CHAN Shih-Tai 詹 士 泰
詹士泰1971年出生於台北,2011年畢業於義大利國立卡拉拉美術學院。
詹士泰的石雕造型簡約,含有現代主義建築線條,仔細觀察,在理性的幾何形狀內卻有藝術家手工雕刻紋理的溫暖,詹士泰對於石材的敏銳度與環境中的感知直覺地流入他的創作,他放鬆的讓時間與環境自然地、自在地引導進石子裡,也許包括那天午後的斜影、來回穿梭的汽機車聲或刷過竹林的微風。猶如走路,藝術家身體的動作呼應著當下的思緒並延伸在一段時間裡。在有限的時光中,將部分的記憶與思慮賦予在他手邊的刻痕上。藝術家認為所有的石材都是靈感的源泉,看似不完美的瑕疵,變成了意想不到的相遇,想像了無數的可能性。 詹士泰的創作思考如何用最微妙的動作、幾乎非侵入性的方法,精緻又克制的手勢,創造出簡單純粹的美學精神。藝術家將他的創作過程描述為一種「梳洗」形式,梳洗意味著一種準備狀態,含有洗、清、梳和穿的行爲,這些帶有儀式感的狀態形容在詹士泰的創作上,相似一層層精細的顯露出石頭的特質,同時也在石頭中賦予藝術家當下感受的痕跡,透過雕塑形式重新描述石雕的豐富面向。 詹士泰歷年參與多次國際藝術家創作營於葡萄牙Caldas da Rainha 第15屆Simppetra國際雕刻創作營(2014)、花蓮「藝術向東」花蓮國際石雕藝術季創作營(2014)、義大利Volterra 第5屆Alabastro國際雕刻創作營(2008)、台南「夢想之上」國際雕刻創作營(2007)、義大利「L'ACQUA」Castelraimondo國際雕刻創作營(2006)。 近期展覽包含:「石子」個展,就在藝術空間,台北,台灣(2022)、「所在-境與物的前衛藝術1980-2021」國立台灣美術館,台中,台灣(2021)、「超強自發功 - 南119縣鄉民展」大新美術館,台南,台灣(2021)、「隆隆隆 / 很可以_培力研發所」國立台南生活美學館,台南,台灣(2020)、「如果這樣可以就好 / If so」個展,外子,台北,台灣(2020)、「想像的遮蔽陣列」個展,伊通公園,台北,台灣(2019)「自成徑 / 台灣境派藝術」伊通公園,台北,台灣(2018)、「首爾國際雕塑展」首爾藝術中心,首爾,韓國(2018)、「後來方剛離我而去」個展,絕對空間,台南,台灣(2018)。 |
Chan Shih-Tai was born in 1971 in Taipei, and obtained a higher diploma from the Academy of Fine Arts Carrara, Italy in 2011.
Chan Shih-Tai’s stone sculptures are based in his philosophy of allowing his memories, his sensory perceptions of the environment, and the characteristics of the stone to inform his sculptural form. Chan considers all stone to be a source of inspiration, what seem to be imperfections become unexpected encounters, where Chan imagines a myriad of possibilities. At first glance his sculptures resemble modernist architectural forms, on closer inspection they contain the warmth of the artist’s hand-carved textures. Chan’s highly observant and intuitive creative process allows room for sensations from the environment to flow freely into the stone. An oblique afternoon shadow, the bustle of passing traffic, or the breeze brushing through a bamboo forest, these sensations guide his movements, leaving traces of his memories carved into the stone. Chan Shih-Tai developed a subtle, almost non-invasive approach, consisting of delicately restrained gestures, adhering to a purist aesthetic spirit. Chan describes his technique as a form of “grooming”; to groom implies a state of preparation, in which we associate with acts of washing, cleaning, brushing, and dressing; ritual-like processes that can be likened to Chan’s careful peeling back and revealing the stone’s inherent features, as well as augmenting the stone with his own expressive reinterpretation, portraying the complexity of stone carving through his striking subtlety and simple sculptural forms. Chan has participated in many international sculpture symposiums, including The 15th Simppetra International Sculpture Symposium, Caldas da Rainha, Portugal (2014); Hualien International Sculpture Symposium, Hualien, Taiwan (2014); The 5th Alabastro International Sculpture Symposium, Volterra, Italy (2008); L'ACQUA Castelraimondo International Sculpture Symposium, Italy (2006). Recent exhibitins include: Stone, Solo Exhibition, Project Fulfill Art Space, Taipei, Taiwan (2022); Places of Being – Space and Materiality in Taiwan’s Avant-Garde Art, 1980-2021, National Taiwan Museum of Fine Arts, Taichung, Taiwan (2021); Super Spontaneous Chi: A Route 119 South Villagers’ Exhibition, Da Xin Art Museum, Tainan, Taiwan (2021); Longlonglong!!! Good To Do – Young Artists Empowerment Hub, Young Show Space, Tainan, Taiwan (2020); If so, Solo Exhibition, YZ Space, Taipei, Taiwan (2020); Conception, Concealer, Conformation, Solo Exhibition, IT Park Art House, Taipei Taiwan (2019); Sui Generis: Jing-Pai of Taiwan, IT Park Art House, Taipei, Taiwan (2018); 10th International Sculpture Festa, Seoul Art Center, Korea (2018); The Square Left Me Along, Solo Exhibition, Absolute Art Space, Tainan, Taiwan (2018). |