上上芳 Best Best Wishes
Huang Shun-Ting Solo Exhibition
黃舜廷 個展
2026.10.03-2026.11.21
開展 Opening | 2026.10.03 (六) Sat. 2 pm
座談 Artist Talk | 2026.10.24 (六) Sat. 3 -5 pm
與談人 Panelist | 沈裕昌 SHEN Yu-Chang
國立臺北教育大學文化創意產業經營學系助理教授
Assistant Professor, Department of Cultural
and Creative Industries Management,
National Taipei University of Education
展覽簡介
藝術家黃舜廷長期關注臺灣生活中「招財、開運、祝福」等符號如何被賦予價值。花市中常見的植物經過園藝、修剪、造型後，成為具有特定寓意的「開運植栽」；盆器也從日常器物被賦予招財、避邪、平安與富貴等象徵。這些經過文化加工的物件進入藝術家的創作後，又經歷攝影、編輯、重組與繪畫等再次加工，形成物件、圖像與寓意之間層層交織的關係。
展場中，一面牆上並列展出四件《（空白）053.v3（小吉）》，畫面內容相同，畫布尺寸卻從8號開始等比放大，依序成為「小吉」、「中吉」、「大吉」、「特大吉」四件作品。藝術家把金桔盆栽與特意留白的吉祥裝飾圖像複製、放大，讓「吉祥」本身也隨著畫幅一起被放大。另一組作品《（空白）051、052、059（福疊財聚）》，則將過去作品《（空白）051》中象徵招財納福的圓葉椒草，以及寓意生意興隆、引蝶而來的蝴蝶造型裝飾錯位疊加，裝裱於特別訂製的三層框中，使「福」與「財」以視覺上的重複增殖。
除了繪畫，展覽亦呈現以陶瓷製作的吉祥盆器作品，如「金雞下蛋」、「金蟬送寶」等。藝術家將金幣、蛋等象徵財富的符號進一步複製與堆疊，並搭配花卉市場常見的臺車展示，使展場介於藝術空間、花市與商品陳列之間。
從繪畫中的圖像複製、畫幅放大，到立體作品中吉祥符號的堆疊，黃舜廷將「愈多愈好」的文化邏輯轉化為一種具體的創作方法。當「吉祥」不斷被複製、累積與放大，原本熟悉的祝福語彙也逐漸產生近乎過度的視覺重量。黃舜廷也藉由《上上芳》提出一個問題：當「重複」成為創作的方法，這樣的增殖最終只是形式的複製，還是能在一次次的偏移與微調中，從「增殖」走向「增質」，甚至「增值」？
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About Exhibition
Huang Shun-Ting has long been interested in how symbols of "attracting wealth, good fortune, and blessings" are imbued with value in Taiwanese life. Plants commonly found in flower markets, after being cultivated, pruned, and shaped through horticultural processes, become "auspicious plants" with specific meanings; Plant pots, too, are given symbolic meanings such as attracting wealth, warding off evil, bringing peace, and bringing prosperity, transforming them from everyday objects into objects of significance. These culturally processed objects, after entering the artist's creative process, undergo further processing through photography, editing, reassembly, and painting, forming a layered and interwoven relationship between objects, images, and meanings.
In the exhibition space, four works from the series “(Blank) 053.v3 (Minor Fortune)” are displayed side by side on one wall. Although the images in the works are identical, the canvases are enlarged proportionally, beginning with Size 8, and sequentially becoming four works titled “Minor Fortune”, “Moderate Fortune”, “Great Fortune” and “Supreme Fortune”. In this series, the artist picks the image of kumquat plants and deliberately hollow out auspicious decoration. Through the process of reproduction and enlargement, allowing “auspiciousness” itself to be enlarged together with the scale of the paintings.
Another group of works, “(blank) 051, 052, 059 (Stack the Luck, Pool the Cash)”, is a staggered superimposition of the baby rubberplant that symbolizes wealth and blessings in the previous work "(Blank) 051", as well as the butterfly-shaped decoration that means business is prosperous and flourishing business. The works are mounted in specially commissioned three-layer frames, allowing “blessings” and “wealth” to multiply through visual repetition.
In addition to paintings, the exhibition also presents auspicious ceramic planters, such as “Golden Hen Lays Eggs” and “Golden Cicada Brings Treasure.” The artist further reproduces and stacks symbols of wealth, such as gold coins and eggs, and displays them using trolleys commonly seen in flower markets, placing the exhibition space somewhere between an art space, a flower market, and a merchandise display.
From the replication and enlargement of images in paintings to the stacking of auspicious symbols in the sculptural works, Huang Shun-Ting transforms the cultural logic of "the more, the better" into a practical creative method. As "auspiciousness" is continuously replicated, accumulated, and enlarged, the originally familiar vocabulary of blessing gradually acquire an almost excessive visual weight.
Through "Best Best Wishes", Huang Shun-ting also raises a question: when "repetition" becomes a method of artistic creation, does such multiplication ultimately remain to merely a replication of form, or can it, through repeated shifts and fine-tuning, move from " multiplication" to increasing quality,” and even “increasing value”?