黃耀鋅 HUANG YAO HSIN (b.1979)
1979生於台灣台北
學歷
2006 大葉大學造藝系 繪畫組畢
1998 復興商工美工科 繪畫組畢
相關經歷:
2013 活生生 十五年後 多媒材創作聯展 籌備整合與策展規劃 789養機場 桃園
2013 現在.之後 聯展 策展規劃 A8咖啡藝文空間 台北
2013 {綠圈圈 夏日藝術季}(千人一ㄚ馬路塗鴉活動) 舞台設計與塗鴉 台中草悟道
2012 《2012台灣燈會在鹿港書法藝術燈區-元素與創造》鹿港,彰化,台灣
2012 《2012台灣燈會在鹿港南燈區-神來之筆》鹿港,彰化,台灣
2011 二檔-其實也沒這麼有趣 三人展 策展規劃 北風藝廊 台北
2009 (一檔) 三人創作展 策展規劃 北風藝廊 台北
工作經歷:
2008~2012 鞋類商品規劃設計 伯諾集團
2007~2008 布偶公仔設計 瑞凰公司
2003~2006 藝術家 涂維政工作室兼職助理
藝術駐村
2017 奔放藝術村 崇明島 中國上海
Yao Hsin Huang
1979 Born in New Taipei City, Taiwan
TEL: +886916920943
E-mail:onigima22@yhaoo.co.tw
Education
2006 Graduated from Department of Plastic Arts, Da-Yeh University,
BA (Hons) Plastic Arts at Changhua, Taiwan
1998 Graduated from Fu-Hsin Trade & Arts School, Yonghe, Taiwan
Curating
2013 《Living lively 15 years later》
Curating, 789 Gallery, Taoyuan
2013 《Transition》
Curating, A8Cafe, Taipei
2013 《Live with Arts. It’s good for you- Come and Draw it!》
Stage design and graffiti, Taichung Calligraphy Greenway
2012 《2012 Lantern Festival in Lukang Art Zone- Elements and Creation》
Lukang Township, Changhua County , Taiwan
2012 《2012 Lantern Festival in Lukang Sounthern Zone- A Master Stroke》
Lukang Township, Changhua County , Taiwan
2011 《Second Gear- It’s not that interesting actually》
Curating, BF Gallery, Taipei
2009 《First Gear》
Curating, BF Gallery, Taipei
Experience
2008~2012 Shoe/Trainer designer
2007~2008 Doll designer
2003~2006 Artist, Assistant of Tu, Wei-Cheng
Artist-in-Residence
2017 OPEN&FUN Art Village, Chongming Island, Shanghai China
個展
2018雙個展 刻意拼裝 日帝藝術 台北
2017個展 末日探勘 台灣藝術公司 高雄
2016 個展 末日.想像 雙個展 好思當代Haohaus 台北
2014 個展 奇時同曝 藝大利藝術中心 台北
2010 個展 Chee~se(起士人之死) 黑白切 第二市場 台中
2005 (破百)個展 大葉大學設院藝廊 彰化
聯展
2018 福爾摩沙藝術博覽會 好思當代Haohaus 台北
2018 蜉島 破視徒聯展 107畫廊 台中
2018 流/變 藝術駐村作品展 同濟大學 奔放藝術村 上海
2018 生深然骨強 塗鴉藝術展 透視藝術 台北
2018 新竹藝術博覽會 好思當代Haohaus 新竹
2017 補牆計畫 索卡藝術 台北
2017 福爾摩沙藝術博覽會 好思當代Haohaus台北
2017 現實與虛幻的空間述說 好思當代Haohaus 嘉義
2017 青紅皂白展 好思當代Haohaus 中國天津
2017 當我們畫再一起 藝術櫥窗最終章 藝大利藝術中心 台北
2016廣東藝術博覽會 好思當代Haohaus 中國廣東
2016 白晝之夜 藝術帳棚設計 台北
2016 當代一年展 花博爭豔館 台北
2016漾藝術博覽會 駁二藝術特區 高雄
2015 台北國際玩具創作展 華山藝文特區 台北
2015 漾藝術博覽會 駁二藝術特區 高雄
2015 約你妳又不來 789養雞場 桃園
2014 藝術家博覽會 新光三越 A8館 台北
2014 現在.之後 聯展 織織人67藝文空間 高雄設計節 高雄
2013 +-30度 破視徒聯展 福利社 視盟 台北
2013 藝術家博覽會 紙廠 1918加工間 台北
2013 活生生 十五年後 多媒材創作聯展 789養機場 桃園
2013 現在.之後 聯展 A8咖啡藝文空間 台北
2013 自由視界 二十號倉庫 台中
2012 藝術家博覽會 松山文創園區 台北
2012 倉庫藝博會 二十號倉庫 台中
2012 超榮鋅 破視徒聯展 a CHI藝術空間 台北
2012 旅行的開端 聯展 Z書房 台中
2011 二檔-其實也沒這麼有趣 三人展 北風藝廊 台北
2011 BORN BOOM!新銳藝術家聯展 CMP BLOCK 台中
2010 敷.面.膜 創作聯展 金車藝術空間 台北
2010 “破視徒”創作聯展 視盟藝文展覽空間 台北
2009 (CARDINAL NUMBER) 劉哲榮.黃耀鑫.王鼎超三人展 北風藝廊 台北
2009 (一檔) 黃耀鑫.劉嘉明.簡明宏三人創作展 北風藝廊 台北
2007 新一代設計展塗鴉大賽入選展 台北世貿
2007 (新SHOW聯展) 彰化員林立庫 彰化
2006 九校畢業聯展-(迷走城市) 華山藝文特區 台北
展覽精神場域.精神堡壘(號誌樹)設計製作
2004 (各說各畫)-接力展 大葉大學設院藝廊 彰化
2003 (藝意非凡)聯展 大葉大學外語藝廊 彰化
Solo Exhibitions
2018 “Deliberate Appropriation” Duo-Solo, Helios Gallery, Taipei
2017 “Doomsday exploration” ARTCCI, Kaohsiung
2016 “Doomsday • Imagination” Duo-Solo, Haohaus, Taipei
2014 “Different Periods” at the E.D.LEE GALLERY, Taipei
2010 “Chee~se” ( Death of Cheese-man)” at the 2nd Market Exhibition of black and white, Taichung
2005 "Posts 100" at the Art Gallery of Da-Yeh University, Changhua
Joint Exhibitions
2018 “2018 ART FORMOSA, Haohaus, Taipei
2018 “The Isle of Ephemera: Post-individual Artists”, 107 Gallery, Taichung
2018 “FLOW/FLUX”, Tongji University, OPEN&FUN Art Village, Shanghai
2018 “Graffiti art exhibition”, Visionary Art Center, Taipei
2018 “Art Hsinchu”, Haohaus, Hsinchu
2017 “The Traversal Project” SOKA ART, Taipei
2017 “2017 ART FORMOSA”, Haohaus, Taipei
2017 “The Apatial Narration Between Reality And Fiction”, Haohaus, Chiayi
2017 “Indulgence”, Haohaus, Tianjing, China
2017 “When we draw together again- final chapter of the art window” at the E.D.LEE GALLERY
2016 “Art Canton 2016”, Guangdong, China
2016 “Nuit BlancheArt Tent”, Taipei
2016 “Taiwan Annual”, Taipei Expo Park, Taipei
2016 “Young Art Kaohsiung 2015” , the pier-2 Art center, Kaohsiung
2015 “TAIPEI TOY FESTIVAL 2015”, Huashan1914 Creative Park, Taipei
2015 “Young Art Kaohsiung 2015” , the pier-2 Art center, Kaohsiung
2015 “I Asked you, but you didn’t come” 789 Gallery, Taoyuan
2014 2014 Artist Fair Taiwan, SHIN KONG MITSUKOSHI Xinyi place A8, Taipei
2014 “Transition”- 2015 Kaohsiung Design Festival, 67 Textile Studio, Kaohsiung
2013 “<±30°>: Post-individual Artists”, FreeS Art Space, Taipei
2013 2013 Artist Fair Taiwan, The Paper Mill 1918, Taipei
2013 “Living Lively 15 Years Later”, 789 Gallery, Taoyuan
2013 “Transition”, A8Cafe, Taipei
2013 “Free Vision”, Stock20, Taichung
2012 2012 Artist Fair Taiwan, Songshan Cultural and Creative Park, Taipei
2012 Back Yart, Stock20, Taichung
2012 cháo jung hsing- postmodern, a CHI Art Studio, Taipei
2012 “The beginning of the Trip”, Z Space, Taichung
2011 “Second Gear- It’s not that interesting actually”, BF Gallery, Taipei
2011 “BORN BOOM! Cutting-edge artists joint exhibition”, CMP BLOCK, Taichung
2010 “Apply. Face. Mask” King Car Art Space, Taipei
2010 “Post-individual Artists, Art Space of Association of the Visual Arts, Taipei
2009 “CARDINAL NUMBER”, BF Gallery, Taipei
2009 “First Gear”, BF Gallery, Taipei
2007 “new SHOW”, Yualin Railway Barn, Changhua
2006 “Lost in City”, Huashan1914 Creative Park, Taipei
The spirit of the field. Spiritual bastion (Signal Tree) design
2004 "Apples and Oranges”, at the Art Gallery of Da-Yeh University, Changhua
2003 “Arts means extraordinary “, Art Galley of Foreign Languages at Da-Yeh University, Changhua
創作概述/作品風格
Art Creation Overview/ Style
在各個不同時期的創作裡,想像力的轉化一直是創作時最大的視覺表現。而生活中各種的經驗,無論視覺、聽覺、閱讀,甚至是各種事件的體驗與反思,都可能成為創作中的靈感來源,並在經由大腦的咀嚼、消化、融合過後,創作出不同時期的作品。
因為各時期所關注的方向,讓媒材及表現形式上經常會依創作方向變動。但近幾年創作方向最大的影響,則是在創作(破百)系列時,經由長時間觀察、閱讀、思考所產生的心得式的圖像創作,讓我逐漸的了解並開始認同這些主流媒體及社會大眾極少去關注的各項重要議題;因此創造出許多自己的圖像符號,也累積了許多的紙本作品。
而在2012年,也是決定離開職場邁向全職創作的時間點,隨著末日預言在世界各地所產生的騷動,加上未來即將踏上全職創作的不確定感,讓我開始妄想著末日來臨的真實性。就像是期待末日發生的異常心態,安逸於平凡生活卻又在心底妄想著異常的發生,因此這些妄想就開始實現在我對末日平凡渡過之後,卻或許不那麼平靜的真實未來,開始這一系列的創作。
雖然未來會發生的事誰都無法預料,而對於未來我們當然有無限想像的權利,但我個人認為,或許未來的軌跡似乎有跡可循。看著過往歷史的演進與現實世界的景象,這種對未來的”想像”,或許可能成為一個真實的”預言”,也可能會成為下一個令人恐慌的末日預言,但卻又不一定會發生。而這些對於未來憶測所創作出來的荒謬圖像,也成了我自己對未來的預言景象,傳達了我對當下現狀所延續的未來假想。
這幾年的創作形式,設計領域的經驗也影響了末日系列創作所呈現的風格及形式。尤其是此系列最主要的黃框,帶來了視覺感極強的呈現方式;運用繪畫媒材的差異與黃框營造出的空間假象,希望表現出黃框對主題思想的框架性、腦內妄想的具象化、以及無法與現實合拍的衝突感,並試著結合複雜且重複的背景圖像,來述說著主題隱喻或待解的種種意涵。
In all the different periods of creation, the transformation of imagination has always been the greatest visual performance in creation. Life in a variety of experience, regardless of visual, auditory, reading, and even the experience and reflection of various events, may be the source of inspiration in the creation; and which creates different periods of works after the chewing, digestion, fusion through the brain.
The medium and form of creation often change according to the direction of concern in each period, but in recent years the greatest impact for my creation was in the Pots series. This kind of experiential image creation through a long-term observation, reading and thinking, let me gradually understand and begin to identify these important issues that mainstream media and the public rarely pay attention to. Therefore, I didn’t only create a lot of my own symbols and but also accumulated a lot of paper works.
In 2012, was also the time point I decided to leave the workplace to set foot on full-time creation, along with the prophecy of doomsday stirred in the rest of the world, coupled with the uncertain future as a full-time artist. Altogether, let me start imagining about the authenticity of doomsday. It is like an abnormal mind looking forward to doomsday while living comfortably in the ordinary life, but in deep inside my heart dreaming the unusual occurrence. So, after doomsday was just another normal day, but perhaps the real future is not so calm, these delusions began to appear in my series of creation.
Although everything that will happen in the future cannot be expected, and for the future we certainly have unlimited imagination, but I personally think that perhaps the trajectory of the future seems to be traceable. Looking at the evolution of past history and the current situation of real world, this kind of "imagination" of the future may be a true "prophecy" and may also be the next horrifying doomsday prophecy, but not necessarily happen.
In recent years, the experience of the design field also affected the style and form of “the Doomsday series”. In particular, the most important yellow frame in this series, has brought a strong sense of visual presentation. Hope the use of the of the drawing medium difference and the space illusion created by a yellow frame to show the framework on the theme thinking, the concretization of brain delusion, and the conflict with reality; Also, try to combine complex and repetitive background images to describe the subject metaphor or the meaning of the solution to be solved.
留言列表