層間之境
Between the Layers
2026.01.31 - 03.28
層間之境 Between the Layer
2026.01.31 - 03.28
地點 Venue：朝代畫廊 (台北市大安區樂利路43號)
展出藝術家 Artists：具本妸、劉振祥、呂文、水谷篤司、宋璽德
KOO Bon-A, LIU Chen-Hsiang, LU Wen, MIZUTANI Atsushi, SUNG Hsi-Te
在ONE ART Taipei 2026的熱鬧現場之後回到畫廊，重新展開另一種觀看節奏
朝代畫廊最新聯展《層間之境》集結劉振祥、水谷篤司、宋璽德、呂文與具本妸五位藝術家的作品，作為藝博會經驗的延伸，也是一場關於層次、感知與存在狀態的聯展。
本展所指的「層」，並非僅止於媒材或形式，而是藝術家觀察世界的方式，藉由他們的作品，我們或能從中捕捉到一些不同於日常的思考視角，進而增進自身感知。劉振祥透過攝影捕捉現實中的時間切片，使瞬間成為可被反覆凝視的片段；水谷篤司以立體結構重組風景，在空間中建構介於真實與想像之間的場域；宋璽德關注媒材與觀念結構的交疊，使金屬雕塑成為思考的現場；呂文的活脫乾漆與木雕圍繞著身體、殼與內在狀態，呈現存在的多重層次；具本妸則以膠彩與水墨反覆堆疊，描繪生成、共存與時間留下的痕跡。
當這些作品並置於同一空間中，層與層之間不再彼此分離，而是相互呼應。《層間之境》邀請觀者放慢腳步，在不同媒材與視角交錯的縫隙之中，感受觀看如何逐步展開，並在其中找到屬於自己的位置。
After the vibrant atmosphere of ONE ART Taipei 2026, the works return to the gallery, where a different rhythm of viewing unfolds.
Dynasty Gallery’s latest group exhibition, Between the Layers, brings together works by five artists—LIU Chen-Hsiang, MIZUTANI Atsushi, SUNG Hsi-Te, LU Wen, and KOO Bon-A. Conceived as an extension of the art fair experience, the exhibition explores layers of perception, sensation, and states of existence.
The “layers” referenced in this exhibition do not merely point to medium or form, but rather to the ways in which the artists observe and engage with the world. Through their works, viewers may glimpse perspectives that diverge from everyday experience, opening pathways toward heightened awareness and perception. LIU Chen-Hsiang captures fragments of time through photography, transforming fleeting moments into images that invite repeated contemplation. MIZUTANI Atsushi reconstructs landscapes through sculptural structures, creating spatial realms that hover between reality and imagination. SUNG Hsi-Te focuses on the intersection of material and conceptual structures, turning metal sculpture into a site of reflection. LU Wen’s dry lacquer and wood sculptures revolve around the body, the shell, and inner states, revealing multiple layers of existence. KOO Bon-A, through repeated layering of mineral pigments and ink, depicts processes of becoming, coexistence, and the traces left by time.
When these works are brought together within a shared space, the layers no longer exist in isolation but resonate with one another. Between the Layers invites viewers to slow down and enter the interstices formed by different materials and perspectives, allowing the act of viewing to gradually unfold—and, in the process, to discover one’s own place within it.
劉振祥
LIU Chen-Hsiang
劉振祥為台灣重要的攝影家之一，長年耕耘新聞與表演藝術攝影，尤以與雲門舞集的合作，以及多位知名導演所執導的電影劇照聞名。他影像中的強烈紀實質地，在雜誌與報社任職期間，他以獨特視角貼近街頭第一線，在言論仍受限制的年代持續拍攝，為當時社會提供不同於官方主流的觀點，也為台灣民主化進程記載了一頁頁的影像。《戀戀風塵》系列為劉振祥於與導演侯孝賢合作期間所拍攝的側寫劇照，透過其獨特的攝影視角，捕捉電影畫面之外演員、劇組與鏡頭之間的互動瞬間，留下珍貴而細膩的創作紀錄。
LIU Chen-Hsiang is one of Taiwan’s most significant photographers, with a long career spanning photojournalism and performance arts photography. He is particularly renowned for his collaborations with Cloud Gate Dance Theatre of Taiwan and for his film stills created for works directed by many leading filmmakers. Marked by a strong documentary sensibility, Liu’s images—shaped during his years working for magazines and newspapers—bring him to the front lines of the street with a distinctive, intimate perspective. In an era when freedom of expression was still constrained, he persistently documented society, offering viewpoints that diverged from official narratives and recording, frame by frame, Taiwan’s path toward democratization. The “Dust in the Wind” series comprises behind-the-scenes stills taken during Liu’s collaboration with director Hou Hsiao-hsien. Through his singular photographic vision, Liu captures moments beyond the film’s on-screen imagery—revealing the subtle interactions among actors, crew, and camera—and preserves a body of work that is both precious and finely observed.
劉振祥 LIU Chen-Hsiang
《戀戀風塵 | Dust in the Wind》
10x12 inch, Ed.20
銀鹽相紙 Gelatin silver print
1986
水谷篤司
MIZUTANI Atushi
水谷篤司的雕刻創作以「似曾相識的風景」為主題，這些風景混合了現實、印象、記憶、遺忘、虛構與未來，交織成作品的形體。他試圖將自己的作品與觀者心中的風景融合並形成一種巨大磅礡的樣子，激發人們內心深處的情感，或成為某些記憶浮現的契機。對他而言，雕刻雖是藉由肉體勞動產生的具體行為，卻也是接觸人心深處的一種方式。他常年持續進行的《Drawing》系列則如為風景雕製的輕盈速寫，將腦海中的不斷重疊的各種記憶具像化。
MIZUTANI Atsushi's sculptural works revolve around the theme of "familiar landscapes." These landscapes blend reality, impressions, memories, oblivion, fiction, and the future, intertwining to form the shapes of his creations. He seeks to merge his works with the landscapes embedded in the viewer's mind, creating a grand and powerful presence that evokes deep emotions or triggers the resurfacing of certain memories. For him, sculpture, though a tangible act born from physical labor, is also a way to connect with the depths of the human heart. His long-running Drawing series resembles light, swift sketches carved for landscapes, giving tangible form to the continuously overlapping layers of memory in his mind.
水谷篤司 MIZUTANI Atsushi
《Drawing 1.2026》
H28x15x14cm
木、水性日本畫顏料、壓克力顏料 Wood, water-based Japanese painting pigments, acrylic
2026
具本妸
KOO Bon-A
具本妸以東方繪畫為創作起點，將日常感知與內在哲思轉化為視覺語言。她長期關注生命與時間的流動關係，融合韓國東洋畫的韻味與層次豐富的色彩，形塑出鮮明而詩性的畫面。作品多以韓國紙為基底，透過剪裁、拼貼與堆疊，使材質本身成為重要視覺元素，隱喻時間於無形中留下的痕跡，引領觀者感受存在於時間長河中的生命軌跡。此次展出的《牆上的詩》系列以古羅馬建築遺跡為引，思索時間的重量與無盡流轉。符號與詩篇在創作者遠去後仍留存，映照人類短暫存在於兩個永恆之間的狀態。
KOO Bon-A begins her practice from the perspective of East Asian painting, transforming everyday perceptions and inner reflections into a visual language. She has long been concerned with the fluid relationship between life and time, combining the sensibilities of Korean ink traditions with richly layered colors to create vivid and poetic compositions. Working primarily on Korean paper, she employs cutting, collage, and layering so that the material itself becomes a key visual element—an allusion to the traces time leaves unseen—guiding viewers to sense the trajectories of life within the long flow of time. The exhibited “Poetry on the Wall” series draws inspiration from the remnants of ancient Roman architecture, contemplating the weight of time and its endless passage. Symbols and poetic inscriptions endure long after their makers have vanished, reflecting the fleeting nature of human existence suspended between two eternities.
具本妸 KOO Bon-A
《共進化 3 | Co-evolution 3》
69x86cm
水墨設色、金粉、銀粉於韓紙拼貼上 Ink and color, silver and gold powder on Korean paper collage
2022
呂文
LU Wen
呂文的創作關注動物的生命狀態，亦映照自身經驗，從對飼養愛犬的觀察出發，逐步延伸至當代社會中人類與犬貓共處的現象，如流浪動物與家庭毛小孩等議題。他透過雕塑的材質技法與空間語言，回應對「眾生」的思考，並在具象動物造型中，進一步探討人類情感、慾念與行為模式的隱喻。創作上選用木雕與脫活乾漆等傳統材料，藉由層層堆疊與手作痕跡，呈現時間累積的質地與文化深度。在科技快速變動的時代，呂文以緩慢而踏實的創作方式，邀請觀者重新感受生命之形與存在的關係。
LU Wen focuses his practice on the states of animal life, reflecting his own experiences. Beginning with observations drawn from living with his pet dog, his inquiry gradually expands to contemporary social phenomena surrounding human relationships with dogs and cats, including stray animals and “fur children” within family structures. Through sculptural materials, techniques, and spatial language, Lu Wen engages with the concept of “sentient beings,” using figurative animal forms to further explore metaphors of human emotions, desires, and behavioral patterns. Working with traditional materials such as wood carving and kanshitsu (dry lacquer), he employs processes of layering and visible handwork to reveal textures shaped by accumulated time and cultural depth. In an era of rapid technological change, Lu Wen embraces a slow and grounded mode of making, inviting viewers to rediscover the forms of life and their relationship to existence.
呂文 LU Wen
《聖環遊戲 | Holy Tricks》
H108x40x40cm
台灣檜木、榧⽊、⽣漆、⾊漆、⾦箔 Taiwan cypress, Japanese nutmeg-yew, lacquer, gold leaf
2025
宋璽德
SUNG Hsi-Te
宋璽德為台灣重要的金屬雕塑藝術家與藝術教育者，持續耕耘雕塑藝術的實踐與傳承，致力於培育新生代藝術家並推動當代雕塑的發展。其創作多以鋼鐵結合自然意象，探索材料與空間之間的動靜關係，在剛硬結構中展現細膩而富有詩意的視覺語彙。無論是《鋼鐵風景》、《幻境山水》或《物質與反物質》系列，皆展現宋璽德於金屬媒材中對光影、色彩與造型的深入掌握，使作品在結構張力之外，亦蘊含沉靜而深層的美學思考。除個人創作外，宋璽德亦積極投入公共藝術領域，於全台各地設置大型戶外雕塑作品，為城市與社區空間注入持續生成的藝術能量。
SUNG Hsi-Te is an important Taiwanese metal sculptor and art educator who has long been dedicated to the practice and transmission of sculptural art. Actively engaged in both creation and teaching, he is committed to nurturing emerging generations of artists and advancing the development of contemporary sculpture. His works often combine steel with natural imagery, exploring the dynamic interplay between material and space. Within rigid structures, SUNG reveals a refined and poetic visual language. Series such as Steel Landscapes, Illusory Mountains and Waters, and Matter and Antimatter demonstrate his profound command of light, color, and form within metal as a medium, allowing his sculptures to convey quiet yet deeply resonant aesthetic reflections beyond their structural tension. In addition to his studio practice, SUNG Hsi-Te has been actively involved in public art, installing large-scale outdoor sculptures throughout Taiwan. These works introduce sculptural vitality into urban and community spaces, contributing an evolving artistic presence to the everyday environment.
宋璽德 SUNG Hsi-Te
《fractal 2025-1》
50x57x5.2cm
鋼、不鏽鋼 Steel, stainless steel
2025