《會飲》黃至正個展

展期｜
2025.12.20 – 2026.02.07
開幕｜
2025.12.20 (六) 15:00
藝術家與談｜
2026.01.10 (六) 15:00
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《會飲 Symposium》其展名直接援引自柏拉圖的一部對話式作品《會飲篇》，該作品記敘了一個宴會場景，眾人在宴會中探討與頌讚愛欲，最後將愛欲從單純的性慾或激情，重新定義為通往形上學真理的理性與精神驅力，而黃至正則在此次展覽中回顧與研究台灣繪畫史上同樣曾於阿波羅畫廊展出過的幾位前輩藝術家。對於至正而言，成立近半個世紀的阿波羅畫廊恰如台灣繪畫史上的一場歷史饗宴，曾於畫廊展出過的藝術家皆為饗宴的與會者之一，而畫作則是宴會上唯一流通的語言，藉由畫作的題材、筆觸與風格，酒酣耳熱的言談從不停止。

此次展覽中，黃至正選擇以「靜物」這一經典的題材作為回應台灣美術史的方式。有別於傳統水墨畫中象徵文人雅趣的「清供圖」或「折枝花鳥」，西方靜物畫概念的傳入揭開了日治時期台灣藝術家視覺經驗的現代化轉向，藉由對靜止物體的描繪，藝術家系統性地習得了透視法與理性的科學觀察方式，台灣藝術家亦藉由加入如木瓜、香蕉、鳳梨、百合花、蘭花等南國作物，建構出清晰的在地意象。

在《臨界》這件作品中，大量的水果被置放在鏡面上，除了台灣常見的葡萄、蘋果，亦能見到被剖開的石榴，石榴絕非在台灣常見的食物，卻是學院美術教育中，常與石膏像並置的經典臨摹對象。當黃至正在創作過程中思索何謂「在地」這一概念時，經常會想起鑲嵌在他育成經驗中的石榴種子，鏡面中的倒影恰恰是作為藝術家持續提問與思辯的證明。

而箔作為黃至正長年關注的材料，藝術家不僅熱衷於箔所承載的文化意涵，亦著迷材質本身的特性，尤其是箔會隨著環境、光線所呈現出的多變面貌，在《扶疏》、《夜航》中，黃至正以不同的技法「擦亮」玻璃杯、「點燃」蠟燭，精心布置了一個燭火搖曳的夜宴，彷彿在作品前方走動時，能夠看見杯子映出自己的倒影，畫作中的燭光足以照亮現實。

《餘溫》則是黃至正不吝於表達自身對於藝術家席德進的喜愛，席德進擅以大膽的筆觸與濃烈色彩刻劃人物，黃至正則以柔軟的筆觸與溫潤色調繪製樹下納涼的少年，樹影築起的浪拍打著他的身體，若席德進是以熾熱的目光注視所愛，藉此保存生命最璀璨的一刻，黃至正則總是望向事物最幽微之處，在萬物生成時預見其不可迴避之終結，對藝術家而言，烈火與餘燼盡無不同。

在此次展覽《會飲 Symposium》中，藝術家不僅展示了對於掌握金屬箔這一特殊材料的純熟技巧，同時也是藉由回顧所展開與前輩畫家的一場宴席與言談，試圖提問作為創作者要如何真實的面對自身此時此刻的處境，且以一件件的作品構成能夠跨越時代的語句。

黃至正畢業於東海大學美術系碩士班創作組。曾獲文化部遴選為 Art Taipei「Made In Taiwan-新人推薦特區」藝術家、臺南新藝獎首獎、阿波羅畫廊與王道銀行教育基金會主辦之「構圖．臺灣」視覺藝術創作徵件計畫入圍等獎項。作品曾受臺南市立美術館、國立臺灣美術館典藏及台中市立美術館典藏。在阿波羅畫廊的推薦與推動下，陸續參與台北國際藝術博覽會、台中藝術博覽會、台南藝術博覽會、One Art、Whatz 等多場藝博會，累計展出達十五次，並獲得眾多藏家高度關注與肯定。今年首次於阿波羅畫廊舉辦個展。

→ 黃至正 簡歷
→ 欣賞 虛擬展廳

“Symposium” —  Solo Exhibition by HUANG Chih-Cheng
Opening｜12.20, 2025 Sat. 15:00
Duration｜12.20, 2025 – 02.07, 2026
Artist Talk｜01.10, 2026 Sat. 15:00
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“Symposium” takes its title directly from Plato’s dialogic work Symposium, which recounts a banquet in which the guests explore and praise the nature of Eros. The dialogue ultimately reframes Eros not merely as sexual desire or passionate impulse, but as a rational and spiritual force leading toward metaphysical truth.

In this exhibition, Huang Chih-Chen revisits and studies several pioneering Taiwanese artists who likewise exhibited at Apollo Art Gallery in earlier decades.

For Huang, the nearly half-century-old Apollo Art Gallery resembles a grand feast in the history of Taiwanese painting. Every artist who has shown at the gallery becomes a participant in this historical banquet, and the artworks serve as the sole language exchanged at the table. Through subject matter, brushwork, and stylistic choices, the spirited conversations of this banquet continue without end.

In this exhibition, Huang Chih-Chen adopts still life, a classical genre, as his means of responding to the trajectory of Taiwanese art history. Distinct from the traditional ink-painting motifs such as qinggong tu or cut-branch bird-and-flower compositions, which embody the cultivated elegance of the literati, the introduction of Western still-life concepts marked a modern shift in the visual experience of Taiwanese artists during the Japanese colonial period.

Through the depiction of inanimate objects, artists systematically acquired the use of perspective along with methods of rational, scientific observation. Taiwanese painters further constructed a clear sense of local identity by incorporating tropical produce such as papayas, bananas, pineapples, as well as lilies and orchids, into their compositions.

In 《Critical Point》, a large assortment of fruits is arranged upon a mirrored surface. Alongside familiar items such as grapes and apples commonly seen in Taiwan, the composition also features a split-open pomegranate. Although pomegranates are far from typical in Taiwanese daily life, they remain a canonical subject of academic training, frequently paired with plaster casts as objects for foundational study.

As Huang Chih-Chen contemplated the notion of “locality” during his creative process, he often recalled the pomegranate seeds embedded in his formative experiences. The reflections captured within the mirror serve precisely as evidence of the artist’s ongoing inquiry and critical reflection.

Foil, a material that has long preoccupied Huang Chih-Chen, engages him not only through its rich cultural connotations but also through its intrinsic physical qualities. He is particularly drawn to the way foil shifts in appearance depending on its surrounding environment and the light that strikes it.

In 《Sparse and Spreading》 and 《Night Flight》, Huang employs various techniques to “polish” a glass and “ignite” a candle, meticulously staging a nocturnal banquet illuminated by flickering flames. As viewers move before the works, they may glimpse their own reflections cast upon the glass, as though the candlelight within the painting were bright enough to illuminate reality itself.

In 《Lingering Warmth》, Huang Chih-Chen openly expresses his admiration for the artist Hsi Te-chin. While Hsi is known for his bold brushwork and vivid, saturated colors in portraying the human figure, Huang instead depicts a youth resting beneath a tree with gentle strokes and a warm, subdued palette. The shadows cast by the foliage ripple across the boy’s body like waves.

If Hsi Te-chin gazed upon his subjects with a fervent intensity, seeking to preserve the most radiant moments of life, then Huang Chih-Chen consistently turns his attention toward the most delicate and elusive states of being. He perceives, at the very moment things come into existence, the inevitability of their end. For the artist, blazing fire and lingering embers are ultimately indistinguishable.

In the exhibition 《Symposium》, the artist not only demonstrates his mastery of working with metallic foil but also initiates, through this act of retrospection, an imagined banquet and dialogue with the painters who came before him. Through this encounter, he seeks to question how a creator might genuinely confront their own present condition. Each work becomes a phrase capable of transcending its time, contributing to an ongoing conversation across generations.

Huang Chih-Chen received his MFA in Fine Arts from Tunghai University. He was selected by the Ministry of Culture for Art Taipei’s “Made in Taiwan – Young Artist Discovery” program and has received several honors, including the First Prize of the Tainan New Art Award and finalist recognition in “GOTO Taiwan,” a visual arts initiative organized by Apollo Art Gallery and the O-Bank Education Foundation. His works have been collected by the Tainan Art Museum, the National Taiwan Museum of Fine Arts, and the Taichung City Tun District Art Center.

→ HUANG Chih-Cheng’s CV
→ AR Exhibition