hyper Trace consists of twelve evenly placed speakers, forming a regular dodecahedron structure suspended within a space. Through the manipulation of twelve frequencies, twelve separate soundtracks are projected within the space, creating a non-directional sound field that constantly transforms through the combination of different sounds. The multiplication of composite sounds free-flowing within the space creates a listening experience that shifts between the construction and deconstruction of sound.
「幻聲跡」主要是探討聲音在空間中行進的軌跡，透過行進的聲波和音頻的聆聽，引動聲音幻相的結點，勾勒生活的內心狀態和思緒。每一個「幻聲跡」個體均由12面體的喇叭組成，在空間中呈現正12多面體的形態，透過不同12音頻的控制和運作，12道聲軌的聲音全方位散射至空間中，產生無指向性的音場，而其不同聲音的轉換與組合，相乘多組聲音在空間中流動方向性，產生建構又解構般的聆聽變化。「幻聲跡」中12道聲軌產生的運行與流逝，和空間中每一個「幻聲跡」個體相互對應寓意生命中不斷地運轉，與其不確定性的變化。
Each individual Hyper Trace consists of twelve evenly placed speakers, forming a regular dodecahedron structure suspended within a space. Through the manipulation of twelve frequencies, twelve separate soundtracks are projected within the space, creating a non-directional sound field that constantly transforms through the combination of different sounds. The multiplication of composite sounds free-flowing within the space creates a listening experience that shifts between the construction and deconstruction of sound.
「幻聲跡」主要是探討聲音在空間中行進的軌跡，透過行進的聲波和音頻的聆聽，引動聲音幻相的結點，勾勒生活的內心狀態和思緒。每一個「幻聲跡」個體均由12面體的喇叭組成，在空間中呈現正12多面體的形態，透過不同12音頻的控制和運作，12道聲軌的聲音全方位散射至空間中，產生無指向性的音場，而其不同聲音的轉換與組合，相乘多組聲音在空間中流動方向性，產生建構又解構般的聆聽變化。「幻聲跡」中12道聲軌產生的運行與流逝，和空間中每一個「幻聲跡」個體相互對應寓意生命中不斷地運轉，與其不確定性的變化。
CHOU YU-CHENG 周 育 正
For the exhibition 10th anniversary, Coconut, Banana tree, Memorial, Sulfur, Storytelling, Arrangement, Perfect, Hyper trace, Third. Artist Chou Yu-Cheng’s role is two-fold. Firstly, he composed the exhibition’s framework, using the metaphor of flower arranging (flowers and vase), bringing together the work of five unique artists working across the mediums of painting, sculpture, text, sound and conceptual art, while at the same time considering how time and space can inform the exhibition’s development. Secondly as exhibiting artist, Chou presents his work Flowers for Opening II where he constructs three flower vases and invites a master florist to create an arrangement of flowers for the exhibition opening, responding to the particularity of commemorating ten years. This also corresponds to the exhibition’s parallel identity as part of Project Fulfill’s 10th anniversary projects, a dual application that subtly presents an alternative vision for conventional customary practices.
「十年、椰子、芭蕉樹、紀念、硫磺、說故事、安排、美好、幻聲跡、第三。」展覽中，周育正扮演著雙重角色。首先是展覽的構成，以插花（花草與花器）作為比喻，透過五位藝術家的獨特性，繪畫、雕塑、文字、聲響與概念，同時考量空間與時間而生成的展覽形式；其二是作品「開幕花卉二」，周育正製造了花器，邀請花藝師搭配花卉，回應十週年紀念的特殊性，同時也對應展覽實踐中的另一身份，雙重的操作，隱約顯現對於約定俗成事務的另一想像。
「十年、椰子、芭蕉樹、紀念、硫磺、說故事、安排、美好、幻聲跡、第三。」展覽中，周育正扮演著雙重角色。首先是展覽的構成，以插花（花草與花器）作為比喻，透過五位藝術家的獨特性，繪畫、雕塑、文字、聲響與概念，同時考量空間與時間而生成的展覽形式；其二是作品「開幕花卉二」，周育正製造了花器，邀請花藝師搭配花卉，回應十週年紀念的特殊性，同時也對應展覽實踐中的另一身份，雙重的操作，隱約顯現對於約定俗成事務的另一想像。