吳芊頤 Wu,Chien-yi | 乙皮畫廊 iP Art Gallery
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吳芊頤 Wu,Chien-yi

吳芊頤 Wu,Chien-yi

吳芊頤 Wu Chien Yi  (1987-)

出生於臺灣臺中,畢業於國⽴臺南藝術⼤學造形藝術研究所,於2015年舉辦「窗景的空間詩—清水的窗」個展與 「記憶居留」聯展,並以「窗景的空間詩」榮獲臺灣美術新貌展平面創作⾸獎,此系列作品由臺中市政府文化局港區藝術中⼼典藏。2012年「5100微型百貨⽂件計劃」獲新北市創作新⼈獎⾸獎。另外更獲第十三屆桃源創作獎(2015)、臺北美術獎(2011)、⾼雄獎(2010)等多項當代藝壇指標性獎項入選肯定。作品獲邀展出於台北mt博(mt expo)特展(2014)、臺灣美術雙年展(2012),榮獲國⽴臺灣美術館、新北市政府文化局典藏。

利用紙膠帶便於攜帶,且半透明可重複黏貼的特性,拼貼出向日常生活取材的各式商品,以扁平幾何的樣貌呈現時代的記錄,拼貼在看似紛亂的外表下,卻能閱讀出視覺焦點的主客關係,以及重複序列、結構幾何的堆疊趣味,種種網路消費文化的符碼被研究梳理,構成另一種嶄新的語彙意象,這種從旁觀察社會,而用作品與外界連結溝通的考察行為,吸引觀者主動思考作品物件所隱含的社會意義,創造出有故事的內容,將時空的意象封存於視覺風景中。

Born in Taichung, Taiwan, Wu Chien-Yi specialises in collage art and mixed media installations. She received her M.F.A degree from the Graduate Institute of Plastic Arts in Tainan National University of the Arts. Known as the winner of 2012 The Arising Artist Award of New Taipei City for her ‘5100 Mini Store Project’, Chien-Yi is also on the finalist of ‘The 13th Taoyuan Contemporary Art Award’ in 2015, the reputable ‘Taipei Arts Awards’ in 2011 as well as 2010 Kaohsiung Awards. She has also been invited to exhibit in numerous exhibitions, among which are the 2014 MT Expo and the 2012 Taiwan Biennial, and her artworks have been collected by The National Taiwan Museum of Fine Arts and Cultural Affairs Department of New Taipei City Government.

Wu Chien-Yi’s art is the after product of various approaches regarding keen observations and experiments. Having paper tape as the medium of expression, Chien-Yi reintroduces the familiar objects around us in a new light. The artist recaptures the consumption-driven economy and the soaring growth of e-commerce today to reveal a truthful insight of our era through her seemingly unfocused collage art. In 2015, Chien-Yi held her solo exhibition ‘Window View Series’ at Taichung City Seaport Art Centre and partook in ‘Residential Memory: Wen Meng-Yu and Wu Chien-Yi Duo Exhibition’ by Telling Arts. She is recently awarded the top prize in ‘2015 Exhibition of The Newly Emerging Artists in Taiwan’ held by Taichung City Seaport Art Centre for her Window View Series, inspired by the old window patterns in Taiwan. The series is now part of Seaport Art Centre collection. Her innovative approach continues to bring forth the distance between a truer reality and the world we are in.

創作關注台灣當下的社會現象,從2011年的網購消費文化,到近期有關集體記憶的黑鐵鐵窗花,將這些視覺符號重新編碼,再造新的意義。作品近看是幾何色塊,遠看形象會慢慢清晰,形成觀看上的差異,當觀眾解碼的同時,製造對話的可能性,並以此創作模式作為回應社會的方式。

鐵窗花做為一個視覺符號、一段記憶、一種文化,甚至是一首富韻律感的詩。

「窗景的空間詩」系列作品,將窗視為一個(房)中內部與外部區隔和對應的獨特區塊,利用空間與色光,形塑整體氛圍,將台灣復古鐵窗花的意象簡化為最單純的形式語言再造呈現。實際走訪台灣巷弄,蒐集分類各鄰里的特色窗花圖像,將鐵窗風景截取一塊可見的範圍,呈現不同視角下的窗景符號,再使用色塊拼貼與平面繪畫的方式組構成有機的窗景介面,創作拼貼時,直覺的調配空間比例,使透明介面的光與影營造出獨特的空間感,堆疊情感的厚度與層次,透過此藝術語彙,與時代做連結,並以此觀看上的趣味,喚起屬於常民的台式鄉愁。

Artworks based on the attention to social phenomena in Taiwan, especially since online shopping consumer culture explosively started in year 2011 until collective memory related to windows grilles issue, recoded these visual symbols and enhanced them with new meaning. Artworks seemed to be in geometric color blocks in close distance, but image will gradually clear if viewed further, the difference is formed based on the watching distance, when viewers decoding, while manufacturing the possibility of dialogue, the creation of these artworks became a way to respond to the community.

Windows grilles as a visual symbol, a memory, a culture, or even the richest sense of poem rhythm.

“The Poem of Grilles” will be seen as a corresponding space included an internal view from a window (room) and external segments, through the space and shade, shaping the overall atmosphere, simplified the vintage windows grilles of Taiwanese into simple form of visual language. With actual field observations into alleys, collected and classified each special patterns of windows grilles, and intercepted part of them, hence shown the visuals in different perspectives, through collages and painting to form the window platform, during the process, mainly based on own intuition in stacking the space, allowing the transparent material to combine the light and shadow in showing the unique spatial feel, also including the emotional adding, through these art languages, linking this century among, and through the actual viewing, arousing the belonging sense of feel for Taiwanese.