|藝術家 |

黃歌川 、陳昭宏、劉洋哲、戴壁吟、葉東進、裵秀英、王綺穗、黃至正、蘇泓諺、張凱閔、林禹良、江為彬
|地點 |

台南晶英酒店 Silks Place Tainan (台南市中西區和意路 1 號)
|展房 |

612

臺南為清朝臺灣府的府城前身，是臺灣文化的發源地之一，也是臺灣藝術發展的重要起點。從荷蘭、明清到日治，再到現代，臺南在多重文化交融與長時間的生活累積之中，形成一種層層堆疊的城市質地。這座城市不僅保存著歷史文化遺產，也持續在當代社會裡轉化、更新與生長，成為臺灣不可忽視的文化寶庫。

這次的展覽為《觀看之間》關注的是人如何透過自身經驗、背景與感受去理解所處的世界。觀看並非單一而固定的行為，而是一種在時間、生活與創作歷程中不斷被形塑與調整的狀態。本次聯展匯集十二位來自不同世代與創作脈絡的藝術家，分別為 黃歌川 、陳昭宏、劉洋哲、戴壁吟、葉東進、裵秀英、王綺穗、黃至正、蘇泓諺、張凱閔、林禹良、江為彬
他們以各自的觀看方式回應所見，並將這些觀看轉化為作品中的畫面、材料與結構，使創作成為一種被保留下來的視線。

黃歌川
作品風格以跨域融合為核心，展現出強烈的實驗精神與求新求變的特質。他研發革新的冰裂紋蠟染畫技法，將繁雜的工序化繁為簡，以具立體錯覺感的冰裂紋作為作品靈魂，創造出強大的視覺衝擊力與豐富的肌理質感。
1950年代參與台灣現代繪畫運動，與朱德群、楊英風、陳庭詩等共同推動藝術社團，分別創立「中華民國畫學會」、「中華民國版畫學會」等，對戰後台灣藝術發展具奠基性貢獻。

陳昭宏
知名的照相寫實主義藝術家。他從早期抽象轉向具象，受大師安格爾啟發，以細膩筆觸與噴槍技法著稱。作品聚焦女人與花，精確捕捉肌膚光澤、毛孔與水珠等微觀細節。他常利用特寫與局部構圖，模糊攝影與繪畫界限，展現強烈感官美感與生命瞬間。其創作過程被視為一種練功與提煉，追求極致純度與精確，將藝術昇華至宗教般的生命修行層次。
作品曾參與過阿波羅畫廊的兩次個展，並在Art Taipei、Taipei Art Week、Art Solo、Art Taichung、Art Tainan等國內外重要藝術博覽會中展出。他的作品被紐約古根漢美術館、聖荷西美術館、臺北市立美術館等機構典藏，並成為當代照相寫實主義的重要代表之一。

劉洋哲
藝術風格融合西洋油畫與現代版畫技法，展現出飽和鮮明的色彩與繽紛層次感。他以具象表現為核心，將台灣本土元素、歷史古蹟與日常物件結合，並融入超現實風格，使平凡景物帶有神祕且具趣味性的意境。其作品特質寧靜厚實，透過層次豐富的油彩堆疊，傳達出深沉的鄉愁與人文關懷。
創作亦屢獲重要獎項肯定，為臺灣現代版畫發展的重要代表人物之一。其作品獲國立巴黎圖書館、法國版畫美術館、國立臺灣美術館、國立歷史博物館，以及多所中國與日本美術館與文化機構典藏。

戴壁吟
作品風格從早期的印象派轉向獨特的抽象藝術。他以自製手工紙為核心，視紙張為創作的主格而非僅是基底，並強調其肌理、韌性與空間感。畫中常融入阿拉伯數字與日常用品壓印（如扇子、衣架），呈現單純、抒情且具禪意的視覺語言。其風格深受老莊哲學與西班牙大師達比埃斯影響，展現出藝術還原心性單純的精神境界。
戴壁吟持續於臺灣與國際間展出，並多次與阿波羅畫廊合作舉辦個展及參與 Art Taipei、Art Taichung、Art Tainan 等重要藝術博覽會。其創作亦以「紙」為核心媒材發展出系列作品，相關研究與創作成果出版成書，包括《紙與戴壁吟對話》與《臺灣紙戴壁吟》等。長年旅居西班牙的經驗，使其創作橫跨歐洲與臺灣藝術脈絡，並在繪畫、材料與空間表現之間持續展開探索。

葉東進
葉東進融合數學理性與藝術感性。他擅用油彩蠟筆，透過層層堆疊與敲打顯現特殊肌理。作品構圖簡約且色彩雅緻，常以山巒、孤鳥與新月象徵生命流轉與內在根源。風格寧靜祥和並帶有神祕光影，展現出超越現實、沉澱後的內心風景與靈性氣韻亦長期參與臺北、臺中、臺南等地之藝術博覽會，並多次透過阿波羅畫廊於國內外藝術平台展出作品。其創作成果亦收錄於出版品《藉題發揮得意忘形》。

裵秀英
裴秀英的作品以「連結的美學」為核心，巧妙將廢棄電路板、半導體晶圓與金屬管材轉化為充滿情感的裝置藝術。她運用鍍鉻色彩與光潔表面營造出神祕的未來科技感，常以心型、蝴蝶及蘋果為符碼，象徵生命的蛻變與人際情感的意念傳遞。其風格融合科技與人文，將電子電路比擬為人類的血管與經絡，挑戰對廢棄物的傳統認知，在冰冷機械中注入真誠的生命能量
作品橫跨雕塑、公共藝術及跨界合作，致力於創造與當代文化及情感的深刻對話。裵秀英曾為韓國K-pop女團(G)I-DLE設計廣告及《韓國大音樂獎》的獎盃，並且其作品已被包括首爾市政廳在內的多個重要場所與韓劇《Confidence Man KR》收藏。

王琦穗
王綺穗以水分子與水滴為核心符號，隱喻原住民身分認同與集體記憶的流動。她擅長動態影像感寫實語言，藉由影格序列捕捉流動瞬間，營造電影般的動態效果。近年更將傳統編織工藝融入藝術實踐，親手織就麻布並運用輕透罩染法，在低限且模糊的寫實風格中，利用水滴濾鏡展現虛實交錯的光影，構築出具包容性的「安全空間」
持續於臺灣與歐洲展出作品，個展與聯展曾於高雄市立美術館、屏東美術館、大象藝術空間館、家畫廊、游移美術館、甘樂阿舍美術館，以及英國、奧地利、捷克等地舉行。其作品獲國立臺灣美術館、葉榮嘉美術館及中環美術館典藏，並曾參與多項藝術駐村與公共藝術計畫。

黃至正
黃至正的作品以金屬箔為基底，結合水墨、影像轉印與縫紉等複合媒材。他深受陰翳美學影響，擅捕捉窗簾透光的細緻光影，營造憂傷感性的氛圍。創作核心圍繞生命議題、家族記憶與性別情慾，透過拆解與重組圖像，將個人情感與壓抑的慾望轉化為極具層次感的視覺語彙
曾獲文化部「MIT新人推薦藝術家」、臺南新藝獎首獎、高雄獎等肯定，作品被臺南市美術館與國立臺灣美術館典藏。長期與阿波羅畫廊合作，並多次參與Art Taipei、Art Taichung、Art Tainan等國內重要藝術博覽會。

蘇泓諺
蘇泓諺的作品以黑、白、灰為基調，受天生色弱影響，營造出如古早電影般冷冽且具劇場感的氛圍。他常以無人空間與日常物件為載體，探討記憶斷面、時間流逝與生命存有。透過留白與結構張力，構築出靜默而緊繃的心理場域，引發觀者對生命脆弱與持續的延遲性共鳴。
2025年參與《次序之外》楊桃派新銳藝術家助長計畫，於阿波羅畫廊展出，並同年參與臺南藝術博覽會阿波羅畫廊展位。其作品亦曾展出於《競技場》臺藝大美術系校慶美展、《綠蹤》臺藝大美術系創作展、《Container 容器》等展覽。

張凱閔
張凱閔的作品以油彩為主要媒材，核心特色在於構築「遊戲化」與「模擬性」的場景。他擅長將日常生活轉化為具荒誕感的圖像，使作品遊走於真實與虛構的邊界。畫中人物常處於規則未明的任務狀態，在秩序與混亂間反覆運行。其創作體現對「遊戲性」的迷戀，藉由繪畫建立另類空間以抵抗數位疲勞，並捕捉人在擬像中迷航的張力。
2025年參與《次序之外》楊桃派新銳藝術家助長計畫於阿波羅畫廊展出，並曾參與《有展跟美展一樣》畢業展、《綠蹤》創作展、《Container 容器》及多場聯展，作品持續於不同展示脈絡中呈現。

林禹良
林禹良的作品以繪畫為主要媒材，常以森林、林道及夜色為場景，探討人物與環境間緊密卻不明確的關係。其風格特徵在於畫面中面容模糊、背向觀者且穿著相似的人物，營造出具系統性卻難以界定的沉靜視覺層次。此外，他將昆蟲採集意象擬人化，透過對光源、競爭與落空的描繪，呈現出對生命狀態細膩且具思辨性的觀察與解讀。
2025年參與《次序之外》楊桃派新銳藝術家助長計畫，於阿波羅畫廊展出；亦曾參與《蒔花．弄草》聯展、馥蘭朵烏來度假酒店聯展，以及多場校內外聯展。其創作歷程中曾多次獲得全國性繪畫與寫生競賽獎項肯定。

江為彬
江為彬以水族缸造景為靈感，透過油畫構築出微型生態系的畫面世界。其風格強調在自由生長與理性編排之間取得平衡，藉由水草、石塊與魚群建立沉靜且有序的空間配置。他常以「朱文錦」等飼料魚為媒介，探討生命被觀看與分類時的價值差異，在微觀的水中場景中展現生命的韌性、平等性與共生關係，將現實情緒轉化為具感官律動的水中異想。
2025年參與《次序之外》楊桃派新銳藝術家助長計畫，於阿波羅畫廊展出，亦曾參與《有展跟美展一樣》畢業展、《台藝大繪畫科》聯展等校內外展覽。其創作歷程中曾獲道教總廟三清宮建宮五十週年佳作，以及風野盃寫生比賽優選等獎項肯定。

 

｜展出資訊｜

展覽：ART TAINAN 2026 台南藝術博覽會｜阿波羅畫廊｜《觀看之間》

｜貴賓預展｜

2026/03/12 (四) 15:00–19:00

｜公眾展期｜

2026/03/13 (五) – 03/15 (日)

｜開放時間｜

12:00–19:00 ( 3/15 至 18:00 )

｜地點｜

台南晶英酒店 Silks Place Tainan (台南市中西區和意路 1 號)

Tainan, formerly the seat of Taiwan Prefecture during the Qing dynasty, is one of the birthplaces of Taiwanese culture and an important point of origin in the development of Taiwanese art. From the Dutch and Ming-Qing periods to Japanese rule and the modern era, Tainan has developed a richly layered urban character through the convergence of multiple cultures and the long accumulation of everyday life. The city not only preserves its historical and cultural heritage, but also continues to transform, renew, and grow within contemporary society, making it one of Taiwan’s most significant cultural treasures.

This exhibition, Between Ways of Seeing, focuses on how people come to understand the world through their own experiences, backgrounds, and perceptions. Seeing is not a singular or fixed act, but rather a condition continuously shaped and reshaped through time, life, and artistic practice. This group exhibition brings together twelve artists from different generations and creative trajectories: Ko-Chuan HUANG, Hilo CHEN, Yang Che LIU, Bih-In DAI, Tung-Jinn YEH, Soo-Young BAE, Chi-Sui WANG, Chih-Cheng HUANG, Hung-Yen SU, Kai-Min CHANG, Yu-Liang LIN, and Wei-Pin CHIANG.
Through their distinct modes of seeing, they respond to what they perceive and transform these acts of perception into image, material, and structure, allowing artistic creation to become a preserved line of sight.

Ko-Chuan HUANG

Huang’s artistic practice centers on cross-disciplinary integration and is marked by a strong experimental spirit and a constant drive for innovation. He developed an innovative crackle-pattern batik technique, simplifying an otherwise complex process and turning the illusionistic crackled surface into the soul of the work, creating powerful visual impact and richly textured surfaces.
In the 1950s, he participated in Taiwan’s modern painting movement and, together with artists such as Chu Teh-Chun, Yuyu Yang, and Chen Ting-Shih, helped promote important art societies, including the Chinese Painting Association and the Republic of China Printmaking Association, making a foundational contribution to the development of postwar Taiwanese art.

Hilo CHEN

A renowned Photorealist artist, Hilo Chen shifted from early abstraction to figuration under the influence of the master Ingres. He is known for his meticulous brushwork and airbrush technique. His works focus on women and flowers, capturing microscopic details such as the sheen of skin, pores, and water droplets with remarkable precision. Through close-up views and cropped compositions, he blurs the boundary between photography and painting, revealing an intense sensual beauty and fleeting moments of life. His creative process has often been regarded as a form of discipline and refinement, pursuing absolute purity and precision, and elevating art to a level akin to spiritual cultivation.
His works have been featured in two solo exhibitions at Apollo Art Gallery and in major domestic and international art fairs, including Art Taipei, Taipei Art Week, Art Solo, Art Taichung, and Art Tainan. His works are held in the collections of institutions such as the Solomon R. Guggenheim Museum in New York, the San Jose Museum of Art, and the Taipei Fine Arts Museum, and he is widely regarded as an important representative of contemporary Photorealism.

Yang Che LIU

Liu’s artistic language combines Western oil painting and modern printmaking techniques, distinguished by saturated, vivid colors and richly layered visual depth. Rooted in figuration, his work integrates Taiwanese local elements, historical architecture, and everyday objects, while incorporating surrealist touches that imbue ordinary scenes with mystery and poetic charm. His works are characterized by a sense of calm solidity, and through thick layers of oil paint he conveys profound nostalgia and humanistic concern.
His artistic achievements have been recognized by numerous major awards, and he is regarded as one of the important representatives of modern Taiwanese printmaking. His works are collected by the Bibliothèque nationale de France, the French Museum of Printmaking, the National Taiwan Museum of Fine Arts, the National Museum of History, and various museums and cultural institutions in China and Japan.

Bih-In DAI

Dai’s work evolved from early Impressionist influences into a distinctive abstract language. Centering on handmade paper, he treats paper not merely as a support but as the principal subject of creation, emphasizing its texture, resilience, and spatial presence. Arabic numerals and impressions of everyday objects such as fans and hangers often appear in his works, forming a visual language that is simple, lyrical, and imbued with a Zen-like sensibility. His style is deeply influenced by Daoist philosophy and the Spanish master Antoni Tàpies, revealing a spiritual pursuit of restoring the purity of one’s inner nature through art.
Dai has continued to exhibit in Taiwan and internationally, and has repeatedly collaborated with Apollo Art Gallery through solo exhibitions and participation in major art fairs such as Art Taipei, Art Taichung, and Art Tainan. With paper as his primary medium, he has developed a sustained body of work, and related studies and publications include Dialogue Between Paper and Dai Bih-In and Taiwan Paper: Dai Bih-In. His long residence in Spain has allowed his practice to move fluidly between European and Taiwanese artistic contexts, continuing to explore the relationship among painting, material, and space.

Tung-Jinn YEH

Yeh’s work brings together mathematical rationality and artistic sensibility. He is skilled in using oil pastel, building up and striking through layers to reveal distinctive textures. His compositions are concise and his colors refined, often using mountains, solitary birds, and crescent moons as symbols of life’s flow and inner roots. Quiet and serene, yet touched by mysterious light, his work evokes inner landscapes and spiritual resonance that seem to transcend reality. He has long participated in art fairs in Taipei, Taichung, and Tainan, and has repeatedly exhibited on domestic and international platforms through Apollo Art Gallery. His creative achievements have also been documented in the publication Borrowing the Theme, Forgetting the Form.

Soo-Young BAE

At the heart of Bae’s work is an “aesthetics of connection.” She transforms discarded circuit boards, semiconductor wafers, and metal tubing into emotionally charged installations. Through chrome finishes and polished reflective surfaces, she creates a mysterious futuristic atmosphere. Hearts, butterflies, and apples recur as symbolic forms, suggesting transformation and the transmission of emotional energy between people. Her practice merges technology and humanity, likening electronic circuitry to human veins and meridians, challenging conventional perceptions of waste and infusing cold machinery with sincere vitality.
Her work spans sculpture, public art, and interdisciplinary collaboration, always seeking profound dialogue with contemporary culture and emotion. Bae has designed advertising visuals for the K-pop girl group (G)I-DLE and the trophy for the Korean Music Awards, and her works have been collected by major venues including Seoul City Hall and featured in the Korean drama Confidence Man KR.

Chi-Sui WANG

Wang centers her practice on water molecules and droplets as metaphors for Indigenous identity and the fluidity of collective memory. She is known for a realist language informed by moving-image aesthetics, using sequential visual fragments to capture moments in motion and create a cinematic effect. In recent years, she has incorporated traditional weaving techniques into her artistic practice, hand-weaving linen and applying translucent glazing methods. Within a restrained and softly blurred realist language, she uses a “droplet lens” effect to produce interwoven layers of illusion and reality, constructing an inclusive “safe space.”
She continues to exhibit in Taiwan and Europe, with solo and group exhibitions held at the Kaohsiung Museum of Fine Arts, Pingtung Art Museum, Da Xiang Art Space, Home Gallery, Yo-Yi Art Museum, Ganle A-She Art Museum, and venues in the United Kingdom, Austria, and the Czech Republic. Her works are held in the collections of the National Taiwan Museum of Fine Arts, the Yeh Rong-Jia Art Museum, and the Chung Huan Art Museum, and she has participated in numerous artist residencies and public art projects.

Chih-Cheng HUANG

Huang works on metal foil grounds, combining ink, image transfer, sewing, and mixed media. Influenced by the aesthetics of shadow, he is particularly attentive to delicate light filtered through curtains, creating an atmosphere tinged with melancholy and sensitivity. His practice revolves around themes of life, family memory, gender, and desire. Through the dismantling and reassembly of images, he transforms personal feeling and repressed longing into a highly layered visual language.
He has received recognition including the Ministry of Culture’s MIT New Artist recommendation, the Grand Prize at the Tainan New Arts Award, and the Kaohsiung Award. His works are held in the collections of the Tainan Art Museum and the National Taiwan Museum of Fine Arts. Huang has long collaborated with Apollo Art Gallery and has participated in major domestic art fairs such as Art Taipei, Art Taichung, and Art Tainan.

Hung-Yen SU

Working primarily in black, white, and gray, Su’s paintings are shaped by his congenital color weakness, creating an atmosphere reminiscent of old cinema, cold, theatrical, and suspended. He often uses uninhabited spaces and everyday objects as carriers for reflections on fragments of memory, the passage of time, and the condition of existence. Through negative space and structural tension, he constructs silent yet taut psychological fields, inviting viewers into a delayed resonance of fragility and endurance.
In 2025, he participated in Beyond the Order, the Young Art Promotion Project, exhibited at Apollo Art Gallery, and also joined Apollo Art Gallery’s presentation at ART TAINAN that same year. His works have also appeared in exhibitions such as Arena, Green Trace, and Container.

Kai-Min CHANG

Chang works primarily in oil painting, constructing “game-like” and simulated scenarios as the core of his visual language. He transforms everyday life into absurd image systems that hover between reality and fiction. Figures in his paintings often appear to be carrying out tasks governed by unclear rules, endlessly cycling between order and disorder. His work reveals a fascination with play and simulation, using painting to create alternative spaces that resist digital fatigue while capturing the tension of drifting through a world of images.
In 2025, he participated in Beyond the Order, the Young Art Promotion Project at Apollo Art Gallery. His works have also been shown in the graduation exhibition Same as the Art Exhibition, as well as Green Trace, Container, and other group exhibitions.

Yu-Liang LIN

Lin works primarily in painting and often stages his scenes in forests, woodland paths, and nocturnal landscapes, exploring relationships between figures and environment that are intimate yet difficult to define. His work is marked by blurred faces, figures seen from behind, and similarly dressed characters, producing a visual order that feels coherent yet elusive. He also anthropomorphizes the imagery of insect collecting, using depictions of light, competition, and disappointment to offer subtle and reflective observations on the conditions of life.
In 2025, he participated in Beyond the Order, the Young Art Promotion Project at Apollo Art Gallery. He has also exhibited in Planting Flowers, Tending Grass, a group exhibition at Volando Urai Spring Spa & Resort, as well as in various academic and independent exhibitions. His practice has received recognition in several national painting and plein-air competitions.

Wei-Pin CHIANG

Inspired by aquarium landscape design, Chiang constructs painted worlds that resemble miniature ecosystems. His work seeks a balance between organic growth and rational arrangement, using aquatic plants, stones, and fish to build calm and ordered spatial compositions. He often uses feeder fish such as Zhu Wen Jin as his subject, probing differences in the value assigned to life when it is observed and categorized. Within these microcosmic underwater scenes, he reveals resilience, equality, and coexistence, transforming real emotions into aquatic reveries with a distinct sensory rhythm.
In 2025, he participated in Beyond the Order, the Young Art Promotion Project at Apollo Art Gallery, and also showed works in Same as the Art Exhibition, NTUA Painting Division, and other exhibitions. His achievements include an Honorable Mention at the 50th Anniversary of Sanqing Temple and an Excellence Award at the Fengye Cup Plein Air Painting Competition.

Exhibition Information

Exhibition
ART TAINAN 2026 | Apollo Art Gallery | Between Ways of Seeing

VIP Preview
March 12, 2026 (Thu.) 15:00-19:00

Public Days
March 13 (Fri.)-March 15 (Sun.), 2026

Opening Hours
12:00-19:00
(March 15 until 18:00)

Venue
Silks Place Tainan
No. 1, Heyi Rd., West Central Dist., Tainan City, Taiwan