朝代畫廊欣然向您宣布，我們即將於2019三月份參展Art Central HK 2019 中心藝術博覽會，展位F07。Art Central HK是目前亞洲相當重要的大型藝術博覽會，每年都會有超過七成以上來自於亞太地區的畫廊在此參與展出，不但著重關注於亞洲在地的藝術呈現及思考，更是被公認為探索當代藝術實驗性的最佳平台。朝代畫廊在推廣當代藝術上一直不遺餘力，此次將以去年於Art Central HK獲得亮眼成績的林餘慶＆魏杏諭，以及在朝代舉辦個展有著不俗表現、即將首次於香江亮相的王永衢等兩組藝術家的最新作品參與此次國際藝術盛會，我們對此感到相當期待。

 

Dynasty Gallery is pleased to announce you, we will attend to Art Central HK 2019 which will be held at Central Harborfront in the end of March, booth F07. Art Central HK is a very important annual art fair in Asia now. More than 70% of the galleries from the Asia-Pacific region are participating in this art fair every year. It not only focuses on the presentations and reflections of art in Asia, but is also widely recognized as the best platform for exploring the experimental aspects of contemporary art. Dynasty Gallery has been sparing no effort in promoting contemporary art and will exhibit the works by LIN Yu-Ching & WEI Hsing-Yu, WANG Yung-Chiu in Art Central HK 2019. We are quite looking forward to this.

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林餘慶&魏杏諭1983&1982年生於台灣，為雙人藝術創作組合，2007年畢業於朝陽科技大學視覺傳達設計系，現居於台中。他們的作品曾被美術館及基金會典藏，如國立台灣美術館(台中)、何鴻燊博士基金會(澳門)、梁潔華藝術基金會(香港)、嚴陸根藝術基金會(南京)等，私人收藏遍及港、澳、中、美、日、韓以及台灣，曾被銀川當代美術館(寧夏)以及國立台灣美術館(台中)邀請展出。

 

林餘慶＆魏杏諭自學生時期開始共同創作，至今已超過十年，在他們創造的生態系裡，以平均穩定的色調分配，讓畫面豐富而溫潤，也因此效果非常規律平整，這種平穩的用色模式和油畫顏料發明之前的蛋彩畫和文藝復興時期很普遍的濕壁畫頗接近，這些色料因為使用上無法「揮霍」、不得「揮灑」，因而予人平和穩定的感受，藝術家耐心分配色調和色塊，在繁忙緊湊的生態節奏中，公平地分配色彩，創造了均衡生態。此外，系列作品之間的物件串連，也讓他們的創作產生古時壁畫的共時性──將長篇幅的故事呈現在一片牆上，讓觀者於一眼全覽的同時也能在細節裡悠遊。

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LIN Yu-Ching & WEI Hsing-Yu (b. 1983 & 1982 ,Taiwan) are double combination artists. They graduated from the Department of Visual Communication Design in Chaoyang University of Technology in 2007 and both live in Taichung now. The works of LIN & WEI are collected by many museums and foundations such as National Taiwan Museum of Fine Arts (Taiwan), Dr. Stanley Ho Foundation (Macau), Annie Wong Art Foundation (Hong Kong), Yan Lugen Art Foundation (Nanjing) and international collectors from Hong Kong, USA, Korea, Japan, China and Taiwan. LIN and WEI were also invited by MOCA Yinchuan, (Ningxia Hui Autonomous Region) and National Taiwan Museum of Fine Arts (Taichung) for attending exhibitions.

 

LIN Yu-Ching & WEI Hsing-Yu use the most industrial medium, marker pen, as the main base of their works. The steady and regular patterns of color-using builds up an atmosphere close to Tempera and Frescoes works, bringing people a peaceful and steady experience. In addition, the articles connecting different series has added the synchronicity of ancient murals to these work(to put a whole lengthy story on one wall), which provides the audience with an overview while they immerse in the exquisite details at the same time.

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王永衢畢業於美國西雅圖康沃爾藝術學院，現居於台中。他的作品曾多次於台灣及美國展出，例如《捕捉漸瞬》(朝代畫廊，台北)、《Art Taipei》(世貿中心，台北)、《台灣當代一年展》(台北爭豔館，台北)、《Mapping Fixes》(Richard Hugo Gallery，西雅圖)以及《New Points》(Behnke Gallery，西雅圖)等。身為一個以抽象作為創作表現方法的藝術家，王永衢一直在持續探索顏色、律動、空間、構圖、平恆、與質地的極端可能性，這些作品的構圖與創作，深深受到科學時空與他出身亞洲求學美國的背景等因素影響。

 

從美國返台生活後，王永衢開始研究宋瓷的紋路，並開始以裂紋作為他作品的主要視覺。抽象元素與古瓷器紋理的結合，讓他的作品畫面在極簡淨潔之中帶有時間性的深沉力度，隱藏其中的螢光色帶有幾分都會感而不俗豔。另一方面，畫面中的細節也將透過觀者與作品距離的改變以及時間的延續而逐漸浮現，以幽微的方式勾起觀者對作品的好奇觀察，引導以非單一性的觀看方式開發出更多互動可能，也是王永衢在其作品所帶有的實驗性質。

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WANG Yung-Chiu graduated from Cornish College of the Arts, Seattle in USA. Currently he lives and creates in Taichung, Taiwan. His works were exhibited in Taiwan and USA for many times, such as Catching Evanescence (Dynasty Gallery, Taipei), Art Taipei (Taipei World Trade Center, Taipei), Taiwan Annual (Taipei Expo Dome, Taipei), Mapping Fixes (Richard Hugo Gallery, Seattle) and New Points (Behnke Gallery, Seattle). As an artist who uses abstraction and minimalism as a method of expression, WANG has been continuously exploring the extreme possibilities of color, rhythm, space, composition, balance, and texture. 

 

After returning from US to Taiwan to settle, WANG thought about the broken-ice crackle of the Southern Song Dynasty porcelain and began to work out slowly to use "crackle" as the main visual element. For him, the meaning of the crackle is to remind the existence of time: No matter how clean and smooth, the new surface may still be rough due to time. On the other hand, the structure formed by color and shape is also a noteworthy feature of his works. For the artist, graphic works do not just mean that the audiences must watch statically at a certain distance. Through the actual distance between the audiences’ body and the work, the viewing itself can be a dynamic process of perception.