ONE ART Taipei 2025
藝術台北2025
2025.01.10 - 12
藝術台北 ONE ART Taipei 2025
2025.01.10 - 01.12
地點：JR東日本大飯店 台北(台北市中山區南京東路三段133號)
展位：1001展間
展出藝術家：卓亞嫻、莊騰翔、夏愛華、許仁蕙、洪郁雯、草間彌生、李翡文、林餘慶&魏杏諭、水谷篤司、施博修、曾上杰
ONE ART Taipei 2025
2025.01.10 - 01.12
Venue：HOTEL METROPOLITAN PREMIER TAIPEI
(No. 133, Sec.3, Nanjing E. Rd., Zhongshan Dist., Taipei City)
Booth：Room 1001
Artists：CHO Ya-Hsien, CHUANG Teng Shiang, HSIA Ai-Hua, HSU Jen-Hui, Julia HUNG, KUSAMA Yayoi, LI Fei-Wen, LIN Yu-Ching & WEI Hsing-Yu, MIZUTANI Atsushi, SHIH Po-Hsiu, TSENG Shang-Jie
朝代畫廊參展ONE ART Taipei，呈現頂尖當代藝術風采
朝代畫廊誠邀您參觀2025年1月10日至12日於台北JR東日本大飯店舉行的《ONE ART Taipei》。本次展出將在1001展間亮相，匯聚國際與本地當代藝術家的傑出作品，展示多元風貌。參展藝術家包括卓亞嫻、莊騰翔、夏愛華、許仁蕙、洪郁雯、草間彌生、李翡文、林餘慶&魏杏諭、水谷篤司、施博修、曾上杰，作品涵蓋雕塑、繪畫與裝置藝術等形式，皆展現藝術家獨特視角，融匯傳統與創新，探討現代生活的深刻命題。朝代畫廊期待與您在展會現場共同探索藝術的無限可能，為台灣藝術界增添更多精彩與活力。敬請蒞臨，共襄盛舉！
Dynasty Gallery cordially invites you to visit ONE ART Taipei, taking place from January 10 to 12, 2025, at the JR East Hotel Taipei. The gallery will be exhibiting in Room 1001, showcasing exceptional works by both international and local contemporary artists, reflecting a diverse artistic vision. Participating artists include CHO Ya-Hsien, CHUANG Teng Shiang, HSIA Ai-Hua, HSU Jen-Hui, Julia HUNG, KUSAMA Yayoi, LI Fei-Wen, LIN Yu-Ching & WEI Hsing-Yu, MIZUTANI Atsushi, SHIH Po-Hsiu, and TSENG Shang-Jie. The exhibition features sculptures, paintings, and installation art, each piece offering a unique perspective that merges tradition with innovation while addressing profound themes of modern life. Dynasty Gallery looks forward to exploring the boundless possibilities of art with you at the fair, bringing vibrancy and brilliance to Taiwan's art scene. We warmly welcome your presence—join us in this artistic celebration!
草間彌生為當代藝術史上舉足輕重、影響深遠的亞洲藝術家。草間素以豐富多產的創作而著名，其作品涵蓋繪畫、雕塑、行為展演、流動影像和大型裝置。她原本修習傳統日本畫，1957年移居美國，很快就以破格而別樹一幟的藝術語言，在美國和歐洲前衛藝術界打響名堂，在藝壇贏得一席之地。草間於1973年返回日本，之後一直創作不輟，推陳出新，與自己身處的時代呼應共鳴。草間彌生堅持不懈地追求前衛藝術實踐，使她成為二十一世紀的全球文化偶像。她在逾七十年的創作生涯中發展出獨樹一幟的核心美學和人生哲學。其作品展示浩瀚無垠之境，反思大自然的生命形態與循環，擄獲世人的目光。
Yayoi KUSAMA is a monumental and influential figure in contemporary art history. Known for her prolific output, Kusama's work spans painting, sculpture, performance, film, and large-scale installations. Trained in traditional Japanese painting, she moved to the United States in 1957, quickly gaining acclaim in avant-garde circles across America and Europe with her distinct artistic language. After returning to Japan in 1973, Kusama continued to create innovative works, resonating deeply with the times. Her relentless pursuit of avant-garde practice has made her a global cultural icon in the 21st century. Over a career spanning more than 70 years, Kusama developed a unique core aesthetic and life philosophy, exploring the vastness of nature’s forms and cycles, captivating audiences worldwide.
草間彌生 KUSAMA Yayoi《南瓜》
60.4x72.3cm, Ed.120, 絲網版畫 Silkscreen, 1992
林餘慶＆魏杏諭共同創作至今已超過十五年，在他們創造的世界觀裡，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，藝術家耐心分配色調和色塊，在繁忙緊湊的節奏中，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。藝術家筆下的主要角色「Wulala」就像是他們的化身，不斷出現在作品畫面之中，像是導遊般引領我們徜徉在林餘慶和魏杏諭為作品所創作的心情詩海中，盡情探索。
LIN Yu-Ching & WEI Hsin-Yu have been collaborating for over 16 years. In their creative universe, they balance colors evenly to create works that are rich and smooth in texture. This careful distribution of tones results in a visually harmonious and even composition, with the artists meticulously allocating hues within the busy rhythm of the painting, creating an ecological balance. The interconnected objects within their series lend a synchronicity reminiscent of ancient murals—long stories unfold across a single wall, allowing viewers to explore both the grand narrative and its intricate details. The recurring character “Wulala” serves as their artistic avatar, leading us through the emotional landscape of their work, inviting exploration of their poetic and deeply personal world.
林餘慶&魏杏諭 LIN Yu-Ching & WEI Hsing-Yu《冰菓小島 Ice Island》
30x30cm，複合媒材 Mixed media，2024
曾上杰專攻木作雕刻，他並不追求形體的精準重現，而是傾向如何將精神感受再演繹。曾上杰認為，從繪畫角度看待自己的立體作品，更能表達他的內心對世界的感知，其顏料上色覆蓋著刀痕所產生的隨機性，以及上色後再刻掉的曖昧感，皆是呼應藝術家對於雕刻「減法」的認知，也是一種虛實之間的探索。他的《Swinger》系列，看似是曾上杰對年紀相仿的都市青春眾生研調報告，其實是對於路上行人的匆匆一瞥與隨之帶來的延伸想像。
TSENG Shang-Jie specializes in wood carving, but he does not aim for precise replication of forms. Instead, he focuses on reinterpreting emotional and spiritual experiences. TSENG believes that viewing his three-dimensional works through the lens of painting better conveys his inner perception of the world. The randomness created by paint covering the chisel marks, along with the ambiguity of colors being carved away after application, reflects his understanding of sculpture as a process of "subtraction" and serves as an exploration of the interplay between reality and illusion. His Swinger series, while seemingly a sociological study of urban youth of similar age, is in fact inspired by fleeting glimpses of passersby and the extended imagination sparked by those brief encounters.
曾上杰 TSENG Shang-Jie《造光 Creating Light》
32.5x12.5x7.5cm，樟木、壓克力顏料 Camphor, acrylic，2024
夏愛華擅長使用「活脫乾漆」這種用來製作佛像的古時技術，向觀眾闡述她在自然界各種奇妙的偶遇與回憶，而徜徉在山林中的動物們更是被她視為像是精靈神祇般的存在，並在創作中成為主要的角色。她使用生漆這種天然材質來重新塑造出這些動物們的形體，而這些雕像也遵循古法留下了空心部分，象徵呈載了靈性、真我，讓整件作品更加完整飽滿。此次展出的平面作品為《夜之動物園》系列的延伸，我們在看著她所繪製的動物圖像時，彷彿也像是閱覽著一頁頁的妖精圖鑒般，既生動而又奇幻。
HSIA Ai-Hua specializes in using the ancient "hollow dry lacquer" technique, traditionally employed in crafting Buddhist statues, to convey her encounters and memories of the natural world. She regards the animals wandering through forests as spiritual beings or deities, making them central characters in her creations. Utilizing natural lacquer as her medium, HSIA reshapes these animals into sculptural forms, adhering to traditional methods that leave the sculptures hollow. These hollow spaces symbolize spirituality, the true self, and an intrinsic essence. The lacquer paintings featured this time are an extension of her *Night Zoo* series. Observing her animal imagery feels like exploring a bestiary of fairies—vividly dynamic, enchanting, and brimming with a sense of wonder.
夏愛華 HSIA Ai-Hua《不老容顏 Timeless Beauty》
20x15x3.5cm，漆、木板、岩彩、金箔 Lacquer, wood panel, mineral pigments, gold leaf，2024
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，將景色置於畫框之中，增添趣味與想像空間。
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 sketches of landscapes rendered in sculptural form, placing scenes within frames to add layers of intrigue and imaginative space.
水谷篤司 MIZUTANI Atsushi《Drawing 3.2025》
10x10x4cm，木、水性日本画顔料、壓克力顔料 Wood, water-based Japanese pigments, acrylic paint，2024
李翡文的抽象作品展現大自然的平靜與和諧，捕捉水氣、雲氣與光影交織的瞬間，這些變幻的視覺元素引領觀者進入美好而寧靜的當下。畫面中的自由奔放宛如自然的形象：飄渺的霧氣、幻化的雲朵、植物的姿態與礦物的質感，遠景則展現天與海的廣闊空間，光線細微流動，日月星辰在時空中變換。李翡文期望觀者能靜靜體會作品中的療癒氛圍，感受天地滋養身心的力量，與自然緊密相連，汲取畫面中自由的愛與情感，回歸內心的平靜並專注於當下，透過內在的方向指引，從而勾畫出屬於自身獨特的生命軌跡。
LI Fei-Wen’s abstract works embody the peace and harmony of nature, capturing fleeting moments where mist, clouds, and light intertwine. These shifting visual elements guide viewers into a serene and beautiful present moment. The fluidity of the compositions evokes natural forms: ethereal mists, ever-changing clouds, plant shapes, and mineral textures. Expansive skies and seas provide the distant backdrop, with light gently shifting and celestial bodies traversing time and space. LI hopes that viewers will quietly experience the healing atmosphere in her works, feeling the nurturing power of nature, and reconnecting with the free-flowing love and emotion within the scenes. Through inner guidance, Li aims to inspire a return to tranquility and presence, drawing unique life paths for each individual.
李翡文 LI Fei-Wen《剔透 Translucence》
72.5x60.5cm, 壓克力畫布 Acrylic on canvas, 2022
莊騰翔慣以不銹鋼打造出帶有詩意的作品，同時也對媒材有著獨特的掌控能力，以材料本身的物質特色展現他對自然造型的觀察。《大地系列》是近年來逐漸形成的體系，帶有自然大地的樣貌，並以自然元素為靈感，將金屬材料的特質做結合，創造出獨特造型和質地。「觀察後的創造」是這系列作品中的特色，創造、觀察、創造、觀察的重複，逐漸由無至有的方式形成，而這一結果帶有一種自然性的律則在其中。
CHUANG Teng-Hsiang is known for crafting poetic works using stainless steel, showcasing his unique mastery of the medium and its inherent material qualities. His creations reflect his keen observation of natural forms. The “Earth Series”, developed over recent years, embodies the essence of the natural landscape, drawing inspiration from natural elements and integrating the unique characteristics of metal to create distinct forms and textures. A defining feature of this series is the concept of "creation through observation." Through a repetitive cycle of creation, observation, and refinement, the works gradually emerge from nothingness, ultimately embodying a sense of natural order and rhythm.
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莊騰翔 CHUANG Teng-Hsiang《大地 No.113 Earth No.113》
30x29x17cm, 不銹鋼 Stianless, 2024
洪郁雯擅長以彩色銅線編織為主要技法，透過直覺進行創作，其蛛網般的立體作品跳脫了傳統構圖的框架，任由其與空間、光影自由交織對話，賦予作品「有機性」，延續她對自由意志的探索。此次展出的《Déjà Vu》與《初始狀態》系列，運用柔韌且富有流動特性的彩漆銅線，勾勒出半透視的立體雕塑，使原本印象中堅硬的金屬呈現出輕盈且繽紛的空間感。這些作品不僅在材質上打破了金屬的固有印象，還展現了她對空間與結構的敏銳掌握，創造出一種充滿張力與動感的藝術語言，邀請觀者在其中探索不斷變化的視覺經驗。
Julia HUNG weaves intricate forms from colored copper wire with an intuitive approach. Her ethereal, web-like sculptures transcend traditional composition, engaging with space, light, and shadow to create organic, evolving pieces that reflects her continuous exploration of free will. In her featured series "Déjà Vu" and "Untamed", HUNG transforms copper wire—typically seen as rigid—into supple, fluid forms. These semi-transparent sculptures challenge material expectations, exuding lightness and vibrancy. Her sophisticated command of space and structure invites viewers to delve into a continually shifting aesthetic landscape, where perception and perspective are in constant flux.
洪郁雯 Julia HUNG 《初始狀態05 Untamed05》
23x27x22cm, 彩漆銅線Enamelled copper wire, 2023
許仁蕙的膠彩結合了幾何抽象與印象派的概念，以當代觀點跳脫大眾對此類媒材的既有框架。《玻璃》系列是她對於玻璃後方畫面的觀察與想像，描繪出透過濾鏡般所見的自然或人文景觀，以她對光影的感受，表達對記憶沉澱後的模糊感或放大感，並藉由這種人人都曾有過的經驗，試圖勾起觀眾對某種畫面、溫度、觸覺甚至氣味等的感官記憶。此次展出的《交界處》、《雜訊》等，藝術家並未特別指涉某個時刻或地名，而任由觀者自行詮釋，值得玩味。
HSU Jen-Hui’s eastern gouache art combines the concepts of geometric abstraction and Impressionism, breaking away from traditional perceptions of this medium through a contemporary lens. The "Glass" series reflects her observations and imagination of scenes behind glass, depicting landscapes—natural or cultural—seen as if through a filter. Through her sensitivity to light and shadow, she conveys the blurred or magnified impressions that arise from the sedimentation of memory. Drawing on this universal experience, she seeks to evoke sensory memories in viewers, recalling visuals, temperatures, textures, or even scents. In works like "Borderline" and "Noise", showcased in this exhibition, the artist deliberately avoids referencing specific times or places, leaving room for individual interpretation—inviting thoughtful reflection.
許仁蕙 HSU Jen-Hui 《交界處之二 Borderline 2》
53x45.5x2.5cm, 膠彩 Eastern gouache, 2024
卓亞嫻的創作靈感源於生活觀察與體悟，將日常經驗轉化為情感表達，結合個人想像呈現。作品融入動植物與幾何圖騰設計，透過點、線、面的層次構成形成獨特語彙，並以特殊排列與組合傳遞理念。她提取真實物象的基本結構，運用膠彩盛上堆高技法，刻意省略西方傳統的光影描寫，轉而聚焦於形體的簡化與再構造。在《花瓶》與《危險平衡》系列的創作過程中，隨著礦物顏料的層層疊加所產生的色彩細微變化，作品便自然而然地展現其獨特面貌。
CHO Ya-Hsien draws inspiration for her creations from observing and reflecting on everyday life, transforming daily experiences into emotional expressions combined with personal imagination. Her works incorporate designs of flora, fauna, and geometric motifs, constructed through layered compositions of points, lines, and planes, forming a distinctive artistic language. Through unique arrangements and combinations, she conveys profound ideas. Cho extracts the fundamental structures of real objects and employs the gouache technique of layering and building up textures, deliberately omitting the traditional Western depiction of light and shadow, instead focusing on simplifying and reconstructing forms. In her "Vase" and "Precarious Balance" series, the subtle color variations resulting from the layered application of mineral pigments allow each work to naturally reveal its unique character.
卓亞嫻 CHO Ya-Hsien 《危險平衡II Precarious Balance II》
30x30cm, 雲肌麻紙、岩繪具、純金箔 Unryu paper, mineral pigments, pure gold leaf, 2024
施博修的油畫作品關注的不僅僅是地方本身，而是地方與人之間的關係。他透過不斷的搜尋、移動、建構與紀錄，試圖在那些被注視的對象周圍捕捉某些難以言喻的狀態，他在畫布上逐步勾勒出背景、物件的輪廓、底色、形態與細節，營造出一種沒有因果性的畫面。這些畫作彷彿定格了生活的某個片刻，他不刻意於將平凡的事物神聖化，也未試圖將神聖降為日常，而是呈現了一種游移於兩者之間的過渡狀態，如同紀錄片般忠實卻又帶有詩意的敘述手法。
SHIH Po-Hsiu’s oil paintings focus not only on places themselves but on the relationship between places and people. Through continuous searching, moving, constructing, and recording, he seeks to capture indescribable states surrounding the objects of his gaze. On the canvas, he gradually outlines the background, contours of objects, base colors, forms, and details, creating images devoid of causal relationships. These paintings seem to freeze a moment of life, neither sanctifying the mundane nor attempting to bring the sacred into the ordinary. Instead, they present a transitional state that hovers between the two—a faithful yet poetic narrative akin to a documentary.
施博修 SHIH Po-Hsiu 《紙船 Paper Boat》
31.5x41cm, 布面油畫 Oil on canvas, 2024