《因緣起合》王雯漆畫個展
2025-04-19 - 2025-05-30 | 阿波羅畫廊, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈), 台北市, 106, 台灣
《因緣起合》王雯個展
展期 |
2025.04.19 – 05.30
開幕 |
2025.04.19 (六) 15:00
與談 |
2025.05.03 (六) 15:00

「生活取景，無論人事時地物。畫中取景，無論計劃先還是意外間。視野伴隨年齡增長，思維開闊隨之變化。從意識周遭的斑斕，到追尋嚮往的奇景。」── 王雯

《因緣起合》匯聚了藝術家王雯在不同「機緣」或「際遇」下所捕捉的畫面與景色，這些影像或許來自於有意的安排，亦或是源自偶然的巧合。隨著歲月的流逝與人生經歷的增長，王雯的視野與思維逐漸拓展，她將日常生活中的自然景致與內心深處所嚮往的境界融合，並透過個人的情感與獨特視角，傳遞著人生中的每一場相遇，皆是因緣交織下的美好證明。
王雯以大漆作為創作媒介，巧妙運用雲母色粉、貝殼、蛋殼等天然素材，經過層層堆疊、打磨與推光，呈現出細緻的紋理與豔麗的色彩。漆畫的創作難度高且充滿不確定性，然而正因其無窮的可能性，深深吸引了她的心。王雯以鮮豔的色彩與華麗的構圖，描繪出世界的繁雜與多樣；超現實的畫面隱喻著她所期盼的理想世界。複雜的線條與筆觸，交織著各種材質，使得作品具有豐富的層次感。她的作品常以飽滿的構圖呈現，極少留白，這種強烈的視覺張力恰恰展現了她獨特的藝術風格。從孩童時期開始，王雯便對孔雀斑斕的羽毛印象深刻，這一元素成為她創作中的重要語彙，象徵著現代社會中人們對美好生活的嚮往與祝福。
藝術家王雯畢業於文化大學美術系研究所；曾獲得阿波羅畫廊與王道銀行教育基金會主辦之「構圖‧台灣」視覺藝術創作徵件計畫的參獎。她與畫廊合作，參與了多次重要展覽，包括臺北國際當代藝術博覽會Young Art、臺南藝術博覽會、《楊桃派Young & Top》、大稻埕國際藝術節聯展、《春妍夏艷》The One 南園人文客棧個展、恆春《恆·好》個展，以及臺北市藝文推廣處楊桃派十週年特展等。
此次展覽將呈現藝術家王雯近年完成的漆畫作品，並於2025年4月19日下午三點正式開幕，5月3日下午三點將舉行藝術家與談活動。誠摯邀請您蒞臨，共同欣賞！

→ 王雯 簡歷
→ 報名與談
→ 虛擬展廳

《次序之外》楊桃派Young&Top
2025-06-14 - 2025-07-12 | 阿波羅畫廊, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈), 台北市, 106, 台灣
《次序之外》楊桃派Young&Top
藝術家｜
蘇泓諺.張凱閔.林禹良.江為彬
展期｜
2025.06.14 – 07.12
開幕｜
2025.06.14 (六) 15:00
與談｜
2025.06.21 (六) 15:00

阿波羅畫廊所主辦的「楊桃派 Young & Top—新銳藝術家助長計畫」，致力於發掘與扶植三十五歲以下獨特且具潛力的年輕藝術家，透過展覽、資源引薦與藝術市場協助，為其建立當代藝 術生態立足的基礎，迄今已邁入第十二年。今年的主題為《次序之外》，邀請四位新銳藝術家蘇 泓諺、張凱閔、林禹良與江為彬，以各自的繪畫語言探問秩序與觀看的本質，展現當代創作者 對現實感知的敏銳反射與深層思辨。
《次序之外》並非混亂的代名詞。反之，像一種緩慢游移的狀態──在規則與例外之間試探，在 秩序與偏離之間推移。它是質疑的起點，也是將視線轉向邊緣的邀請，四位藝術家各自選擇了 不同的視角，走向秩序背後、主流未能容納之處。
蘇泓諺以黑白灰為主調，構築出既靜默又緊繃的視覺場域。他筆下的空間經常無人、無聲，彷 彿記憶的斷面或感官的殘響。這些作品不僅是單純的場景描繪，也是一種情緒的建築，一場針 對感知與記憶的實驗。
張凱閔以遊戲化的場景與模擬性的畫面構成為特色，呈現出介於真實與虛構之間的觀察角 度。他擅長從日常生活中擷取題材，轉化為帶有荒誕感的圖像結構，使人物彷彿陷入規則未明 的任務之中，如同一場靜默的模擬實驗，在秩序與混亂之間反覆運行。
林禹良多以森林、林道、夜色等自然場域為背景，人物與環境之間的關係緊密卻不明確，彷彿 屬於某種既定系統中的一部分。作品中的人物背對畫面、面容模糊及穿著類似服裝這些帶有 系統性卻難以定義的場景，表現出對生命觀察的解讀與詮釋，讓畫面在沉靜中浮現細膩且具 思辨性的感知體驗。
江為彬以水族缸造景為靈感，構築出如同微型生態系的繪畫世界。畫面中常見水草、石塊、飼 料魚與沉靜的空間佈局，在自由生長與理性編排之間取得平衡的秩序。他關注生命被觀看與 分類時所承擔的價值差異，透過這些微觀的水中場景，喚起對生命韌性與共生關係的再認識。
《次序之外》是一場在日常與潛意識之間的穿梭，是對時間、空間、存在與意義之不安定狀態的 凝視與捕捉。誠摯邀請您走入這場虛實交錯的展覽，感受四位新銳藝術家對日常、空間與生命 的獨到觀察。

《映照》李萬全 個展 ╳ The One南園
2025-06-27 - 2025-12-31 | The One, 九芎湖32號, 新埔鎮, 新竹縣, 台灣
《映照》李萬全 個展
展期 | 2025.06.27 – 12.31
地點 | The One南園人文客棧 (新竹縣新埔鎮九芎湖32號)

藝術家李萬全曾拜師前輩藝術家李石樵，在國立師範大學美術系畢業後，前往美國就讀紐約市立大學布魯克林學院研究所，爾後到法國生活數十年。這段旅外生活，除了受到不同文化的洗禮與交融，西方藝術的思維拓展其視野，以更為宏觀多元的角度融入創作，使其風景靜物作品展現獨具一格的藝術風格。
李萬全的創作取材於大自然，利用光線的素描原理構圖，從具象繪畫的古典主義發展到印象主義，對自然的客觀形體已有了充分的探求，進一步從外在形象的隱喻，轉化為內心主觀意識的表現。李萬全細膩觀察眼前的景象，不僅寫實描繪，經由心中反覆迴盪內化，映照藝術家心境。
李萬全將日常遊走的城市鄉間，繪下自然的壯麗和遼闊、船隻停泊於湖光水面等，捕捉當下瞬間的光影和場景，凝結於作品裡，流露人們生活於此，與大自然連結，隨著時間流轉有不同的景致和光線。從這次展出的作品，能感受到大自然在不同時刻的瞬息萬變。李萬全的畫筆一如相機，從他的角度，映照他的內在風景。

#移動畫廊
阿波羅畫廊成立以來致力於推廣藝術，藝術展出不局限於畫廊空間。自2018年起與異數悅遊 The One南園人文客棧 以「共好」的精神攜手合作，將藝術進駐於南園同心樓的公共空間以及各個廂房裡，讓來此隱山歇心的旅人們，恣意游於藝術之間，深入體驗臺灣原創藝術能量與實力。

展期 | 2024.11.12 – 2025.04.30
地點 | The One 南園人文客棧
地址 | 新竹縣新埔鎮九芎湖32號

**參觀及遊園請電話預約**
預約中心 | (02)2562-1777 週一至週六 09:00~18:00
現場服務專線 | (03)589-0011#1101、1102

關於藝術家 → 李萬全
The One官網

2025 台中藝術博覽會 1001展房
2025-07-03 - 2025-07-06 | 台中日月千禧酒店, 台中市西屯區市政路77號
2025 台中藝術博覽會
藝術家 |
葉東進.洛貞.黃秋月.裵秀英.黃至正.Matti Isan Blind.Uwe Mertsch.高橋行雄.練佳昕
展房 | 台中日月千禧酒店 1001 展房

《意境》
意境，超脫現實存在，心靈意會的境界。藝術家透過藝術表達內心的意境，創造屬於自己的藝術境地。2025台中藝術博覽會阿波羅畫廊帶來9位藝術家的作品，分別為：葉東進、洛貞、黃秋月、裵秀英、黃至正、Matti Isan Blind、Uwe Mertsch、高橋行雄、練佳昕。每位藝術家各自展現不一樣風格，共創新的藝術境界。
葉東進
創作以「山」為核心主題，選用油彩蠟筆為主要媒材，運用層層堆疊的方式，細膩刻畫山巒起伏、雲霧繚繞與光影交錯的景緻。他融合東方山水哲學意境與西方當代繪畫語彙，透過畫筆將自然環境轉化為內心風景，描繪出超脫現實的幽靜氛圍與深遠意境。
洛貞
作品巧妙地將書法的節奏與韻律延伸至畫布，既保留了東方的傳統美感，又融合了現代藝術的自由與創新。她的創作不僅展現了她對東西方文化交匯的理解，也表達了她對人類共同體與普世價值的思考。
黃秋月
創作以抽象為核心，運用多樣媒材，展現奔放的筆觸，色彩純粹濃烈，猶如一場視覺嘉年華，展現旺盛的生命能量。黃秋月認為繪畫是生活不可或缺的一部分，更是觀看世界、對話內心的方式。作將物象幻影與內在心象交織，藉由畫筆探索情感流動與靈魂律動。
裵秀英
出身韓國，擁有大阪藝術大學的博士文憑。她善於結合鍍鉻色彩、電路板紋理與心型、蝴蝶等符號，透過視覺語彙探討情感連結與存在意義。她認為，藝術是情感能量的載體，也是個體與時代對話的方式，作品風格獨具未來感與哲思，展現出當代藝術內在與外在的雙重詮釋。
黃至正
創作使用金屬箔（如鋁箔、銀箔、銅箔）結合墨、水墨、棉線等媒材，創造出帶有朦朧與閃爍質感的圖像，以負片效果與拼貼技法而聞名。作品關注現象的形成，透過個人經驗的演繹，反問當代建構的現實是否堅固。
Matti Isan Blind
畢業於倫敦藝術學院的雀爾喜藝術學院，他的創作媒材多元，涵蓋雕塑、攝影、裝置、動力藝術與時間基礎的作品，常透過混合真實與虛構的元素。其作品常在國際間展出，柏林《Fischgrätenmelkstand》、曼徹斯特《Cacotopia》、紐約《Emergency Room》等。
Uwe Mertsch
畢業於德國杜塞道夫藝術學院，曾在阿波羅畫廊舉辦過兩次個展及參展多次藝術博覽會，如柏林當代藝術博覽會Berliner Liste、布拉格Art Praha、Art Taipei。其創作風格融合了極簡主義與普普藝術元素，媒材涵蓋平面繪畫與手工雕刻。
高橋行雄
創作靈感來自於他對貓的喜愛，將生活周遭環境對貓的觀察。藉由貓與人之間的互動，探討「愛與被愛」的關係。以彩色鉛筆細膩勾勒出貓的樣貌，運用光影及筆觸將貓毛蓬鬆柔和的感覺呈現，維妙維肖展現貓的神韻。曾入選法國 LE SALON、荷蘭 Exhibition Natuurlijk Natuur, Westzaan等國際藝文展覽。
練佳昕
以礦物顏料繪製日常風景，作品以夜晚的城市景象，運用深藍色調來營造平靜深邃的氛圍，透過藍色夜晚的場景意象，如電影般的第三人稱視角，將自身亦比作畫外的旁觀者，喚出日常片刻難以留存的記憶與體驗。

9位藝術家創作出富有意境的作品，形成獨具特色的藝境。透過台中藝術博覽會的展出，共同營造新的藝術境界，蹦出新的藝術火花。
→虛擬展廳

貴賓預展｜
2025.07.03 (四) 15:00-19:00
公眾開放｜
2025.07.04-05 (五-六) 12:00-19:00
2025.07.06 (日) 12:00-18:00
地點｜台中日月千禧酒店 (台中市西屯區市政路77號)

《夏日凝視》陳昭宏個展
2025-08-02 - 2025-09-13 | 阿波羅畫廊, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈), 台北市, 106, 台灣
《夏日凝視》陳昭宏個展
展期｜
2025.08.02 – 09.12
開幕｜
2025.08.02 (六) 15:00
藝術，是人類情感與自然交織而成的永恆語言。國際知名超寫實藝術家陳昭宏（Hilo Chen），以細膩筆觸與感官張力十足的畫面，引領觀者進入一個大自然與肉體相互凝視、相互渴望的情慾世界。《夏日凝視 – 肉體與自然的誘惑》個展中，每一幅畫作皆是藝術家對生命與欲望深情而專注的凝視與詮釋。
陳昭宏的創作長年以裸女與花果為核心主題，透過攝影捕捉真實細節，再以畫筆將自然與人體的質感昇華至極致。他曾形容自己如同一位「獻身者」，完全投入於每一幅畫作的細節，將全部心神投注於畫布之上——從肌膚的細紋、陽光灑落的光影，到微汗閃爍的光澤，無一不鉅細靡遺。他筆下的沙灘女郎，構圖大膽、色彩艷麗，光與影交織出令人難以移開目光的視覺震撼與感官誘惑。作品中所隱含的性暗示與情感投射，更讓觀者在凝視中不自覺地進入對慾望與自然間深層對話的沉思。
1942年出生於臺灣宜蘭的陳昭宏，畢業於中原大學建築系，1968年旅居巴黎，之後定居於紐約。他是紐約超寫實主義畫派的重要成員之一，與Chuck Close、Don Eddy、Richard Estes等藝術家齊名。然而，他並未如同時代的藝術家專注於都會景觀或工業符號的冷峻描繪，而是以在沙灘上自在展現身體之美的西方比基尼女郎為題，形塑出屬於個人風格的視覺敘事。
如藝評家謝里法所言：「先做人，再做畫家。」這句話道出了陳昭宏藝術中的堅韌與細膩——一種來自生活深處的厚度與真誠，正是其作品歷久彌新的原因。
此次《夏日凝視》展覽，是陳昭宏自1993年以來，第四度於阿波羅畫廊舉辦個展。展出作品橫跨1990年至2010年，堪稱藝術家創作生涯中最具爆發力與成熟度的二十年間精粹。展出媒材涵蓋油畫與壓克力，皆呈現藝術家對完美技藝與人性感官極致探索的極高成就。
阿波羅畫廊誠摯邀請藝壇同好及大眾，一同走入陳昭宏筆下那片熾熱又深情的視覺世界，體驗一場藝術與感官交織的非凡旅程。

→ 陳昭宏 簡歷

新銳藝術家Young&Top 聯展 ╳ 恆。好
2025-08-30 - 2025-11-30 | 恆。好 HunHau, 東門路2巷11弄4號, 恆春鎮, 屏東縣, 台灣
新銳藝術家 Young&Top 聯展 ╳ 恆。好
藝術家｜
蘇泓諺.張凱閔.林禹良.江為彬
展期｜
2025.08.30 – 11.30
本次展出邀請四位新銳藝術家：蘇泓諺、張凱閔、林禹良、江為彬，各自以不同的視角，透過藝術展現對日常、空間與生命的獨到觀察。
蘇泓諺以黑白灰為主調，構築出既靜默又緊繃的視覺場域。他筆下的空間經常無人、無聲，彷彿記憶的斷面或感官的殘響。這些作品不僅是單純的場景描繪，也是一種情緒的建築，一場針 對感知與記憶的實驗。
張凱閔常以遊戲化的場景與模擬性的畫面構成為特色，呈現出介於真實與虛構之間的觀察角度。他擅長從日常生活中擷取題材，轉化為帶有荒誕感的圖像結構，使人物彷彿陷入規則未明 的任務之中，如同一場靜默的模擬實驗，在秩序與混亂之間反覆運行。
林禹良多以森林、林道、夜色等自然場域為背景，人物與環境之間的關係緊密卻不明確，彷彿屬於某種既定系統中的一部分。作品中的人物背對畫面、面容模糊及穿著類似服裝這些帶有系統性卻難以定義的場景，表現出對生命觀察的解讀與詮釋，讓畫面在沉靜中浮現細膩且具 思辨性的感知體驗。
江為彬以水族缸造景為靈感，構築出如同微型生態系的繪畫世界。畫面中常見水草、石塊、飼料魚與沉靜的空間佈局，在自由生長與理性編排之間取得平衡的秩序。他關注生命被觀看與分類時所承擔的價值差異，透過這些微觀的水中場景，喚起對生命韌性與共生關係的再認識。

恆。好是阿波羅畫廊位於屏東恆春的空間，自2017年起，定期安排展覽展出，為阿波羅畫廊拓展南臺灣的據點。
→恆。好

《玻璃心》德國.斯洛伐克藝術家 四人聯展
2025-09-20 - 2025-10-08 | 阿波羅畫廊, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈), 台北市, 106, 台灣
《玻璃心》德國.斯洛伐克藝術家 四人聯展
藝術家｜
Uwe Mertsch, Gabriela Medwedova, Matti Isan Blind, Mario Weinberg
展期｜
2025.09.20 – 10.08

人生性具有情感，與他人交流連結。給予和接受愛與關懷，凝聚起一股強而有力的正向能量。然而，有時難免經歷挫折，接收負面情緒，內心變得脆弱。一如玻璃，經由高溫熔化形塑成透明的質感極為迷人，像鏡子映照周圍的環境，透視觀者的狀態。看似堅硬的外表下，容易受到外在的衝擊而破碎，觸及心中敏感地帶。四位藝術家利用不同的媒材和手段，各自呈現獨特的風格，不論是具象或抽象，皆展現敏銳的洞察力，對生活與人性細膩地的觀察。

Uwe Mertsch運用拼貼的方式，透過紙張撕裂，搭配繪畫的點綴，重新建構成新的面貌，簡單的線條和畫面，表現簡單即是美的日常生活美感。Gabriela Medwedova的作品猶如窺探光的縫隙，探究光的各種面貌，利用壓克力顏料捕捉光型態和色澤，線條間展露各種色彩，彼此相互輝映。Matti Isan Blind以油彩描繪生活周遭的場景，帶有超脫現實的元素，畫中人物的神情，若有似無地透露言外之意，引領觀者進入異想世界。Mario Weinberg利用油彩、噴漆、環氧樹脂等各種複合媒材，大膽嘗試抽象藝術無限的可能性，來回碰撞間，迸發出新的面貌，鮮豔的色彩和多元變化的線條交織下，使畫面具有豐富的層次感，帶來無比的想像。

誠摯邀請您欣賞四位藝術家的作品，展現其對生活和內在細膩的觀察，刻畫出精采的創作。

Glass Heart: Four Artists from Germany and Slovakia Exhibition
Artists｜Uwe Mertsch, Gabriela Medwedova, Matti Isan Blind, Mario Weinberg
Exhibition Period｜Sep. 20 – Oct. 08, 2025

Human life is inherently filled with emotions and the need to connect with others. Through giving and receiving love and care, a powerful force of positive energy is formed. Yet, it is inevitable at times to encounter setbacks, absorb negative emotions, and feel fragile within. Like glass—melted and shaped under high heat into a transparent texture of captivating beauty—it reflects the surrounding environment like a mirror, while also revealing the state of the viewer. Beneath the seemingly solid surface, however, lies a fragility easily shattered by external impacts, touching upon the sensitive depths of the heart.In this exhibition, four artists employ diverse materials and techniques to express their unique styles. Whether figurative or abstract, each demonstrates keen insight and delicate observations on life and human nature.

Uwe Mertsch uses collage, combining torn paper with painted details to reconstruct new imagery. With simple lines and compositions, his works convey the beauty of simplicity in everyday life. Gabriela Medwedova’s works are like glimpses through slits of light, exploring its many facets. Using acrylic paints, she captures the forms and hues of light, where lines reveal an interplay of colors that illuminate one another. Matti Isan Blind depicts scenes from daily life in oil paint, infused with elements that transcend reality. The subtle expressions of the figures in his works hint at unspoken meanings, guiding viewers into an imaginative world. Mario Weinberg experiments boldly with oil paint, spray paint, epoxy resin, and other mixed media, exploring the boundless possibilities of abstract art. Through dynamic clashes, his works burst forth with new forms, where vibrant colors and diverse lines interweave into rich layers that evoke boundless imagination.

We sincerely invite you to experience the works of these four artists, each presenting refined observations of life and the inner world, portrayed through their captivating creations.

第四屆《構圖·臺灣》入圍者聯展
2025-10-11 - 2025-11-22 | 阿波羅畫廊, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈), 台北市, 106, 台灣
第四屆《構圖·臺灣》入圍者聯展
藝術家｜
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
時間｜
2025.09.12-10.03 王道銀行藝廊 / 2025.10.11-11.22 阿波羅畫廊
自2014年起，由阿波羅畫廊與王道銀行教育基金會攜手推動的「構圖‧臺灣」視覺藝術創作徵件，致力於發掘並扶植35歲以下具潛力的新銳藝術家。2025年迎來第四屆，陪伴青年創作者拓展視野，形塑個人創作語彙，累積穩健的基礎。

本屆入圍有十位藝術家，以多元的媒材，各自表現不一樣的臺灣樣貌。首獎陳怡安《魅他域的漫遊者系列－漂浮的邊界》以膠彩呈現現實與虛擬邊界日漸模糊景觀，反映當今時代現象。貳獎傅聖雅《平整收折的時間 02》將影像透過摺紙，勾勒與外婆生活的家族記憶，呈現女性在家庭角色被期待的身影。參獎由兩位藝術家獲得：陳廷菲《5000ml》從提水的生活經驗，日常的瓶裝水容器為出發，透過紅銅敲擊塑形，轉化成新的視覺語彙。劉康彥《你家就是我家》以油畫棒和墨，繪出臺灣特有建築肌理，重塑日常熟悉的城市風景。

入圍作品亦各懷特色。余采軒《遺落的顏色：臺灣海岸的低語》以攝影呈現人類遺留於自然的斑斕色彩，強烈對比訴說臺灣海岸對人類的控訴。林千瑋《+∞CXQD》以纖維表現臺灣季節流轉，展現臺灣島嶼隨時間不斷推移的多重輪廓。林芃穎《巷弄中的寧靜》以油彩捕捉陽光映照的臺灣巷弄，光影變化賦予平凡角落新的生命。金祺龍《台北東區夕象》臺北繁華都市街道，在夕陽照射下，金黃與藍紫光影相互輝映，構成另一面城市面貌。高冠羣《Land撕cape-城市風景線-售本區》取材自鐵皮圍籬中的塗鴉風景，標示「售本區」，呈現自然與文明的矛盾。彭冠銘《繩像-1》以臺灣傳統護身符為題材，透過互動裝置表現信仰與生命劫難的成長力量，期許配戴者能找回面對困境的能量。

本次展覽將與台北藝術週共襄盛舉，10月18日舉辦開幕。邀請觀眾將近距離感受臺灣新生代的創作能量，進入他們對時代與個人的深層凝視，展現當代藝術的多元風貌，見證臺灣當代藝術未來的無限可能。

The 4th Go to Taiwan Finalists’ Group Exhibition
Artists｜
YU 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
Duration｜
2025.09.12-10.03 O-Bank Gallery / 2025.10.11-11.22 Apollo Art Gallery
Since 2014, Apollo Art Gallery and the O-Bank Education Foundation have jointly organized the Composition Taiwan Visual Arts Call for Entries, dedicated to discovering and supporting emerging artists under the age of 35. In 2025, the program enters its fourth edition, continuing to accompany young creators in broadening their horizons, shaping their artistic vocabularies, and building a solid foundation for their practice.

Among this year’s ten shortlisted artists, Chen Yi-An received first prize with Wanderer of the Metaverse Series – Floating Boundaries, a mineral pigment painting that captures the increasingly blurred line between reality and the virtual, reflecting contemporary phenomena. Fu Sheng-Ya, awarded second prize for Flattened and Folded Time 02, used origami to transform images into memories of living with her grandmother, portraying women’s expected roles within the family. Third prize went to two artists: Chen Ting-Fei, whose work 5000ml draws on the daily experience of carrying water and reshapes bottled containers in hammered red copper to create a new visual language; and Liu Kang-Yen, whose Your Home Is My Home uses oil pastels and ink to depict the textures of Taiwanese architecture, reimagining familiar urban landscapes.

The other shortlisted works also reveal distinct perspectives. Yu Tsai-Hsuan’s Forgotten Colors: Whispers of Taiwan’s Coastline photographs the vivid traces humans leave in nature, contrasting colors that voice the coastline’s indictment of humanity. Lin Chien-Wei’s +∞CXQD employs fiber to express Taiwan’s seasonal cycles, evoking the island’s shifting contours through time. Lin Peng-Ying’s Tranquility in the Alleyways captures sunlit Taiwanese alleyways in oil, where light and shadow breathe new life into ordinary corners. Jin Chi-Long’s Evening Glow in Taipei’s East District portrays Taipei’s bustling streets at sunset, where golden hues and bluish-purple tones reveal another facet of urban life. Kao Kuan-Chun’s Land-sc(r)ape – Urban Skyline – For Sale draws from graffiti landscapes on corrugated iron fences marked with “For Sale,” highlighting the tension between nature and civilization. Peng Kuan-Ming’s Rope Image–1 references traditional Taiwanese amulets in an interactive installation that embodies faith and resilience, offering wearers renewed energy to face challenges.

Presented in conjunction with Taipei Art Week, the exhibition opens on October 18. Audiences are invited to experience firsthand the creative energy of Taiwan’s new generation, to encounter their profound reflections on both the times and the self, and to witness the diverse facets of contemporary art along with the boundless possibilities for the future of Taiwanese art.

2025 台北國際藝術博覽會 展位D04
2025-10-23 12:00 - 2025-10-27 18:00 (Asia/Taipei)
藝術家 |
陳昭宏.林嶺森.沈佳玲.裵秀英.黃法誠.黃至正.王雯.Uwe Mertsch.Matti Isan Blind
展位 | 台北世界貿易中心一館 D04

策展主題：《時·光》
「時」，象徵時間的流轉、記憶的累積與情感的堆疊；「光」，代表生命的律動、希望的閃現、轉變的契機與真理的照見。當時間與光線交錯閃耀，我們看見過去與未來的重疊，也照見內在意象與外在世界的演進。《時·光》如同一道通往記憶與想像的縫隙，引領觀者穿梭於意識與現實的邊界。

陳昭宏
早在1990年代初期，陳昭宏即與阿波羅畫廊多次合作展出。他以精湛的超寫實技巧描繪美國海灘上的比基尼女性，如同透過高倍率鏡頭捕捉的畫面，細緻呈現皮膚與水氣間的質感。光影流轉中，他冷靜而敏銳地處理感官主題，展現美與情感間微妙的平衡，讓人彷彿能觸碰畫面中的溫度與氣息。
林嶺森
1987年榮獲全國美展首獎的林嶺森，以照片寫實風格凝結大自然瞬息萬變的光影。他的畫筆如同攝影鏡頭般敏銳，構圖與色調講究而細膩，展現理想中的自然風貌。本次展出最新作品更融入超現實元素，使時間停駐、空間扭曲，熟悉的景象籠罩陌生的氛圍，彷彿引領觀者步入一場清醒的夢境。
沈佳玲
旅歐多年並於維也納應用美術大學取得碩士學位的沈佳玲，專攻編織藝術。她融合纖維與繪畫語彙，探索材質的可塑性與空間層次。圖案、色彩與肌理交織成有機的視覺語言，流動間富含空間張力。此次展出將呈現她的織品與繪畫作品，展現柔軟而堅韌的藝術語境。
裵秀英
生於南韓，在日本大阪學習創作近二十年，並取得大阪藝術大學博士學位。裵秀英以廢棄電路板與電子零件為媒材，將冰冷的科技轉化為具人文溫度的藝術品。她認為電路板的紋路如血管般充滿生命力，透過創作表達對科技文明與人性溫度的省思。
黃法誠
高雄師範大學美術研究所畢業，曾獲2011年高雄獎優選與2014年「構圖台灣」首獎。他以壓克力搭配墨線勾勒，融合東方山水意境與西方形式語彙，構築詩意的視覺語境。黃法誠作品關注生態與文明間的矛盾，以詼諧筆觸傳達深刻省思。自2015年與畫廊合作以來已舉辦四次個展，展現穩健的創作能量。
黃至正
畢業於東海大學美術系研究所，擅長結合水墨與金銀箔材，營造出獨特的光感與視覺張力。透過影像拼貼與負片轉印等手法，黃至正探索記憶、影像與感知之間的交錯。他的創作語言如同一場詩意的心理旅程，引導觀者沉浸於情感與時間的交會之中。
王雯
文化大學美術研究所畢業。王雯擅長以大漆結合雲母、貝殼與蛋殼等天然素材，透過層層堆疊與拋光技法，呈現細膩的光澤與層次美感。她的作品色彩鮮明，構圖華麗，融入超現實語彙，透過「孔雀」意象寄託對美好生活與童年記憶的憧憬。自與畫廊合作八年來，已舉辦三次個展，今年五月更將推出全新漆畫個展。
Uwe Mertsch
畢業於杜賽道夫美術學院與敏斯特大學，Uwe Mertsch 以極簡主義為創作核心，運用純粹的線條與鮮明色彩，呈現生命力的抽象語彙。他以旅居歐洲、南美與亞洲的文化經歷，映照當代社會的融合與反思。與畫廊合作逾12年，多次個展，也多次參展 Art Taipei，皆廣獲好評。
Matti Isan Blind
畢業於英國倫敦 Chelsea College of Art，Matti善於結合虛實視覺語言，捕捉城市片段與個體情感的交匯。他自由揮灑的筆觸與鮮明色彩，構築富含詩意與情感張力的畫面，邀請觀者在觀看中建立自身的詮釋與連結。Matti 將首次在 Art Taipei 亮相。

2025年台北藝博，阿波羅畫廊精心策劃《時·光》展覽，邀集九位來自不同世代與文化背景的藝術家：包括資深藝術家陳昭宏，中生代創作者林嶺森與沈佳玲；新生代代表黃法誠、黃至正、王雯；來自南韓的裵秀英，以及德國藝術家Uwe Mertsch與Matti Isan Blind。這些藝術家透過平面與立體創作，呈現時間在不同文化、記憶與身分中的流動與光芒。本次展覽邀請觀者與藝術家一同穿越時間的斷層，透過創作回望過去、凝視當下、思索未來，展開一段靜謐而深刻的時光旅程。

貴榮貴賓｜
2025.10.23 (四) 12:00-21:00
貴賓預展｜
2025.10.23 (四) 15:00-21:00
2025.10.24 (五) 11:00-14:00
公眾開放｜
2025.10.24(五) 14:00-19:00
2025.10.25-26 (六-日) 11:00-19:00
2025.10.27 (一) 11:00-18:00
地點｜台北世界貿易中心一館 ( 台北市信義區信義路五段五號 )

李石樵紀念展｜巨擘薪傳-前輩藝術家系列 XIV
2025-11-29 - 2025-12-13 | 阿波羅畫廊, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈), 台北市, 106, 台灣
李石樵紀念展｜巨擘薪傳-前輩藝術家系列 XIV
展期｜
2025.11.29 – 12.13
開幕｜
2025.11.29 (六) 15:00
講座｜講者 / 白雪蘭
2025.11.06 (六) 15:00
「藝術是一場眞刀實槍的輸贏，要有極大的勇氣與堅強的決心。它並非是一場拿刀揮劍的比舞，因為那只要比劃精采美妙即可。所以繪畫不只求畫面的完美，而要有深刻的意義與文化内容。」 ── 李石樵

1908年出生的李石樵，在臺灣美術史有著重要的地位。1923年就讀台北師範學院，師從石川欽一郎，前往日本留學。作品曾經獲選「臺灣美術展覽會」、「帝國美術展覽會」、新「文部省美術展覽會」等多次肯定，更獲得新「文部省美術展覽會」免審查資格，是臺灣首位獲此殊榮的藝術家。爾後，擔任美術教育者，培育無數的後輩。

李石樵不僅止於追求繪畫技術，希冀創作蘊含深刻的意義與文化內涵，作品往往反映當下的時代性。從日治時期繪出台灣特有風景，彰顯台灣本土意識；戰後歷經政權更迭，畫筆下隱喻戰後不安的歷史。面對政局的動盪，潛心研究當代各個藝術派別，力求創新；1980年代隨著台灣經濟起飛，社會逐步穩定，畫面變得明亮。以厚實亮麗的色塊，聚焦於光線的佈局，表現大自然以及台灣景色下的風俗民情。創作歷程皆流露對台灣這塊土地與人文的關懷。

阿波羅畫廊感念臺灣前輩藝術家作為開創者，為臺灣美術立下穩固的根基，每年舉辦「巨擘薪傳」向臺灣前輩藝術家致敬。阿波羅畫廊曾舉辦5次李石樵個展，分別在1979、1984、1988、1989、1996年在1979、1984、1988、1989、1996年。今年是李石樵逝世三十週年，將展出1980年代創作的十多件作品，呈現陽光下的海灘、花卉、山林等。11月29日舉行開幕，12月6日邀請白雪蘭進行與談。誠摯邀請您蒞臨欣賞李石樵於晚期眼中的臺灣與藝術觀，以及感受當時的臺灣藝術史。
→ 李石樵 簡歷
→ 虛擬展廳

“Taiwanese Masters Series XIV” — LI Shih-Chiao Memorial ExhibitionOpening｜11.29, 2025 Sat. 15:00Duration｜11.29 – 12.13, 2025Speech｜12.6, 2025 Sat. 15:00 / Speaker: Pai Hsueh-Lan
“Art is a real battle of wins and losses, requiring great courage and unwavering determination. It is not a graceful performance of waving swords—because in such performances, beauty alone is enough. Painting must therefore pursue not only visual perfection but also profound meaning and cultural substance.” — LI Shih-Chiao
Born in 1908, LI Shih-Chiao occupies a significant place in the history of Taiwanese art. In 1923, he enrolled in the Taipei Normal School and studied under Ishikawa Kinichiro before pursuing further studies in Japan. His works were repeatedly selected for the Taiwan Fine Arts Exhibition, the Imperial Fine Arts Exhibition, and the new Ministry of Education Fine Arts Exhibition, earning him widespread acclaim. He later received exemption from review by the new Ministry of Education Fine Arts Exhibition—the first Taiwanese artist to be granted this honor. LI went on to devote himself to art education, nurturing generations of younger artists.
LI Shih-Chiao’s pursuits extended far beyond technical mastery; he sought to infuse his works with deep meaning and cultural resonance, often reflecting the spirit of the times. During the Japanese colonial period, he painted uniquely Taiwanese landscapes that emphasized a growing local consciousness. After the war, his works subtly conveyed the uneasy atmosphere of political transition. Amid changing regimes, he immersed himself in various contemporary art movements and strove for innovation. By the 1980s, as Taiwan’s economy blossomed and society stabilized, his works took on a brighter tone. Through vibrant, solid blocks of color and meticulous attention to light, he depicted nature and Taiwan’s customs and scenery. Throughout his artistic journey, LI consistently expressed profound care for Taiwan—its land and its people.
Apollo Art Gallery honors the pioneering contributions of senior Taiwanese artists who established the foundations of Taiwanese art. Each year, the gallery presents the “Taiwanese Masters ” series as a tribute. Apollo Art Gallery has previously held five solo exhibitions for LI Shih-Chiao, in 1979, 1984, 1988, 1989, and 1996. This year marks the 30th anniversary of LI’s passing. The exhibition will feature more than ten works from the 1980s, showcasing scenes of sunlit beaches, flowers, forests, and more.
The opening will take place on November 29, and on December 6, Pai Hsueh-Lan will join us for an in-depth dialogue.You are sincerely invited to attend, to appreciate LI Shih-Chiao’s late artistic vision of Taiwan, and to experience the era of Taiwanese art history that shaped his work.
→ LI Shih-Chiao’s CV
→ AR Exhibition

《會飲》黃至正個展
2025-12-20 - 2026-02-07 | 阿波羅畫廊, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈), 台北市, 106, 台灣
《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
→ 報名
《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-ChengOpening｜12.20, 2025 Sat. 15:00Duration｜12.20, 2025 – 02.07, 2026Artist Talk｜01.10, 2026 Sat. 15:00
→Sign up
“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

構圖台灣 ╳ 恆。好
2025-12-29 - 2026-04-10 | 恆。好 HunHau, 東門路2巷11弄4號, 恆春鎮, 屏東縣, 台灣
構圖台灣 ╳ 恆。好
藝術家｜
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
展期｜
2025.12.29 – 2026.04.10
地點｜恆。好
屏東縣屏東鎮東門路2巷11弄2&4號

《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。

「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。

→恆。好

《Go To Taiwan》Joint Exhibition

Artists｜
YU 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
Duration｜
2025.12.29 – 2026.04.10
Location｜HunHau

No. 2, Aly. 11, Ln. 2, Dongmen Rd., Hengchun Township, Pingtung County 946, Taiwan
Go 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.
「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.
Welcome to wander through HunHau Old Town and visit Heng. Hao to experience the artworks.

→HunHau

《臨界之間》李萬全.胡文賢.林嶺森 聯展 ╳ The One南園
2026-01-06 08:00 - 17:00
《臨界之間》李萬全.胡文賢.林嶺森 聯展 ╳ The One南園
展期 | 2026.01.02 – 06.01
地點 | The One南園人文客棧 (新竹縣新埔鎮九芎湖32號)

《臨界之間》呈現停留、過渡、稍縱即逝之感，現實與想像的聯展。作品展示靜物、風景與花卉，畫面中既有船舶停靠於岸邊的瞬間，也有花卉綻放之際所展現的生命節奏，並伴隨著脫離純粹再現、滲入想像的景物。這些景象彷彿停留在行動尚未發生之前，介於抵達與啟程、現實與心象之間。三位藝術家李萬全、胡文賢、林嶺森，皆以油彩以各自的創作語言，捕捉風景的臨界狀態，使觀看成為一種對時間與感知的凝視。
李萬全曾旅居法國，行走於城市與鄉間之間。他將港口中停泊的船舶，或是鄉野間的自然風景，成為創作題材。李萬全以光線的素描原理作為構圖基礎，從具象繪畫的古典語彙出發，逐步吸收印象主義對光與感知的理解，對自然的客觀形體進行深入探求，進一步內化將情感投入其中，呈現出客觀與主觀間的臨界之際。
胡文賢以靜物為其主要題材，他融合超現實主義，將內在的思想、幻想及理想忠實的呈現。複合圖像與錯置空間融合。把日常生活所見的瓶花、蔬果食糧、器具等靜物，透過色彩與筆觸的布局，古典之中帶有獨具氛圍的奇幻與浪漫之感。遊走於現實與異想的臨界線。
林嶺森以照片寫實風格凝結大自然瞬息萬變的光影。他的畫筆如同攝影鏡頭般敏銳，構圖與色調講究而細膩，表達理想中的自然風貌。林嶺森將陽光底下花卉綻放的動人姿態，流露出最美好的一面。奔騰的瀑布，希臘羅馬古城的融入，帶有超現實的元素，增添想像。展現流動之中，瞬息的臨界點。
本次展覽期待透過三位藝術家的作品，引領觀者感受介於停留與流動、現實與想像之間的臨界風景。

#移動畫廊
阿波羅畫廊成立以來致力於推廣藝術，藝術展出不局限於畫廊空間。自2018年起與異數悅遊 The One南園人文客棧 以「共好」的精神攜手合作，將藝術進駐於南園同心樓的公共空間以及各個廂房裡，讓來此隱山歇心的旅人們，恣意游於藝術之間，深入體驗臺灣原創藝術能量與實力。

展期 | 2024.11.12 – 2025.04.30
地點 | The One 南園人文客棧
地址 | 新竹縣新埔鎮九芎湖32號

**參觀及遊園請電話預約**
預約中心 | (02)2562-1777 週一至週六 09:00~18:00
現場服務專線 | (03)589-0011#1101、1102

關於藝術家 → 李萬全 胡文賢 林嶺森
The One官網

冉茂芹，《春到梨山》：台灣‧台中(耶穌堂)
2026-02-28 08:00 - 17:00
冉茂芹，《春到梨山》：台灣‧台中(耶穌堂)
50×60.5cm，1990
從松柏村往後上山，梨花、蘋果花正在開放，滿山都活潑起來。米白色的小教堂在早上的陽光中熠熠生輝，教堂後的山脊被朝霧漫過，全然不見了身影。這裡是梨山春早的景象。
梨山寫生三幾次，有春天也有秋天，第一次就住在松柏村，梨山賓館一帶上上下下倒摸熟了，不僅畫了好幾張寫生畫，回到台北還藉以創作了幾幅風景大畫。

YIM Mau-Kun, Spring Comes to Lishan, Taichung, Taiwan
From Songbai Village, heading further up into the mountains, pear blossoms and apple blossoms are in full bloom, bringing a lively vitality to the hillsides. A small off-white chapel gleams in the morning sunlight, while the ridge behind it is veiled in drifting dawn mist, its outline completely obscured. This is the early spring scenery of Lishan.
I have sketched in Lishan several times, both in spring and in autumn. On my first visit, I stayed in Songbai Village and became thoroughly familiar with the area around the Lishan Guest House, wandering up and down its slopes. I completed several plein-air sketches there, and after returning to Taipei, I used them as the basis for creating a number of large-scale landscape paintings.

冉茂芹，《埔里河》：台灣‧南投‧埔里
2026-02-28 08:00 - 17:00
冉茂芹，《埔里河》：台灣‧南投‧埔里
33.5×45.5 cm，1999年
1999年秋天，發生了驚天動地的921大地震，整個台灣都被搖撼了，而震央正是南投縣的埔里。
那年春天，我台北與髙雄兩地的美術班學員舉辦了一次聨合寫生活動，南北向中的集合點就是埔里，記得住在一處名叫“阿波羅”的hotel。在埔里大約兩叄天吧，後來就各車散開了。
這張畫中的河叫什麼名字？處在埔里鎮的東南西北？也不清楚了，但是，清楚記得畫中的右方是一塊台地，延伸過去就是埔里的市區，我們的腳下是直接巿區的石橋，從橋上望去，小河蜿蜒，流水汩汩，春綠的田陌相連，伸向迷濛遠方，自是一幅畫面。結果，大家都湧到橋上來了，待將畫箱架一字排開：好一幅寫生圖！套一句流行的話是：一道特別的風景線！

YIM Mau-Kun, Old Shed, Nantou, Taiwan
33.5×45.5 cm，1999

After leaving Puli, several cars of us headed toward Shuili. I was rather muddle-headed, with no real sense of the route or direction. My only task was to keep my eyes on the scenery along the way, and the moment I spotted something paint-worthy, I would call for a stop.
We got out at this abandoned work shed to take a look, and sure enough, it was promising—full of pictorial charm. The wooden factory building, with its horizontal and vertical planks, stood in a desolate little courtyard where a graceful flame tree stretched diagonally upward. Fine leaves were scattered over the plank roof and the earthen ground of the yard, occasionally quivering and falling as if nervously shedding themselves. There was not a single person in sight—truly a place abandoned and emptied of life. Only the occasional passing bird cried out once or twice, as if surprised that someone would pause to capture images of such a desolate old building.
In fact, although this scene possessed a distinctive beauty, it was extremely challenging to paint. Especially with trees standing in front of the shed—the trunks, branches, and leaves all had to be depicted, including the fluttering foliage. And all of this had to be completed on site within three hours.
Ruined scenes often stir a sense of melancholy. Perhaps this is not merely my own tendency to “force sorrow” where it need not be.

冉茂芹，《舊工棚》：台灣‧南投‧水里
2026-02-28 08:00 - 17:00
冉茂芹，《舊工棚》：台灣‧南投‧水里
33.5×45.5cm，1999
離開埔里後我們三幾輛車往水里方向駛去，我是糊裡糊塗，地點方向一些也沒概念，我唯一的工作是盯住沿途看景緻，一遇有畫頭的即刻叫停。
在這廢棄的工棚處下車看看，果然不錯，蠻有畫味，那一橫一豎的木板廠房，荒落的小院中斜伸著一棵多姿的鳳凰花樹，細碎的樹葉撒落在板棚上和小院的泥土上，還不時神經質地在抖落。沒有半個人影，真正的人去樓空！只有偶爾經過的飛鳥嘠的一兩聲，好像是驚奇竟有人為此荒涼的舊樓留影。
其實，這處景物雖然美感特殊，但難度極大！尤其是板棚前面還有樹木，要畫樹幹樹枝樹葉還要樹葉婆娑！這一切都要在現場三小時完成！
殘破的景物常引起人們的傷感，或許，這應該不只是我的“強說愁”吧？

YIM Mau-Kun, Old Shed, Nantou, Taiwan
33.5×45.5cm，1999

After leaving Puli, several cars of us headed toward Shuili. I was rather muddle-headed, with no real sense of the route or direction. My only task was to keep my eyes on the scenery along the way, and the moment I spotted something paint-worthy, I would call for a stop.
We got out at this abandoned work shed to take a look, and sure enough, it was promising—full of pictorial charm. The wooden factory building, with its horizontal and vertical planks, stood in a desolate little courtyard where a graceful flame tree stretched diagonally upward. Fine leaves were scattered over the plank roof and the earthen ground of the yard, occasionally quivering and falling as if nervously shedding themselves. There was not a single person in sight—truly a place abandoned and emptied of life. Only the occasional passing bird cried out once or twice, as if surprised that someone would pause to capture images of such a desolate old building.
In fact, although this scene possessed a distinctive beauty, it was extremely challenging to paint. Especially with trees standing in front of the shed—the trunks, branches, and leaves all had to be depicted, including the fluttering foliage. And all of this had to be completed on site within three hours.
Ruined scenes often stir a sense of melancholy. Perhaps this is not merely my own tendency to “force sorrow” where it need not be.

冉茂芹，《蘭嶼落日》： 台灣‧台東
2026-02-28 08:00 - 17:00
冉茂芹，《蘭嶼落日》： 台灣‧台東
91×65cm，2004年
蘭嶼在台東外海，是台灣迷人的島嶼，島不大，摩托車環島一周也不到兩小時，島上居住二千多達悟族，捕魚和種植芋頭為生。他們的房屋低矮且深陷於山坡土表，因而，冬暖夏涼。尤其令人驚豔的是達悟人用木板手工製作的小船，兩頭翹起，船身雕刻圖案，填上紅白花紋，美麗極了。
我畫過面向太平洋的東清灣，決意再畫一幅蘭嶼落日，畫中：夕陽西下，漫天浮雲，海浪嘻鬧，排成隊的小船們彷彿向晚霞致敬，這黃昏多麼溫暖和愉快啊，所以，過去曾取了一個稍長的名字「太陽最後的微笑」。

YIM Mau-Kun, Sunset at Lanyu, Taitung, Taiwan
91×65cm，2004

Lanyu lies off the coast of Taitung and is one of Taiwan’s most enchanting islands. The island is small—one can ride a motorcycle around it in less than two hours. It is home to more than two thousand Tao people, who make their living by fishing and cultivating taro. Their houses are low and set deep into the hillside earth, making them warm in winter and cool in summer. Most striking of all are the Tao people’s hand-built wooden boats: both ends curve upward, and the hulls are carved with patterns and painted in red and white designs—exquisitely beautiful.

冉茂芹，《春雨迷濛長岡京》：日本．京都
2026-02-28 08:00 - 17:00
《春雨迷濛長岡京》：日本．京都
45.5×53 cm，2005年
長岡京在京都附近，每次從新大阪坐電車到京都，從窗邊能看到長岡京的景色：它有一灣水，有座小小山，山上有座小小廟。水邊蓋了一排古色的茶室。山上水邊處處可見各種櫻花玉立其中，尤其是湖邊兩排吉野櫻，伸出長枝、搭成棚式的花道，甚是壯觀。
正遊覽間，天忽小雨，只好躲進彎橋那頭的木亭，畫下這湖邊春影。

YIM Mau-Kun, Mist-Veiled Spring Rain in Nagaokakyō, Kyoto, Japan
45.5×53cm，2005

Nagaokakyō lies near Kyoto. Each time I take the train from Shin-Osaka to Kyoto, I can see the scenery of Nagaokakyō from the window: a curve of water, a small hill, and atop it, a small temple. Along the water’s edge stands a row of quaint, timeworn teahouses. On the hill and by the water, cherry trees of various kinds appear everywhere, standing gracefully among the landscape. Most striking of all are the two rows of Yoshino cherry trees by the lakeside, their long branches stretching outward to form a tunnel-like canopy of blossoms—truly a magnificent sight.
While strolling through the area, a light rain suddenly began to fall, so we took shelter in a wooden pavilion at the far end of the arched bridge, where I painted this spring scene by the lake.

冉茂芹，《北野天滿宮》：日本．京都
2026-02-28 08:00 - 17:00
冉茂芹《北野天滿宮》：日本．京都
45×53 cm，2005年
北野天滿宮很大，在主宮旁邊還有捐献者的小廟，造型、色彩多姿多彩，十分可愛。我用四個小時，畫下了這小小廟的可細讀的一景。

YIM Mau-Kun, Kitano Tenmangu Shrine, Kyoto
45×53 cm，2005

Kitano Tenmangū Shrine is expansive, and beside the main sanctuary there are small shrines donated by patrons. Rich in form and color, they are delightful in their variety. I spent four hours painting a carefully observed scene of one of these small shrines.

冉茂芹，《小樹林》：台灣．宜蘭
2026-02-28 08:00 - 17:00
冉茂芹，《小樹林》：台灣．宜蘭
53×45 cm，2007年
這是宜蘭、台北交界處的森林研究所。
在好朋友楊恩生教授大力推薦下，我背著油畫箱進到這幽靜的山林湖泊之中，眼前的小樹林彷彿是一群舞完的姑娘對著我說：「留下來！」，夕陽也灑進兩抹溫暖的陽光，還說什麼呢？我終於畫完這無聲的小樹林。
畫樹林很難，難在要有深度，有空間感，方如古人所說：「可居，可遊」，所謂有意境。

YIM Mau-Kun, Small Grove, Yilan, Taiwan
53×45 cm，2007年

This is the Forest Research Institute at the border between Yilan and Taipei.
At the strong recommendation of my good friend Professor Yang En-sheng, I carried my oil-painting kit into this tranquil mountain forest and lakeside setting. The small grove before me seemed like a group of dancers who had just finished their performance, turning to me as if to say, “Stay.” The setting sun cast two bands of warm light into the scene—what more needed to be said? In the end, I completed this silent little grove.
Painting a forest is difficult. The challenge lies in creating depth and a sense of space, so that it becomes, as the ancients described, “a place one could dwell in, a place one could wander through”—in other words, a scene imbued with poetic atmosphere.

冉茂芹，《田疇晚雲》：台灣．桃園．龍潭
2026-02-28 08:00 - 17:00
冉茂芹，《田疇晚雲》：台灣．桃園．龍潭
31×41 cm，2010年
清末民初大學者王國維說：「有造境，有寫境，此理想與寫實二派之所由分。然二者頗難分別，因大詩人所造之境必合乎自然，所寫之境必鄰於理想故也。」
畫家心中有詩，眼中有詩，下筆畫面必有詩意而少匠氣也。早些年赴美講學，見女婿Uffe(丹麥人，中國古文化教授)的書架上有這本《 人間詞語解讀》，翻閱後直索之，帶回台北。常翻閱，常有悟。

YIM Mau-Kun, Evening Clouds over the Fields, Taoyuan, Taiwan
Wang Guowei, a great scholar of the late Qing and early Republican period, once said:
“There is the creation of a realm, and there is the depiction of a realm. This is how the idealist and realist schools are distinguished. Yet the two are rather difficult to separate, for the realm created by a great poet must accord with nature, while the realm depicted must inevitably verge upon the ideal.”

When a painter carries poetry in the heart and poetry in the eye, the painted image will naturally be imbued with poetic resonance and free of mere craftsmanship. Years ago, while lecturing in the United States, I noticed a copy of Renjian Ciyu Jiedu on the bookshelf of my son-in-law Uffe (a Dane and a professor of classical Chinese culture). After browsing through it, I immediately asked for it and brought it back to Taipei. I return to it often, and each time I do, I gain new insights.

冉茂芹，《道格拉斯》：台灣．台北
2026-02-28 08:00 - 17:00
冉茂芹，《道格拉斯》：台灣．台北
53×41 cm，2013年
這是我油畫人物雕刻化最明顯的畫例，我眼前的人物完全〝弗魯貝爾〞(俄國十九世紀大師) 化了，完全〝米開朗基羅〞化了。我像鑲嵌師那樣去〝切〞去〝按〞去〝捶打〞，使形像雕塑化，力求帶來另一種美感。

YIM Mau-Kun, Douglas
53×41cm，2013年

This is the most striking example of the sculptural transformation of figures in my oil painting. The figure before my eyes became completely “Vrubel-ized”—transformed in the manner of Mikhail Vrubel—and entirely “Michelangelo-ized,” in the spirit of Michelangelo. Like an inlay craftsman, I “cut,” “press,” and “hammer,” sculpturalizing the form and striving to bring forth a different kind of beauty.

冉茂芹，《貴妃遙想》：台灣．台北
2026-03-04 08:00 - 17:00
《貴妃遙想》：台灣．台北
60×45.5 cm，2015年
在「雙橋畫室」有名模特兒學員劉薰愛，她造形能力很好，畫得快，也很像。她除了接演出通告，還自組畫室，廣納學生。
我的畫室幾次邀她担任肖像模特兒，她認真且富創意：這個扮相就是她模仿楊貴妃而設想的另一番面貌，就叫《貴妃側影》吧。

YIM Mau-Kun, Thoughts on a Concubine
60×45.5cm，2015年

At the “Shuangqiao Studio,” there was a well-known model student named Liu Xun’ai. She had strong abilities in posing, painted quickly, and achieved a close likeness. In addition to accepting performance and modeling engagements, she also established her own studio and attracted many students.
My studio invited her several times to sit as a portrait model. She was earnest and highly creative: this particular look was her imagined reinterpretation inspired by Yang Guifei. Let it be titled Profile of the Imperial Consort.

冉茂芹 油畫寫生 個展｜光影拾歲
2026-03-07 - 2026-04-07
冉茂芹 油畫寫生 個展
藝術家｜冉茂芹
展期｜2026.03.07 – 2026.04.07
地點｜阿波羅畫廊
台北市大安區忠孝東路四段218-6號A棟2樓

冉茂芹 油畫寫生 個展｜光影拾歲
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。

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。
《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。
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。
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。
《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。
《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。

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。
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 。

藝術家簡歷→冉茂芹
虛擬展廳→欣賞

YIM Mau-Kun Oil Painting from Life – Solo Exhibition A Decade of Gathering Light and Shadow
Opening｜Saturday, March 7, 2026, 15:00
Exhibition Dates｜March 7 – April 7, 2026
Artist Talk｜Saturday, March 28, 2026, 15:00
Long 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.
For 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.
Sunset 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.
Notably, 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.
Yim 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.
Opening 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.
Artist’s CV
AR Exhibiton

2026 台南國際藝術博覽會 展房612
2026-03-07 08:00 - 17:00
|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
ExhibitionART TAINAN 2026 | Apollo Art Gallery | Between Ways of Seeing
VIP PreviewMarch 12, 2026 (Thu.) 15:00-19:00
Public DaysMarch 13 (Fri.)-March 15 (Sun.), 2026
Opening Hours12:00-19:00(March 15 until 18:00)
VenueSilks Place TainanNo. 1, Heyi Rd., West Central Dist., Tainan City, Taiwan

《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
2026-03-21 - 2026-06-06 | 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
《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
展期｜2026.03.21 – 06.06
開幕｜2026.03.21 (六) 15:00
主辦｜望春風文化藝術基金會
策展｜阿波羅畫廊
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)
預約參觀｜https://lin.ee/mc5OCUE

《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。
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。
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。
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。
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。

關於藝術家 → 陳淑華.林祐如.王雯

“Tranquil Radiance” — Lacquer Painting Group ExhibitionCHEN Shu-Hwa · LIN Yu-Ju · Wang WenWang Chun-Feng Culture and Arts Foundation ╳ Apollo Art Gallery
Organizer | 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

“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.
Senior 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.
LIN 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.
Wang 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.
This 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.

Artists’ CV → CHEN Shu-Hwa, LIN Yu-Ju, Wang Wen

冉茂芹，《遠眺基隆嶼》
2026-03-27 08:00 - 17:00
冉茂芹，《遠眺基隆嶼》
33×45cm，1992年
藝術家被和平島海邊的岩石獨特的造型吸引，先用沾有淡淡黑色畫筆呈現石頭造型的輪廓線，再上色 。色彩局部壓（輪廓）線。呈現岩石造型及色彩。
《遠眺基隆嶼》描繪北海岸的礁岩風景。前景鋪展大小不一的岩塊與沙色地面，岩面交織黃褐、灰綠與紫灰等色階；中景是一道湛藍海面，浪花在岩縫間泛白；遠方水平線上，基隆嶼靜置於畫面偏左，右側可見一艘小船。作品以近景礁石的質感描寫，對照遠方島嶼的明確輪廓，展現藝術家對自然景物的細膩觀察，以及寫生中所凝結的光影與空氣感。
與今日現地景觀相比，隨著時間推移，畫中風景與今日現地之間的差異，也使這件作品多了一層關於記憶與時間的意味。

YIM Mau-Kun, Overlooking Keelung Island
33×45cm，1992年
Fascinated by the distinctive forms of the rocks along the shore at Heping Island, the artist first traced their contours with a brush toned in a light black, and then applied color. In some passages, the paint is pressed against the contour lines, reinforcing both structure and chromatic character.
This work depicts the rocky coast of northern Taiwan. In the foreground, rocks of varied sizes spread across a sandy ground, rendered in layered ochres, gray-greens, and violet-grays. The middle distance opens onto a band of vivid blue sea, where white surf breaks between the stones. On the horizon, Keelung Island rests slightly to the left, with a small boat at the right.
Compared with the landscape today, the differences that time has brought between the painted scene and the present site add another layer of meaning, evoking memory and the passage of time.

冉茂芹，《黔東南苗家⼥》
2026-03-27 08:00 - 17:00
冉茂芹，《黔東南苗家⼥》
53×40.5cm，1997年
——節錄自藝術家創作感想——
這幅畫也很寫實，不僅是項圈、銀飾，姑娘的面容也很寫實。
回來後一度想將臉部改的唯美些……但，最終還是沒有動手，因為曾有過不成功的教訓。
YIM Mau-Kun, Miao Woman, Qiandongnan
53×40.5cm，1997年
Excerpt from the artist’s reflections-
This painting is highly realistic: not only the choker and silver ornaments, but also the young woman’s facial features are rendered with great fidelity. After returning, I once considered revising the face to make it more idealized… but in the end I did not, because I had learned from an earlier, unsuccessful attempt.

冉茂芹，《港灣正忙》：台灣．高雄
2026-03-27 08:00 - 17:00
冉茂芹，《港灣正忙》：台灣．高雄
40.5 × 52.5 cm，1998年
在《港灣正忙：高雄》中，冉茂芹描繪的是港邊修船的真實場景。畫面中央的大船被拖上岸停放維修，巨大的船體幾乎佔滿整個視野，和周圍人員、器具、地面空間形成鮮明對比，
也讓人更直接感受到港區工作的規模與重量。船身表面交錯著深藍、鏽紅與灰黑色塊，在光線下呈現出厚重、粗礪而帶有時間痕跡的質感。
據冉茂芹老師回憶，當時眼前這艘船非常巨大，實際場景比畫面所見更為震撼；船隻是從旁邊的海面拖上陸地維修，整個過程大約需要一個月左右。
這件作品所呈現的，不只是港灣忙碌的工作景象，也是一種來自現場觀看的真實壓迫感與視覺衝擊。

YIM Mau-Kun, Busy Harbor
40.5 × 52.5 cm，1998年
In Busy Harbor: Kaohsiung, YIM Mau-Kun depicts a real scene of ship repair at the harbor. The large vessel at the center has been hauled ashore for maintenance; its massive hull nearly fills the viewer’s field of vision, creating a stark contrast with the surrounding workers, equipment, and ground space, and making the scale and weight of labor feel immediate.
Across the surface of the ship, deep blues, rust reds, and gray-black tones intersect, forming a heavy, rugged texture marked by time under shifting light.
According to the artist’s recollection, the ship before him was enormous, and the actual scene was even more overwhelming than what the painting shows. The vessel was towed from the nearby water onto land for repairs, and the entire process took about a month.
What the work presents is not only a busy working harbor, but also a direct, on-site sense of pressure and visual impact born of looking.

冉茂芹，《櫻花樹下》：日本．奈良
2026-03-27 08:00 - 17:00
冉茂芹，《櫻花樹下》：日本．奈良
45.5×53cm，2005年

《櫻花樹下：日本 奈良》描繪春日假期裡的賞櫻景象。
畫面中一棵盛開的櫻花樹占滿畫面上方，
粉白花簇形成大片樹冠；樹幹位於畫面中央偏下，枝條向左右延展。
前景是一片草地與斜向延伸的小徑，樹下有兩位人物停留休息，左側另有一人行走。
背景可見建築立面與深綠樹叢，右側點綴紅色花灌木。

YIM Mau-Kun,Under the Cherry Blossom Tree, Nara, Japan
45.5×53cm，2005年
Under the Cherry Blossom Tree: Nara, Japan depicts a spring holiday scene of cherry-blossom viewing. A single tree in full bloom fills the upper half of the composition, its pale blossoms forming a broad canopy. Beneath it, figures pause along the path and lawn, while architecture and dark greenery recede into the background, accented by a small cluster of red blossoms at the right.
