朝代畫廊向您宣布，我們將於2021年12月25日至2022年2月19日舉辦台灣藝術家曾上杰最新個展《獵人》，並於12月25日（六）聖誕節當天舉行開幕，十分歡迎您的蒞臨。此次個展將展出曾上杰十餘件最新木雕作品，不但記錄了他這一年多以來的思緒，同時也是藝術家在疫情下的生活心得。

 

曾上杰多年來專心經營木雕創作，近期關心的層面漸從內心世界的自我剖析，轉引向某種人與人之間關係的側寫觀察，刀下創作的人物角色輪廓也更加清晰寫實。最近這幾個月，當疫情蔓延成世界性的共同記憶時，「等待及回應」成為了人們需要學習的課題。藝術家與大多數人一樣，在這漫長的時間消逝中感到消極而無奈，然而他意識到必須對此時此刻的當下做出反饋，而創作正是藝術家對這個世界最直接的回應，《獵人》的概念也因此逐漸成形。

 

從字面上來看，我們很容易去想到「獵者」與「被獵者」這兩者的特徵，不過這並不是曾上杰此處想要去討論的主題；他對於那無形情緒而產生的空氣凝結有著更高度的興趣。展出的作品之間巧妙地具現出「注視」與「待機」這兩種姿態，以輕快而直率的刀痕與上色來表現出張力，將最充滿戲劇性的前一刻鑿印在樟木，這些都讓作品本身充滿著飽滿的情緒與動感，由此帶來的人物姿態未知性，也不禁使人好奇地去想像接下來的情節會如何發展。

 

正因為這樣的安排，本展覽《獵人》是帶有敘事性的，雖說不見得有完整的起承轉合，但藝術家的確埋藏了一些耐人尋味的線索給我們：無論是作品角色之間的目光凝視、人物在緊繃之餘的放鬆狀態、或者因等待太久而產生出的無可奈何，這些狀態似乎都有意無意地勾引起觀眾回憶中的某個時刻。體會到此，我們可以說，藝術家在展覽中佈下了一張無形的網，企圖捕捉的是你我都難以掌握的片羽時光，而我們該如何面對時間不斷耗去的惆悵？當我們逼不得已而停滯下來時又該如何自處？全球疫情所帶來的，除了看得到的消磨，也包含看不到的流逝，我們該被動或主動地去應對？或許，當我們面對曾上杰的木雕作品時，答案自然了然於心。

 

 

曾上杰1991年生於高雄，畢業於國立台灣藝術大學雕塑學系碩士班，目前生活於台北。過往個展有《鏟子》（朝代畫廊，2019）、《天黑前下山》（小巴廊，2018）、《如影隨形》（國立台灣藝術大學雕塑學系實驗展場，2015）、以及《心靈意象》（麗寶文化藝術基金會彩雲畫廊，2015）；近期聯展包括《Art Taipei台北國際藝術博覽會》（世貿一館，2021）、《嚮》（SOGO 天母店，2021）、《打撈》（福溢畫廊，2020）、《台日交流展2020》（Art Lab TOKYO & Sakuragi Fine Arts，2020）、《新黒潮チャンプルー沖縄・台湾現代美術展》（沖繩CAMP TALGANIE artistic farm，2019）、《妖怪季》（未藝術，2018）、《台灣國際木雕競賽》（三義木雕博物館， 2017）、《KIAF/Art Seoul韓國國際藝術博覽會》（首爾世貿中心COEX，2016）、《彩雲間》（朝代畫廊，2016）、《木行喚覺：水谷篤司&曾上杰雙個展》（朝代畫廊，2016）、《雲端集銳》（雲清藝術中心，2015）、《台北藝術自由日》（華山1914文化創意產業園區，2014）等。作品曾獲國立台灣美術館、三義木雕博物館、麗寶藝術文化基金會、精銳建設、滾石唱片以及私人藏家收藏。

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Dynasty Gallery is pleased to announce you, that TSENG Shang-Jie’s latest solo exhibition “Hunter” will be presented during 2021.12.25 to 2022.02.19. The opening will be 12.25 (Sat.) 4PM. This exhibition will exhibit 17 pieces of wood carving works by TSENG, which not only recorded his thoughts over the past year, but also the artist learned from life under the epidemic.

 

TSENG Shang-Jie has devoted himself to woodcarving creation for many years. Recently, his concern has gradually shifted from the self-analysis of the inner world to the profiling observation of a certain relationship between people. Compared with his past works, the contours of the characters created under his knife are clearer and more realistic. In recent months, when the epidemic has spread into a world-wide common memory, "waiting and responding" has become a topic that people need to learn. The artist, like most people, feels negative and helpless in the passage of this long time. However, he realized that he must give some feedback on the present moment, and the creation is the artist’s most direct response to the world. As a result, the concept of "Hunter" gradually took shape.

 

From a literal point of view, it is easy to let us think of the characteristics of the "hunter" and "the hunted", but this is not the subject that TSENG wants to discuss here; he is more interested in the condensation of air caused by that invisible emotion. The works in the exhibition cleverly show the two postures, "watching" and "standby", expressing tension with brisk, straight knife marks and coloring, and chiseling and engraving the most dramatic previous moment on camphor wood. All these make the works themselves full of emotions and dynamics, and the unknown character postures brought by these make people curious to imagine how the next plot will develop.

 

Because of the arrangement above, this exhibition "Hunter" is narrative. Although it may not have a complete transition, the artist still buries some intriguing clues for us: whether it is the staring gaze between the characters of the works each other, the relaxed state after tension, or the helplessness caused by waiting for too long, these states awake a certain moment in the audience's memories intentionally or not. With this in mind, we can say that the artist has laid an invisible net in the exhibition, trying to capture the time that is difficult for us to grasp. But how should we face the melancholy of time goes on? How should we deal with ourselves when we are forced to stagnate? The global epidemic has brought about not only the observable wear and tear, but also the invisible elapsed time. Should we respond passively or proactively? When we see TSENG Shang-Jie's sculpture works, the answer is naturally clear.

 

TSENG Shang-Jie was born in Kaohsiung, Taiwan, 1991. He got master’s degree in Department of Sculpture, National Taiwan University of Arts. Currently lives and creates in Taipei. His past solo exhibitions were “Trowel” (Dynasty Gallery, 2019), “Down the Hill” (44 Gallery, 2018), “Inseparable” (National Taiwan University of the Arts Department of Sculpture Experimental Exhibition, 2015) and “Mind Imagery” (Lih Pao Cultural & Art Foundation, Tsaiyun Gallery, 2015). His recent important group exhibitions include “Art Taipei” (Taipei World Trade Center I, 2021), “Siang” (SOGO Tianmu, 2021), “DA LAO” (Fu Yi Gallery, 2020), “Japan-Taiwan Exchange Show” (Sakuragi Fine Art & Art Lab TOKYO, 2020), “Chanpuru – Okinawa & Taiwan Modern Art Exhibition” (CAMP TALGANIE artistic farm, Okinawa, 2019), “Monster Festival” (WinWin Art, Kaohsiung, 2018), “Taiwan International Wood Sculpture Competition” (Sanyi Wood Sculpture Museum, 2017), “KIAF / ART SEOUL” (Seoul COEX, 2016), “The Sculpture Project of Iridescent Clouds” (Dynasty Gallery, 2016), “The Sensation Summoned From Wood: Atsushi Mizutani & Tseng Shang-Jie Wood Sculpture Duo Exhibition” (Dynasty Gallery, 2016), “Up and Comers in Clouds” (Elsa Art Gallery, 2015), “Taipei Free Art Fair” (Huashan 1914 Cultural and Creative Industry Park, 2014). TSENG’s work has collected by National Taiwan Museum of Fine Arts, Sanyi Wood Sculpture Museum, Lih Pao Cultural & Art Foundation, Jinray Construction Co., Ltd., Rock Records, and private collectors.