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DTSTART;VALUE=DATE:20260926
DTEND;VALUE=DATE:20261018
DTSTAMP:20261003T034344
CREATED:20260905T072533Z
LAST-MODIFIED:20261001T042258Z
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SUMMARY:分水嶺｜王綺穗 個展 "Watershed" Solo Exhibition by WANG Chi-Sui
DESCRIPTION:Watershed 分水嶺｜王綺穗 個展\n展期｜\n2026.09.26 – 10.17\n開幕｜\n2026.09.26 (六) 15:00\n藝術家與談｜\n2026.10.09 (五) 15:00\n→報名 \n  \n \n🔗王綺穗 簡歷 & 作品 \n  \n藝術家王綺穗在《Watershed 分水嶺》個展，結合繪畫、編織等複合媒材，以水為主軸，探討時間流轉、記憶承載與身份認同的內在關係。為觀者帶來連結自然、自我與族群歷史的藝術體驗。 \n王綺穗出身臺東，母系隸屬西拉雅族、父系溯源為卑南族的原住民。獨特的成長背景與族群經歷，讓她對「流動、歸屬、溯源」有著極為深刻的體悟。「Watershed」不僅止於水，而是水與地形的互動關係。一場雨落下來，水滴形成溪，匯聚成河流，流向海洋。各方的水流，循著不同的地貌與路徑前行，共同形塑廣大的流域。Watershed也意指轉折點，每一滴水皆有其源頭，帶著留存的記憶，隨著流動的過程，構築獨特的生命歷程。如同水，身份亦非固定不變的存在，經不斷流動、分散與匯聚逐漸形成，漫長的旅程中尋回原始歸屬的可能。 \n王綺穗以「水具有記憶」為創作核心，寄託對自身族群身份的探尋、梳理與回望。新系列作品以纖維織物、水的形體與未被收束的經線等，探討記憶、結構與流動之間的關係。織物既是一種被組織的形式，也承載著時間累積的痕跡；垂落於表面的線則停留在尚未完成和固定的狀態。水在其間聚集、下墜與滲流，如同記憶穿越既有結構，在時間與移動之中持續改變形態。作品並不試圖指向一個完整而固定的身份，而是將「形成」本身視為持續發生的過程——在編織與鬆解、聚合與離散之間，尋找尚未被決定的流向。「分水嶺」不是界線的終點，而是一個流向開始分岔、重新生成的臨界時刻。 \n透過繪畫與編織，不僅表現水的各種型態，更跳脫水的物理表象，反映個人生命遷徙與時代變遷的隱喻象徵。既是對自然景致的細膩觀察，也是藝術家人生境遇的真實寫照。從家族歷史的追尋、記憶的重構，逐漸理解自身為原住民身分的歷程。 \n王綺穗畢業英國新堡大學美術系取得藝術創作研究博士，現任國立臺北藝術大學電影與新媒體學院教授教授。曾於台南市美術館、高雄市立美術館，英國、奧地利等國內外舉辦展覽。阿波羅畫廊於今年台南藝術博覽會展出王綺穗作品，此次首度於畫廊舉辦個展，發表王綺穗最新作品，誠摯邀請您蒞臨欣賞！ \n  \n \n💻前往欣賞→虛擬展廳 \n  \n \n🖥收看 → 人間衛視《藝次元宇宙》專訪 \n  \n \n📺 收聽 → 漢聲廣播電台 訪問 \n\n  \n“Watershed” Solo Exhibition by WANG Chi-Sui\nDuration｜2026.09.26 – 10.17\nOpening｜2026.09.26 Sat.15:00\nArtist Talking｜2026.10.09 Fri.15:00\n→Sign up \n \n🔗WANG Chi-Sui’s CV & Artworks \n  \nArtist Wang Chi-Sui’s solo exhibition Watershed brings together painting\, weaving\, and mixed media to explore the intrinsic connections between the passage of time\, the carrying of memory\, and identity\, with water as its central theme. The exhibition offers viewers an artistic experience that connects nature\, the self\, and the histories of communities. \nBorn in Taitung\, Wang Chi-Sui is an Indigenous artist whose maternal lineage belongs to the Siraya people and whose paternal lineage traces back to the Puyuma people. Her distinctive upbringing and experiences with her cultural heritage have given her a profound understanding of “flow\, belonging\, and tracing one’s origins.” Watershed refers not simply to water\, but to the interaction between water and the landscape. When rain falls\, droplets gather into streams\, converge into rivers\, and eventually flow toward the sea. Water from different directions follows distinct terrains and pathways\, collectively shaping vast watersheds. Watershed also signifies a turning point. Every drop of water has an origin\, carrying traces of memory as it moves\, and through this process of flow\, forms a unique life trajectory. Like water\, identity is not a fixed or immutable entity. It gradually takes shape through continuous movement\, dispersal\, and convergence\, and along this long journey\, there remains the possibility of rediscovering an original sense of belonging. \nAt the core of Wang’s practice is the idea that “water holds memory\,” through which she explores\, traces\, and reflects upon her own cultural identity. Her new series employs woven fibers\, the forms of water\, and loose\, unfinished warp threads to examine the relationships between memory\, structure\, and flow. Textile is both an organized form and a carrier of traces accumulated over time\, while the threads hanging across its surface remain in a state that is neither complete nor fixed. Water gathers\, falls\, and seeps through these structures\, much like memory moving through established frameworks and continually transforming through time and movement. Rather than pointing toward a complete and fixed identity\, the works regard “becoming” itself as an ongoing process. Between weaving and unraveling\, convergence and dispersion\, they search for a direction that has yet to be determined. The “watershed” is not the endpoint of a boundary\, but a critical moment when a flow begins to diverge and generate new possibilities. \nThrough painting and weaving\, Wang not only depicts the various forms of water but also moves beyond its physical appearance\, using it as a metaphor for personal migration and the transformations of an era. Her works are at once subtle observations of natural landscapes and authentic reflections of her own life experiences. Through tracing family history and reconstructing memories\, she gradually comes to understand and embrace her Indigenous identity. \nWang Chi-Sui received a PhD in Fine Art from Newcastle University in the United Kingdom and is currently a professor at the School of Film and New Media\, Taipei National University of the Arts. She has exhibited extensively in Taiwan and internationally\, including exhibitions at the Tainan Art Museum and the Kaohsiung Museum of Fine Arts\, as well as in the United Kingdom\, Austria\, and other countries. \nApollo Art Gallery presented Wang Chi-Sui’s works at Art Tainan earlier this year. Watershed marks her first solo exhibition at the gallery and presents her latest works. We sincerely invite you to join us and experience the exhibition. \n  \n \n🖥 View AR Exhibition \n  \n \n🖥 Watch the Interview \n  \n \n📺  Listen to the Interview
URL:https://artgalleryapollo.com/2021/event/%e5%88%86%e6%b0%b4%e5%b6%ba%ef%bd%9c%e7%8e%8b%e7%b6%ba%e7%a9%97-%e5%80%8b%e5%b1%95-watershed-solo-exhibition-by-wang-chi-sui/
LOCATION: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
CATEGORIES:slide show,展覽
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261024
DTEND;VALUE=DATE:20261206
DTSTAMP:20261003T034344
CREATED:20260929T041537Z
LAST-MODIFIED:20261001T052433Z
UID:15224-1792800000-1796515199@artgalleryapollo.com
SUMMARY:牽纖敘事・萬縷成章｜沈佳玲 個展 "Woven Narratives: Infinite Threads" Solo Exhibition by Caren Shen
DESCRIPTION:牽纖敘事・萬縷成章｜沈佳玲 個展\n展期｜\n2026.10.24 – 12.05\n開幕｜\n2026.10.24 (六) 15:00 \n  \n \n🔗沈佳玲 簡歷 & 作品 \n  \n「我不認為自己是在創作纖維藝術，而是在用纖維作為一種語言，去談記憶、感知與生命經驗。」 \n定居奧地利維也納三十載的台灣當代編織藝術家沈佳玲（Caren Shen），長年活躍於織品設計、金工、雕塑與當代藝術領域。本次展覽除了帶來極具份量感的大型纖維創作，亦同步展出藝術家近年透過水彩、壓克力，揭示從平面色彩過渡至立體毛織結構的轉譯歷程，引領觀者走入一場回歸純粹感受的沉浸式對話。 \n沈佳玲初中時期赴美求學，在美術課堂上獲得啟蒙與肯定；然而，為了追尋更具歷史厚度與文化底蘊的藝術環境，她隻身前往歐洲，考入享譽國際的奧地利國立維也納應用藝術大學（University of Applied Arts Vienna）。求學期間，她以優異的天賦被教授譽為「早已烤好的麵包」，陸續受教於多位名師，研習織品設計、金屬工藝與雕塑教育，並於1996年取得藝術碩士（Magistra artium）學位。 \n長年的歐洲文化洗禮，造就了沈佳玲自由、不受框架束縛的創作特質。「我從未刻意去想要如何『整合』金工與雕塑，因為做出來的當下，它自然就是一個整體的流露。」沈佳玲直言。對她而言，纖維不僅是工藝媒材，更是「人一出生最初接觸的物質」，帶著天然的體溫。 \n沈佳玲突破大眾對傳統地毯或掛毯的實用性想像，大膽將織面視為畫布、以纖維取代顏料。她擅長運用西藏純羊毛、竹絲等天然材質，結合高低絨結構（Hi-Lo Pile）與手工雕刻修剪（Carving）技法。隨著走動時光線與視角的改變，羊毛織面呈現如水墨暈染般的色澤變化，讓平面的掛織展現出接近浮雕的立體景深。 \n本次展出的代表作《物質催眠》（Silent Matter），打破了具體形象的限制，藉由如水滴般流動起伏的輪廓與層疊色彩，讓人放下對『畫中畫了什麼』的揣測，走進一片能讓思緒慢慢安靜下來的內在角落。沈佳玲指出，「催眠」並非沉睡，而是觀看方式的轉換；當色彩緩緩流動，物質自身所蘊藏的無聲力量便悄然撫慰觀者的心靈。另一件重要作品《WeR》（之間），音同「我們（We are）」，透過色彩的碰撞與高低起伏的纖維剪修，勾勒出如胚胎與水流般循環的生命律動，在柔軟的地貌中鋪陳人與人共生流動的過渡空間。而作品《氣息》（Atem）則將「呼吸」化為核心意象，讓如氣流與脈動般的線條在織面上交疊穿梭，將看不見的氣息轉化為身體與自然之間最細微的連結。 \n本次展覽同步呈現多幅水彩壓克力原作（如《夢之織》、《寧靜之核》、《界縫孵室》等）。對沈佳玲而言，創作前的打掃整頓是一種讓思緒歸零的儀式；而將布面小稿一針一線放大為巨幅織作的過程，不僅考驗著手工與比例，更讓她在日復一日的繁複勞動中安定下來，體驗兩件作品相互呼應的療癒感。 \n沈佳玲認為，創作與生活的關係從來不是「征服」，而是「調和」: 在日常生活的限制、衝突與變化之中，循著線條慢慢找到自己的節奏。材料承載著生活，生活塑造了人；而人就在這兩者之間，以雙手觸摸世界，也重新理解自己。 \n曾於阿波羅畫廊參與纖維藝術聯展、在台北國際藝術博覽會展出的沈佳玲，此次再度攜手阿波羅畫廊，於 10 月 24 日至 12 月 5 日推出最新個展《牽纖敘事・萬縷成章》。談及這場展覽，沈佳玲真誠表示：「我希望這不只是一場織造技法的展現，而是一場對話與共鳴的尋找。每件作品都不是標準答案，觀者在作品面前無論感到喜歡還是不喜歡，都是一段探索自我與重新傾聽內在的開始。」 \n本次個展亦同步響應 2026 台北藝術週（10 月 24 日至 11 月 7 日）的城市藝文串聯，期盼邀請觀者慢下腳步，開啟一場溫暖的心靈對話。 \n\nWoven Narratives: Infinite Threads — Caren Shen Solo Exhibition\nDuration｜2026.10.24 – 12.05\nOpening｜2026.10.24 Sat.15:00 \n \n🔗Caren Shen’s CV & Artworks \n  \n“I don’t consider myself to be creating fiber art. Rather\, I use fiber as a language to speak about memory\, perception\, and lived experience.” \nBased in Vienna\, Austria\, for three decades\, Taiwanese contemporary textile artist Caren Shen has long been active across textile design\, metalwork\, sculpture\, and contemporary art. In addition to presenting a series of substantial\, large-scale fiber works\, this exhibition also features recent watercolor and acrylic paintings that reveal the artist’s process of translating two-dimensional color into three-dimensional woven structures. Together\, these works invite viewers into an immersive dialogue centered on the return to pure sensation. \nShen first went to the United States to study during junior high school\, where she discovered both inspiration and recognition in her art classes. Seeking an artistic environment with greater historical depth and cultural richness\, she later traveled alone to Europe and was admitted to the internationally renowned University of Applied Arts Vienna. During her studies\, her exceptional talent led her professors to describe her as “already baked bread”—someone whose artistic potential was already fully formed. She studied under several distinguished teachers\, pursuing textile design\, metalwork\, and sculpture\, and received her Magistra artium degree in 1996. \nDecades of immersion in European culture have shaped Shen’s free and unconstrained approach to art. “I never deliberately thought about how to ‘integrate’ metalwork and sculpture\,” she explains. “When the work comes into being\, it naturally reveals itself as a whole.” For Shen\, fiber is not merely a craft material\, but “the first material a person encounters at birth\,” carrying with it a natural sense of warmth and the human touch. \nBreaking away from conventional perceptions of carpets and tapestries as functional objects\, Shen boldly treats the woven surface as a canvas and fiber as a substitute for paint. She works extensively with natural materials such as Tibetan wool and bamboo silk\, combining Hi-Lo Pile structures with hand-carved and trimmed surfaces. As viewers move around the works\, changing light and perspectives reveal subtle shifts in color and texture. The wool surfaces evoke the diffuse washes of ink painting\, giving these seemingly flat woven works a sculptural depth reminiscent of relief. \nOne of the exhibition’s representative works\, Silent Matter\, breaks free from the constraints of recognizable imagery. Through fluid\, undulating contours reminiscent of water droplets and layers of shifting color\, the work encourages viewers to let go of the question of “what is depicted” and instead enter an inner space where thoughts can gradually become still. For Shen\, “hypnosis” does not mean falling asleep\, but rather a transformation in the way we look. As colors appear to flow slowly across the surface\, the silent force contained within the material quietly soothes the viewer. \nAnother significant work\, WeR\, whose title echoes “We are\,” explores the rhythms of interconnected life through collisions of color and the sculptural variation created by high- and low-pile fibers. Its forms suggest the cyclical movements of embryos and flowing water\, creating a transitional space within a soft\, tactile landscape where human beings coexist and move together. \nIn Atem\, the German word for “breath\,” breathing becomes the central motif. Lines resembling currents of air and pulses overlap and weave across the surface\, transforming invisible breath into one of the most delicate connections between the body and the natural world. \nThe exhibition also presents a selection of original watercolor and acrylic works\, including Dream Weave\, The Core of Stillness\, and Incubation Chamber at the Seams. For Shen\, cleaning and organizing her studio before beginning a work is a ritual that allows her mind to return to zero. The process of enlarging small fabric studies\, stitch by stitch\, into monumental woven works not only tests her craftsmanship and sense of proportion\, but also enables her to find stability through repetitive\, day-to-day labor. In this process\, she experiences a sense of healing that resonates between the two forms of work. \nShen believes that the relationship between art and life has never been about “conquering\,” but about “harmonizing.” Within the limitations\, conflicts\, and changes of everyday life\, she follows the lines and gradually finds her own rhythm. Materials carry life\, while life shapes the individual. Between the two\, we touch the world with our hands—and\, in doing so\, come to understand ourselves anew. \nHaving previously participated in a fiber art group exhibition at Apollo Art Gallery and exhibited at Art Taipei\, Shen once again joins hands with Apollo Art Gallery for her latest solo exhibition\, Woven Narratives: Infinite Threads\, presented from October 24 to December 5. \nReflecting on the exhibition\, Shen says sincerely: “I hope this is not simply a presentation of weaving techniques\, but an opportunity to seek dialogue and resonance. None of the works offers a standard answer. Whether viewers feel drawn to a work or not\, that response can become the beginning of an exploration of the self and a renewed act of listening inward.” \nThe exhibition will also take part in the citywide cultural programming of Taipei Art Week 2026\, taking place from October 24 to November 7. Through this occasion\, viewers are invited to slow down\, pause before the works\, and enter into a warm and intimate dialogue with the inner self. \n“I don’t consider myself to be creating fiber art. Rather\, I use fiber as a language to speak about memory\, perception\, and lived experience.” \nBased in Vienna\, Austria\, for three decades\, Taiwanese contemporary textile artist Caren Shen has long been active across textile design\, metalwork\, sculpture\, and contemporary art. In addition to presenting a series of substantial\, large-scale fiber works\, this exhibition also features recent watercolor and acrylic paintings that reveal the artist’s process of translating two-dimensional color into three-dimensional woven structures. Together\, these works invite viewers into an immersive dialogue centered on the return to pure sensation. \nShen first went to the United States to study during junior high school\, where she discovered both inspiration and recognition in her art classes. Seeking an artistic environment with greater historical depth and cultural richness\, she later traveled alone to Europe and was admitted to the internationally renowned University of Applied Arts Vienna. During her studies\, her exceptional talent led her professors to describe her as “already baked bread”—someone whose artistic potential was already fully formed. She studied under several distinguished teachers\, pursuing textile design\, metalwork\, and sculpture\, and received her Magistra artium degree in 1996. \nDecades of immersion in European culture have shaped Shen’s free and unconstrained approach to art. “I never deliberately thought about how to ‘integrate’ metalwork and sculpture\,” she explains. “When the work comes into being\, it naturally reveals itself as a whole.” For Shen\, fiber is not merely a craft material\, but “the first material a person encounters at birth\,” carrying with it a natural sense of warmth and the human touch. \nBreaking away from conventional perceptions of carpets and tapestries as functional objects\, Shen boldly treats the woven surface as a canvas and fiber as a substitute for paint. She works extensively with natural materials such as Tibetan wool and bamboo silk\, combining Hi-Lo Pile structures with hand-carved and trimmed surfaces. As viewers move around the works\, changing light and perspectives reveal subtle shifts in color and texture. The wool surfaces evoke the diffuse washes of ink painting\, giving these seemingly flat woven works a sculptural depth reminiscent of relief. \nOne of the exhibition’s representative works\, Silent Matter\, breaks free from the constraints of recognizable imagery. Through fluid\, undulating contours reminiscent of water droplets and layers of shifting color\, the work encourages viewers to let go of the question of “what is depicted” and instead enter an inner space where thoughts can gradually become still. For Shen\, “hypnosis” does not mean falling asleep\, but rather a transformation in the way we look. As colors appear to flow slowly across the surface\, the silent force contained within the material quietly soothes the viewer. \nAnother significant work\, WeR\, whose title echoes “We are\,” explores the rhythms of interconnected life through collisions of color and the sculptural variation created by high- and low-pile fibers. Its forms suggest the cyclical movements of embryos and flowing water\, creating a transitional space within a soft\, tactile landscape where human beings coexist and move together. \nIn Atem\, the German word for “breath\,” breathing becomes the central motif. Lines resembling currents of air and pulses overlap and weave across the surface\, transforming invisible breath into one of the most delicate connections between the body and the natural world. \nThe exhibition also presents a selection of original watercolor and acrylic works\, including Dream Weave\, The Core of Stillness\, and Incubation Chamber at the Seams. For Shen\, cleaning and organizing her studio before beginning a work is a ritual that allows her mind to return to zero. The process of enlarging small fabric studies\, stitch by stitch\, into monumental woven works not only tests her craftsmanship and sense of proportion\, but also enables her to find stability through repetitive\, day-to-day labor. In this process\, she experiences a sense of healing that resonates between the two forms of work. \nShen believes that the relationship between art and life has never been about “conquering\,” but about “harmonizing.” Within the limitations\, conflicts\, and changes of everyday life\, she follows the lines and gradually finds her own rhythm. Materials carry life\, while life shapes the individual. Between the two\, we touch the world with our hands—and\, in doing so\, come to understand ourselves anew. \nHaving previously participated in a fiber art group exhibition at Apollo Art Gallery and exhibited at Art Taipei\, Shen once again joins hands with Apollo Art Gallery for her latest solo exhibition\, Woven Narratives: Infinite Threads\, presented from October 24 to December 5. \nReflecting on the exhibition\, Shen says sincerely: “I hope this is not simply a presentation of weaving techniques\, but an opportunity to seek dialogue and resonance. None of the works offers a standard answer. Whether viewers feel drawn to a work or not\, that response can become the beginning of an exploration of the self and a renewed act of listening inward.” \nThe exhibition will also take part in the citywide cultural programming of Taipei Art Week 2026\, taking place from October 24 to November 7. Through this occasion\, viewers are invited to slow down\, pause before the works\, and enter into a warm and intimate dialogue with the inner self. \n 
URL:https://artgalleryapollo.com/2021/event/%e7%89%bd%e7%ba%96%e6%95%98%e4%ba%8b%e3%83%bb%e8%90%ac%e7%b8%b7%e6%88%90%e7%ab%a0%ef%bd%9c%e6%b2%88%e4%bd%b3%e7%8e%b2-%e5%80%8b%e5%b1%95-woven-narratives-infinite-threads-solo-exhibition-by-caren/
LOCATION: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
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
END:VEVENT
END:VCALENDAR