倘若日光-曾麟媛個展
The Glinted: Zeng Lin-Yuan Solo Exhibition
▎時間：2024/05/18（六）-06/16（日）
▎開幕：2024/05/18（六）15:00-19:00
▎公休：每週三四(Closed on Wed & Thu)
▎地點： 台南市中西區民權路二段64巷56號3F
▎藝術家：曾麟媛 Zeng Lin-Yuan
▎主辦單位：應力空間Soil Space 、土星工作室 Tu Xing Studio
▎贊助單位：國藝會 National Culture and Arts Foundation
在生命洪流中所捕捉到轉瞬即逝的日常，以繪畫的形式－穿梭於現實與記憶當中恍惚、虛實之間的影像，而在這次個展除了延續一直以來所關注的命題之外，這次更嘗試以陶板：燦夢系列，更焠鍊出在繪畫過程當中時間與光所存在的痕跡。
殘片化石與瓷化
化石，不同於生態時間（以年為單位）下的地質時間（百萬年為單位），經由高溫、高壓的層疊形成遠古生命的遺跡、遺痕或遺跡；《燦夢系列-The bunt》以殘片形式像是在生命歷程中的一小段篇章，猶如壓花般標記著某一段時光片刻，一種永恆的封存殘片，化石不語，它們卻是生命永恆的記憶。
延續繪畫在記憶與影像間的轉化，這次嘗試轉化至陶板形式：土板在全乾狀態下，於陶板上進行描繪與層疊遮擋，藉由水蠟遮擋、消蝕的方式，圖像在層層疊疊的遮擋與消蝕後，有了極細微突起的凹凸關係，更聚焦回物質性肌理的存在：物理上的圖層分層像極了疊層石因不同時間被壓縮保留於岩層之中的地層分層，再藉由一次性高溫的燒製焠鍊，封存在土上形成了最終的顯影結果。
倘若日光
在繪畫、陶板製作過程當中被遮擋下所『缺席』的存在，所指向的或許是在湖面上的波光粼粼、或是在暗處幽微的反射、又或是從未現身卻暗示存在的主體，抑或是在土與釉彩所燒結的淤積凹凸層次當中，所輝映沿著邊緣而被意識現身的「光」，倘若日光成了串起時時變幻的記憶與物質性當中重要的引動，這些『缺席』的存在，抑或是正在走向消逝的狀態，都藉由不同狀態的「光」所被意識，在畫面中多以繽紛的色彩襯托映射著，或是以微突的異質地在最終燒製後蠟的消除後被留下而顯現。
那些已消逝的美好，蟄伏在心中多時，內化後再次以多彩的光得以被重新顯現，傳達給觀眾所再次投射所思所想的那些稍縱即逝、片刻的美好其實不在他方，而是透過藝術家的眼睛，重新相遇迸發在畫面裡，見我所見相遇在此刻，對於缺席的填補想像也得以從幻見中，以繪畫現實的樣貌現身。
In the torrent of life, the fleeting daily life is captured in the form of paintings - images that shuttle between reality and memory, between reality and reality. In addition to continuing the proposition that has been focused on, this solo exhibition He also tried to use pottery panels: Canmeng series to further quench the traces of time and light in the painting process.
Fragmentary fossils and porcelain
Fossils, different from geological time (units of millions of years) under ecological time (units of years), are the remains, traces or relics of ancient life formed through the cascading of high temperature and high pressure; "The Dream Series-The Bunt" is based on The form of fragments is like a short chapter in the course of life, marking a certain moment of time like embossed flowers. It is a kind of eternal sealed fragments. Fossils do not speak, but they are the eternal memories of life.
Continuing the transformation between memory and image in painting, this time I try to transform it into the form of ceramic board: in the fully dry state, the clay board is painted and layered on the ceramic board, and the images are layered on top of each other through the blocking and erosion of water wax. After overlapping blocking and erosion, there is a very fine protruding concave-convex relationship, which focuses back on the existence of material texture: the physical layering is very similar to the stromatolites that have been compressed and retained in the rock layers at different times. The strata are layered, and then fired and quenched at a high temperature once, and sealed in the soil to form the final development result.
The Glinted
The "absent" existence that is obscured in the process of painting and pottery board production may point to the sparkling light on the lake, or the faint reflection in the dark, or the existence that has never appeared but hints at it. The main body, or the "light" that shines along the edges and appears consciously in the concave and convex layers of soil and glaze. If daylight becomes an important trigger in stringing together the ever-changing memories and materiality, these The existence of "absence", or the state of disappearing, is realized through different states of "light", which are often reflected in the paintings with colorful colors, or with slight protrusions of heterogeneity in the end. It appears after the elimination of wax that is left behind after firing.
Those vanished beauties have been dormant in the heart for a long time. After being internalized, they are reappeared in colorful light, conveying to the audience that those fleeting and momentary beauties that are projected and thought about are actually not in other places, but in other places. Through the eyes of the artist, a new encounter bursts out in the painting. Seeing what I see meets at this moment, the imagination to fill the absence can also appear from the illusion in the form of painted reality.
文｜應力空間 Soil Space 主理人 彭奕軒
這些『缺席』的存在，抑或是正在走向消逝的狀態，都藉由不同狀態的「光」所被意識。
應力空間很榮幸邀請到台灣藝術家曾麟媛，帶來繪畫與陶瓷創作的結合，從認識麟媛後（大約也接近十年以上），除了她的個人繪畫創作上持續發展，她也投身於陶瓷教學領域，並創造品牌Kuwado於台北，也透過許多台灣陶藝創作者結合日常生活實用器皿理念，譜出許多聯名課程跟有趣的實用器皿聯名。
陶瓷創作的養分一直是麟媛不斷累積的部分，透過許多形式去實現。當時邀請她時，她詢問是否在應力空間一定會是陶瓷創作？但在我所認識的麟媛，她早已內化她自身的創作方法，不管是透過影像作為起頭，繪畫為媒介，再到她再熟悉不過的陶瓷創作。我很確信麟媛這次的展覽會是全然不同的面貌去回看她過去所累積的一切。
「加與減的關係」
從日常片刻之一角，去感受其影像中各種遮擋產生出的光影，「陶板：燦夢系列」，透過繪畫陶板，在不規則的塊狀體中，存在一個影像，並透過減的方法（水蠟遮擋），產生繪畫線性的前後距離，並透過現實場景的光，形塑出邊界上的波光粼粼之樣態，一次性的燒製，與繪畫中的加減工法上有屬於截然不同的關係。透過許多測試以及經驗，不斷接近那個畫面。陶瓷上釉之樣貌也就是這麼的有趣，在成為永恆的陶瓷前，我們都試著不斷去接近。
「倘若日光」系列作品，適合配著日光去觀看，在陽光映照、反射之處，成為每個人心中的某個片刻。
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"The presence of these 'absences,' or their impending disappearance, is made conscious through different manifestations of 'light.'
Soil Space is honored to invite Taiwanese artist Zeng Lin-yuan to present a fusion of painting and ceramic creation. Having known Lin-yuan for close to a decade, besides her continuous development in personal painting, she has also delved into ceramic teaching and established the brand Kuwado in Taipei. Through collaborations with numerous Taiwanese ceramic artists, she has brought forth joint courses and intriguing utilitarian vessels, merging art with everyday life.
The nourishment of ceramic creation has always been an accumulation for Linyuan, realized through various forms. When inviting her, she inquired whether ceramic creation was a necessity at Soil Space. However, from my understanding of Linyuan, she has internalized her own creative process, whether starting with imagery, using painting as a medium, or venturing into her familiar territory of ceramic creation. I am confident that Linyuan's exhibition this time will be a wholly different perspective on everything she has accumulated in the past.
"The Relationship of Addition and Subtraction"
From a corner of daily moments, to perceive the light and shadow generated by various obstructions in its imagery, the "Ceramic Plate: Brilliant Dream Series" employs painting on ceramic plates. Within irregular blocks, an image exists, and through subtractive methods (water wax blocking), linear distances in painting are created. The light from real-life scenes shapes the shimmering waves at the boundaries, with a one-time firing process having a fundamentally different relationship to addition and subtraction techniques in painting. Through numerous tests and experiences, we continually approach that image. The appearance of glaze on ceramics is equally intriguing; before becoming eternal ceramics, we strive to get closer.
The Glinted series is best viewed in sunlight, becoming a moment in everyone's heart when illuminated and reflected upon.
