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X-ORIGINAL-URL:https://artgalleryapollo.com/2021
X-WR-CALDESC:Events for Apollo art gallery
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TZID:Asia/Taipei
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DTSTART:20240101T000000
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DTSTART;VALUE=DATE:20251229
DTEND;VALUE=DATE:20260411
DTSTAMP:20260605T155341
CREATED:20260103T060416Z
LAST-MODIFIED:20260106T081532Z
UID:13659-1766966400-1775865599@artgalleryapollo.com
SUMMARY:構圖台灣 ╳ 恆。好
DESCRIPTION:構圖台灣 ╳ 恆。好\n藝術家｜\n余采軒.林千瑋.林芃穎.金祺龍.高冠羣.陳廷菲.陳怡安.傅聖雅.彭冠銘.劉康彥\n展期｜\n2025.12.29 – 2026.04.10\n地點｜恆。好\n屏東縣屏東鎮東門路2巷11弄2&4號 \n\n\n《構圖．臺灣》第四屆入圍聯展，集結十位藝術家，透過繪畫、裝置與複合媒材等形式，呈現當代創作中對空間、日常與文化感知的多元回應。本屆展覽延續「構圖．臺灣」對於當代視覺語彙的關注，呈現年輕世代藝術家在各自創作脈絡中的觀察與實踐。\n\n\n\n「恆 · 好」是阿波羅畫廊位於屏東恆春的展覽空間，自2017年起持續策劃並推出多元展覽，邀請不同世代與創作背景的藝術家於此發表作品，逐步建立南臺灣穩定的藝術據點。空間座落於恆春東門，也讓藝術融入日常風景，成為旅途中可駐足停留的文化場域。\n\n\n→恆。好\n\n\n《Go To Taiwan》Joint Exhibition  \n\nArtists｜\nYU Cai-Xuan\, LIN Chien-Wei\, LIN Peng-Ying\, JIN Chi-Lung\, KAO Kuan-Chun\, CHEN Ting-Fei\, CHEN Yi-An\, FU Sheng-Ya\, PENG Guan-Ming\, LIU Kang -Yen\nDuration｜\n2025.12.29 – 2026.04.10\nLocation｜HunHau\n\nNo. 2\, Aly. 11\, Ln. 2\, Dongmen Rd.\, Hengchun Township\, Pingtung County 946\, Taiwan \nGo To Taiwan: The 4th Selected Artists Joint Exhibition brings together ten artists working across painting\, installation\, and mixed media. Through diverse artistic approaches\, the exhibition presents multifaceted responses to space\, everyday life\, and cultural perception in contemporary practice. Continuing the exhibition’s long-standing focus on contemporary visual language\, this edition highlights observations and artistic practices shaped by different generational and creative contexts. \n「HunHau」 is an exhibition space of Apollo Art Gallery located in Hengchun\, Pingtung. Since 2017\, it has continuously curated and presented a diverse range of exhibitions\, inviting artists from different generations and creative backgrounds to present their works\, gradually establishing a stable art presence in southern Taiwan. Situated within the historic Hengchun Old Town\, the space allows art to merge naturally into the everyday landscape\, becoming a cultural stop where visitors can pause and engage during their journey. \nWelcome to wander through HunHau Old Town and visit Heng. Hao to experience the artworks. \n\n\n→HunHau
URL:https://artgalleryapollo.com/2021/event/13659/
LOCATION:恆。好 HunHau\, 東門路2巷11弄4號\, 恆春鎮\, 屏東縣\, 台灣
CATEGORIES:slide show,展覽
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ORGANIZER;CN="%E9%98%BF%E6%B3%A2%E7%BE%85%E7%95%AB%E5%BB%8A":MAILTO:artgalleryapollo@gmail.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260307
DTEND;VALUE=DATE:20260408
DTSTAMP:20260605T155341
CREATED:20260224T101930Z
LAST-MODIFIED:20260227T072057Z
UID:13703-1772841600-1775606399@artgalleryapollo.com
SUMMARY:冉茂芹 油畫寫生 個展｜光影拾歲
DESCRIPTION:冉茂芹 油畫寫生 個展\n藝術家｜冉茂芹\n展期｜2026.03.07 – 2026.04.07\n地點｜阿波羅畫廊\n台北市大安區忠孝東路四段218-6號A棟2樓 \n\n\n\n冉茂芹 油畫寫生 個展｜光影拾歲 \n長期以風景和肖像畫作為創作核心，冉茂芹的繪畫實踐，並不止於對地點或景象的描繪，而是透過藝術家的視角去觀看我們所在的世界。回顧其創作歷程，1990年至2015年間，他於台灣多處地景及日本創作寫生。這些地點橫跨不同文化與自然條件，並未在展覽中被作為旅行紀錄或地域比較的對象，而是為藝術家反覆進入同一種創作狀態的不同場域。本次展覽透過許多風景作品，呈現藝術家與繪畫之間所建立的觀看方式。 \n  \n對冉茂芹而言，旅行繪畫並不是為了捕捉壯麗景觀或是標誌性景點，而更接近一種「田野式」的創作行動。他堅持對景寫生時，讓自身實際置身於風景之中，在現場觀察光線、空氣、結構與時間的流動。無論是在日本河岸長時間凝視光影變化，或是在台灣田疇、城市邊緣駐足作畫，繪畫皆發生於當下。 \n《落日蘭嶼》以夕光中的船隻與海岸為構圖主體，畫面中略帶想像色彩的造型與柔和光線，使風景呈現出介於現實與感受之間的靜謐氛圍。 \n在肖像繪畫方面，冉茂芹的畫風承襲俄羅斯畫派嚴謹細膩的寫實傳統畫法，展現出紮實醇厚的功力。溫和高雅的色調運用，使畫中人物流露出一種內斂、優柔溫潤的氣質，形象清晰而非流於形式上的描摹。 \n值得注意的是，這些肖像多半來自不同文化背景與族群，有些是來臺的交換學生，有些則是旅途中相遇的人等等。無論膚色或文化差異，冉茂芹皆以同樣的觀看方式與創作態度，使人物形象在畫布上展現出跨越地域與文化差異的共通性。 \n《黔東南苗家女》描繪在結婚前的苗族少女，畫面透過服飾、色彩與姿態，呈現當地文化中蘊含的節慶氣息與生命喜悅。\n《貴妃遙想》以唐代人物為創作起點，冉茂芹透過層次豐富而內斂的色彩處理，使歷史人物在畫面中呈現出兼具想像與情感重量的肖像形象。 \n  \n冉茂芹並不將寫實視為單純的複製畫面，而是追求一種介於再現與轉化之間的狀態。他曾引用齊白石所言：「妙在似與不似之間，太似為媚俗，不似為欺世」，作為自身創作的核心精神。在畫面中，透過構圖的取捨、筆觸的節奏，以及顏料厚薄的層次變化，保留感受尚未定型的時間痕跡。這樣的處理，讓作品不僅描繪所見之景，更呈現一種具有生命力度的靈光。 \n本次展覽恰逢春季開展（2026年3月7日至4月7日），時節上的呼應，更讓展覽多了一層重啟的象徵意義。藝術家冉茂芹曾提及，前幾年的春天受疫情影響，心境容易感到鬱卒，但隨著畫展的舉辦，心情也隨之雀躍起來，這本質上就是一種心理上的重啟 。 \n\n\n\n藝術家簡歷→冉茂芹\n虛擬展廳→欣賞\n\n\nYIM Mau-Kun Oil Painting from Life – Solo Exhibition A Decade of Gathering Light and Shadow \nOpening｜Saturday\, March 7\, 2026\, 15:00\nExhibition Dates｜March 7 – April 7\, 2026\nArtist Talk｜Saturday\, March 28\, 2026\, 15:00 \nLong devoted to landscape and portrait painting as the core of his practice\, Yim Mau-Kun’s work goes beyond the depiction of specific sites or scenes. His painting is an ongoing act of seeing that unfolds through movement and presence. Reviewing his artistic trajectory\, from 1990 to 2015 his exhibited works encompass numerous locations across Taiwan—including Taichung\, Keelung Islet\, Kaohsiung\, Nantou\, Yilan\, Longtan in Taoyuan\, and the back hills of Xindian—as well as sites in Japan such as Nagaokakyō\, Kyoto\, Nara\, Osaka\, the Kōya River\, and Fukuyama Botanical Garden. Though these places span diverse cultural and natural conditions\, they are not presented as travel records or regional comparisons. Rather\, they are treated as different fields in which the artist repeatedly enters the same creative state. Taking this as its point of departure\, the exhibition brings together landscapes from multiple regions to reveal how Yim establishes a distinctive and sustained mode of looking through movement\, pause\, and the act of painting. \nFor Yim Mau-Kun\, painting while traveling is not about capturing spectacular views or iconic landmarks; it is closer to a form of “fieldwork.” He insists on painting directly from life\, placing his body within the landscape and observing light\, air\, structure\, and the flow of time on site. Whether lingering along riverbanks in Japan to contemplate subtle shifts of light and shadow\, or pausing to paint amid Taiwan’s farmlands\, botanical gardens\, and urban fringes\, his paintings emerge in the present moment and maintain a direct\, intimate relationship with their surroundings. \nSunset at Lanyu centers on boats and coastline bathed in evening light. The slightly imagined forms and gentle illumination create a tranquil atmosphere suspended between reality and perception. In portraiture\, Yim Mau-Kun’s style inherits the rigorous and refined realism of the Russian academic tradition\, demonstrating a solid and mature command of form. His use of restrained\, elegant color imbues his figures with a quiet\, tender\, and warm temperament—clearly defined yet never reduced to mere outward likeness. \nNotably\, many of these portraits depict individuals from diverse cultural and ethnic backgrounds—some exchange students visiting Taiwan\, others people encountered during the artist’s travels. Regardless of differences in skin color or cultural origin\, Yim approaches each subject with the same distance of observation and creative attitude\, allowing the figures to embody a cultural presence that transcends geography. Miao Girl from Southeast Guizhou portrays a Miao girl before marriage; through costume\, color\, and posture\, the painting conveys the festive spirit and vitality embedded in local culture. Consort’s Reverie takes a figure from the Tang dynasty as its point of departure; through layered yet restrained color treatment\, Yim renders a historical figure imbued with both imaginative resonance and emotional weight. \nYim Mau-Kun does not regard realism as the faithful replication of detail\, but as a pursuit of a state of seeing that lies between representation and transformation. He has often cited Qi Baishi’s words—“The marvel lies between likeness and unlikeness; too much likeness is vulgar\, too little is deceitful”—as a guiding principle of his practice. Through compositional choices\, the rhythm of brushwork\, and variations in paint thickness\, his landscapes remain poised in this “between\,” preserving traces of time before sensation fully settles. Such an approach allows the works not only to depict what is seen\, but also to reveal a vital\, living aura. \nOpening in spring\, the exhibition gains an added layer of symbolic renewal through the season itself. Yim Mau-Kun has mentioned that in recent years\, springtime under the shadow of the pandemic left him feeling subdued\, yet the staging of exhibitions rekindled a sense of joy—a psychological reawakening at its core. This transition from melancholy to delight is vividly embodied in his decades-spanning works painted from life. The exhibition features a selection of oil paintings closely associated with spring scenery\, including Spring Comes to Lishan (Jesus Church) from 1990\, as well as a series capturing cherry blossoms in full bloom in Nara and Osaka\, such as Under the Cherry Tree and Cherry Blossom Grove. \nArtist’s CV\nAR Exhibiton
URL:https://artgalleryapollo.com/2021/event/%e5%86%89%e8%8c%82%e8%8a%b9%e5%80%8b%e5%b1%95/
CATEGORIES:slide show,展覽
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260307T080000
DTEND;TZID=Asia/Taipei:20260307T170000
DTSTAMP:20260605T155341
CREATED:20260307T060737Z
LAST-MODIFIED:20260321T071130Z
UID:13957-1772870400-1772902800@artgalleryapollo.com
SUMMARY:2026 台南國際藝術博覽會 展房612
DESCRIPTION:  \n |藝術家 | \n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\n|地點 | \n台南晶英酒店 Silks Place Tainan (台南市中西區和意路 1 號)\n|展房 | \n612 \n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。 \n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\n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。 \n黃歌川\n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。\n1950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。 \n陳昭宏\n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。\n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。 \n劉洋哲\n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。\n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。 \n戴壁吟\n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。\n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。 \n葉東進\n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》。 \n裵秀英\n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\n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。 \n王琦穗\n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」\n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。 \n黃至正\n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\n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。 \n蘇泓諺\n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。\n2025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。 \n張凱閔\n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。\n2025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。 \n林禹良\n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。\n2025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。 \n江為彬\n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。\n2025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。 \n  \n｜展出資訊｜ \n展覽：ART TAINAN 2026 台南藝術博覽會｜阿波羅畫廊｜《觀看之間》 \n｜貴賓預展｜ \n2026/03/12 (四) 15:00–19:00 \n｜公眾展期｜ \n2026/03/13 (五) – 03/15 (日) \n｜開放時間｜ \n12:00–19:00 ( 3/15 至 18:00 ) \n｜地點｜ \n台南晶英酒店 Silks Place Tainan (台南市中西區和意路 1 號) \nTainan\, 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. \nThis 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. \nKo-Chuan HUANG\nHuang’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. \nHilo CHEN\nA 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. \nYang Che LIU\nLiu’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. \nBih-In DAI\nDai’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. \nTung-Jinn YEH\nYeh’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. \nSoo-Young BAE\nAt 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. \nChi-Sui WANG\nWang 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. \nChih-Cheng HUANG\nHuang 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. \nHung-Yen SU\nWorking 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. \nKai-Min CHANG\nChang 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. \nYu-Liang LIN\nLin 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. \nWei-Pin CHIANG\nInspired 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. \nExhibition Information\nExhibitionART TAINAN 2026 | Apollo Art Gallery | Between Ways of Seeing \nVIP PreviewMarch 12\, 2026 (Thu.) 15:00-19:00 \nPublic DaysMarch 13 (Fri.)-March 15 (Sun.)\, 2026 \nOpening Hours12:00-19:00(March 15 until 18:00) \nVenueSilks Place TainanNo. 1\, Heyi Rd.\, West Central Dist.\, Tainan City\, Taiwan
URL:https://artgalleryapollo.com/2021/event/2026-%e5%8f%b0%e5%8d%97%e5%9c%8b%e9%9a%9b%e8%97%9d%e8%a1%93%e5%8d%9a%e8%a6%bd%e6%9c%83-%e5%b1%95%e6%88%bf612/
CATEGORIES:展覽
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260321
DTEND;VALUE=DATE:20260607
DTSTAMP:20260605T155341
CREATED:20260321T093923Z
LAST-MODIFIED:20260321T094458Z
UID:13976-1774051200-1780790399@artgalleryapollo.com
SUMMARY:《靜謐之光》陳淑華.林祐如.王雯 漆畫聯展 ╳ 望春風文化藝術基金會
DESCRIPTION:《靜謐之光》陳淑華.林祐如.王雯 漆畫聯展 ╳ 望春風文化藝術基金會\n展期｜2026.03.21 – 06.06\n開幕｜2026.03.21 (六) 15:00\n主辦｜望春風文化藝術基金會\n策展｜阿波羅畫廊\n地點｜望春風文化藝術基金會 (高雄市鼓山區中華一路868號HH大樓26樓)\n預約參觀｜https://lin.ee/mc5OCUE \n  \n《靜謐之光》匯集陳淑華、林祐如、王雯，三位女性藝術家的漆畫創作。他們皆以大自然為創作起點，從花草樹木、山海瀑布，到動物與生命的律動，展現萬物蓬勃的生機。漆畫媒材取自於大自然，創作需要歷經打磨、拋光等多重工序，經過時間的等候，淬鍊成藝術作品。接受大自然的沐浴，透過漆藝層層堆疊與刻劃，將靜謐的內在風景，轉化為獨特的光。 \n資深藝術家陳淑華，以油彩第一名畢業於國立臺灣師範大學美術系，遠赴法國巴黎攻讀美術史博士，創作與學術兼具。2000年代偶然接觸漆藝，著迷於天然漆質感與古樸，投入漆藝創作。回到母校任職教授，從事漆藝教學。生長於彰化農村，自然對於陳淑華而言給予無限的喜悅。她以細膩沉穩的筆觸描繪自然萬物，以及伴隨童年成長的記憶。《富貴白首》牡丹花綻放，鳥站在枝頭上，呈現大自然繁盛的樣貌。畫面微妙的光澤與反射，如同靜謐自然中的呼吸，為觀者帶來平衡與安定的感受。 \n林祐如曾獲選第二屆「構圖．臺灣」首獎及望春風文化藝術基金會主辦的台灣意象繪畫比賽第一名，為基金會的一台紅色Fazioli演奏型鋼琴繪製《蝴蝶展翅》。從土地環境思考，將漆藝媒材結合，以光影錯視，融合繪畫語言與漆藝工藝，構築介於抽象與風景之間的視覺場域，轉化為光影錯視與節奏流動的「記憶風景」，隱喻當代資訊洪流與時代連結的集體感知。《日光瀑布》以十分瀑布為題，表現壯闊奔流的網路資訊，亦如彩虹淵絢麗多元的世界樣態。 \n王雯曾榮獲第二屆「構圖．臺灣」參獎。其作品呈現漆畫細緻的紋理和艷麗的色彩。「孔雀」是兒時美好的記憶，作為超現實的象徵意象，將日常生活中的自然景致與內心深處所嚮往的境界融合。《都市人的窺探》都市裡細看行道樹一角，如同森林裡樹木茂盛的蕨類，孔雀開屏的氣勢。期許平凡生活保有理想與創造不凡。 \n本次展覽感謝望春風文化藝術基金會陳秀麗董事長邀請，阿波羅畫廊長期推薦藝術家陳淑華、林祐如、王雯，策劃漆畫聯展，透過三位藝術家的作品，不僅欣賞漆畫的魅力，感受藝術家從大自然帶來的禮讚，醞釀成精彩的藝術創作。 \n\n  \n關於藝術家 → 陳淑華.林祐如.王雯 \n\n“Tranquil Radiance” — Lacquer Painting Group ExhibitionCHEN Shu-Hwa · LIN Yu-Ju · Wang WenWang Chun-Feng Culture and Arts Foundation ╳ Apollo Art Gallery \nOrganizer | Wang Chun-Feng Culture and Arts FoundationCurator | Apollo Art GalleryDuration | 2026.03.21-06.06Opening | 2026.03.21 Sat. 15:00Venue | Spring Breeze Culture and Arts Foundation26F\, HH Building\, No. 868\, Zhonghua 1st Rd.\, Gushan Dist.\, Kaohsiung\, Taiwan \n  \n“Tranquil Radiance” brings together lacquer works by three female artists—CHEN Shu-Hwa\, LIN Yu-Ju\, and Wang Wen. Each begins with nature as a point of departure\, drawing inspiration from flowers and trees\, mountains and seas\, waterfalls\, animals\, and the rhythms of life\, revealing the vitality and flourishing energy of all living things. Lacquer\, a medium derived from nature\, requires meticulous processes such as layering\, polishing\, and repeated refinement. Through the passage of time\, it is distilled into art. Immersed in nature\, the artists build and carve layer upon layer\, transforming inner landscapes of stillness into a unique radiance. \nSenior artist CHEN Shu-Hwa graduated top of her class in oil painting from the Department of Fine Arts at National Taiwan Normal University\, later earning a Ph.D. in Art History in Paris\, embodying both artistic practice and academic achievement. In the 2000s\, she encountered lacquer art by chance and became captivated by its natural texture and timeless simplicity\, devoting herself to its practice. Returning to her alma mater as a professor\, she has since dedicated herself to teaching lacquer art. Raised in the rural countryside of Changhua\, nature has been a boundless source of joy for her. With delicate and composed brushwork\, she depicts the natural world alongside memories from her childhood. In “Prosperity and longevity together\,” blooming peonies and a bird perched on a branch present a vision of nature in full abundance. The subtle sheen and reflections within the composition evoke the quiet breath of nature\, offering viewers a sense of balance and serenity. \nLIN Yu-Ju received the First Prize in the Second “Go To Taiwan” competition\, as well as First Prize in the Taiwan Image Painting Competition organized by the Spring Breeze Culture and Arts Foundation\, for which she created “Butterfly in Flight” on a red Fazioli grand piano. Grounded in reflections on land and environment\, she integrates lacquer techniques with painterly language\, employing optical illusions of light and shadow to construct a visual field between abstraction and landscape. Her works transform into “memory landscapes” shaped by shifting light\, rhythm\, and perception\, metaphorically reflecting the collective consciousness formed within the rapid flow of contemporary information. “Sunlight waterfall\,” inspired by Shifen Waterfall\, evokes the powerful of digital information\, akin to a radiant\, multifaceted world reminiscent of a rainbow-hued abyss. \nWang Wen was awarded Third Prize in the Second “Go To Taiwan” competition. Her works are distinguished by the intricate textures and vivid colors characteristic of lacquer painting. The “peacock\,” a cherished childhood memory\, becomes a surreal symbolic motif\, merging everyday natural scenery with an inner realm of aspiration. In “Urbanites’s peek\,” a close observation of roadside trees in the city recalls the كث lushness of forest ferns and the grandeur of a peacock displaying its plumage. Through this\, she expresses a hope that even within ordinary life\, one may retain ideals and create something extraordinary. \nThis exhibition is made possible through the kind invitation of Chairperson Chen Hsiu-Li of the Wang Chun-Feng Culture and Arts Foundation. Apollo Gallery has long supported and represented CHEN Shu-Hwa\, LIN Yu-Ju\, and Wang Wen\, and has curated this lacquer group exhibition. Through the works of these three artists\, viewers are invited not only to appreciate the unique charm of lacquer art\, but also to experience a poetic tribute to nature—transformed into compelling and refined artistic expressions. \n  \nArtists’ CV → CHEN Shu-Hwa\, LIN Yu-Ju\, Wang Wen
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e9%9d%9c%e8%ac%90%e4%b9%8b%e5%85%89%e3%80%8b%e9%99%b3%e6%b7%91%e8%8f%af-%e6%9e%97%e7%a5%90%e5%a6%82-%e7%8e%8b%e9%9b%af-%e6%bc%86%e7%95%ab%e8%81%af%e5%b1%95-%e2%95%b3-%e6%9c%9b%e6%98%a5/
LOCATION:望春風文化藝術基金會\, 中華一路868號HH大樓26樓\, 高雄市鼓山區\, Taiwan
CATEGORIES:slide show,展覽
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ORGANIZER;CN="%E9%98%BF%E6%B3%A2%E7%BE%85%E7%95%AB%E5%BB%8A":MAILTO:artgalleryapollo@gmail.com
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