2021 DIVERSITY SERIES

DIVERSITY SERIES 多元系列

Cheongsam Connect 長衫薈

Pai Tsung-te 白崇德

Jun Enterprise 君集團

Taipei Artist Village 台北國際藝術村 – Huang Wan-ling 黃琬玲

Michael Lam 林仲文

Cheongsam Connect 長衫薈

小野寺光子是一位來自日本橫浜的插畫家。她畢業於多摩美藝術大學,專修油畫,已有超過35年的繪畫經驗。她在小時候常常觀察同樣是畫家的母親作畫,因而對藝術產生興趣。小野寺光子的作品色彩豐富而且充滿細節。她主要以水彩入畫,同時擅長於運用塑膠彩及素描創作。熱愛香港文化的她是Hong Kong Tourism Bureau Tokyo大使,她對於香港人的生活方式及獨有文化尤感
興趣。

Mitsuko Onodera is an illustrator born and raised in Yokohama, Japan. She graduated Tama Art University in the study of oil paints, and has been painting for over 35 years. Her interest in art began at a young age when she observed her mother, who was also a painter, practice her craft. Onodera’s works are distinctly colorful and delicate. Her main medium is watercolor, though she is a master of acrylic paint and pencils as well. As an ambassador of the Hong Kong Tourism Bureau Tokyo, her fascinations for Hong Kong townscapes originate from her interest in the lives of the people and the culture of the city.

 

Pai Tsung-te 白崇德

白崇德是一個自己扶養三個孩子的藝術創作者、住在台灣的桃園、本身也是台灣專科高中畢業、藝術使他得到不同世界觀的無限可能。他擅長抽象創作、以幾何造型做分割,讓畫面增加很多穿透感。

 

 

Jun Enterprise 君集團

一向積極推廣刺繡藝術的君集團有限公司,將以刺繡為媒介,展出多位刺繡師結合藝術、文化、技術的刺繡藝術作品,讓香港公眾認識刺繡在當代社會的創新空間和其獨有的藝術魅力。

君集團有限公司於 2018 年由慈善企業家辛彭芷君博士創立,旗下有兩大品牌分別為君文化及君思刺繡。前者重視保育及推廣中式刺繡,透過人手刺繡工藝傳承中國非物質文化遺產,藉此強調技術價值,讓落後地區擁有一門手藝的女性找到自身價值,並得到尊重。而後者專注於新穎刺繡,不限於中式刺繡品,藉著將現代元素融入刺繡這種非物質文化遺產中,讓刺繡跳出固有傳統框架,別開生面,使其得以普及化和受到重視。君集團也致力推廣及執行中港兩地多個範疇之文化專案,以連繫兩地文化,社會,及經濟交流合作。

這次君集團於新藝潮的展覽,帶來六位各具風格的刺繡師作品,例如從事繡花工作三十多年的Nikki Delport-Wepener以植物和動物為主題的多件精緻刺繡;擁有建築設計背景的Gloria Nam選材廣泛,更以獨特色彩和構圖繡出充滿想像力的作品;畢業於英國皇家刺繡學院的Camille Tsang 運用了不同刺繡技術的刺繡人像作品、刺繡牛仔外套和動物襟章;本地時裝設計師Lilian Tsang 和Matt Hui 結合時尚特色和表現生活品味的手工刺繡等等。這些豐富多元、充滿時代感的刺繡藝術品展現了這項傳統藝術的無窮創造力和可塑性,各位藝術迷絕對不能錯過在新藝潮一睹它們的機會。

Nikki Delport-Wepener
Nikki積極從事繡花工作三十多年。自六歲起開始接觸縫紉,當時她受到著名畫家、刺繡專家和作家Lesley Turpin-Delport的指導,由貼花和拼布,以及簡單的繡花針開始,繼而對此產生濃厚興趣。她在繡花領域發掘出自己的一技之長,透過參加不同課程增值自己,並在皇家針灸學校和城市與行會獲得了各種繡花風格的資格。經過多年努力,Nikki已發展出自己獨特的縫合和輔導風格。

 

Camille Tsang
Camilla自小就很喜歡手工藝,尤其對刺繡情有獨鍾,為了進一步提升技藝,她遠赴英國皇家刺繡學院深造兩年,其以人物為主題的黑繡作品更曾在倫敦漢普頓宮展出,畢業後回港成為一名自由刺繡藝術家和導師。她擅長各種刺繡技術,其中包括法式刺繡、 黑繡、 金屬線刺繡。透過運用不同的刺繡技巧來增強視覺趣味,令作品更加立體和創新。 她的作品主題多樣化,尤其以動物,花卉,大自然,人像為中心。

 

Gloria Nam
Gloria在香港大學獲得建築學碩士學位後,萌生了對刺繡的興趣。近年,她通過樹樁和不同材料的組合摸索出 3D 刺繡。擁有花藝設計文憑,她把了乾花和線融合某些系列,創造出一種擁有更高深度和維度的全新刺繡姿態。 Gloria 一直著迷於大自然熱衷於研究如何從不同的角度來解釋它。無論是花鳥、林地動物還是樹木,只要有機會能用獨特的色彩和構圖來創造她的視野,她總能與人分享刺繡的快樂和幸福,因此她的藝術作品題材廣泛。她利用獨特的刺繡風格來表達自己充滿活力的想像力。

Lilian Tsang 和Matt Hui
Lilian曾擔任香港著名時裝設計師品牌的首席設計師,她對手工刺繡藝術的熱愛成為她一直以來的靈感來源。經過多年在時尚界的專業實踐,Lilian在巴黎香奈兒集團旗下的著名刺繡藝術學校 ECOLE LESAGE 獲得高級時裝刺繡專業資格,並在法國里昂的 ELISABETH GASBARRE ROUSSEAU HAUTE COUTURE STUDIO實習。Lilian現正透過教授短期課程來傳遞她對刺繡的熱誠,並在香港推廣時尚工藝藝術。

2010年,Matt憑藉其在女裝針織領域的創新工作獲得了香港設計中心的香港青年設計人才獎,並獲得獎學金,使Matt能進入英國倫敦皇家藝術學院的頂尖研究生藝術與設計大學攻讀碩士學位,主修女裝及針織設計。

 

Huang Wan-ling 黃琬玲

黃琬玲畢業於國立臺北藝術大學,獲得版畫領域的藝術學士與碩士學位,在版畫領域擁有豐富的知識,曾於2013年受邀至國立故宮博物院,替常設展「古籍與密檔-院藏圖書文獻珍品展」的清代複刻水印木刻版畫進行制作與教學期刊。
版畫創作費時也須具備技術細節;水墨畫偏重布局、感性以及彰顯創作者的心境。黃琬玲突破舊有框架,結合水墨畫與版畫的創作形式,走出一條屬於自己的獨特風格。她利用膠與墨的隔離特性,藉此保留了線條及文字,畫面呈現陰刻板畫的效果。黑白基調的畫面綴以型版,這種組合方式讓人對版畫與水墨媒材的組合,產生更豐富的想像;同時,類負片的視覺效果也呈現出一種消逝的美感,那是時間壓縮與脆弱記憶的交錯。
在《貢養人》系列中,她以「新宗教」的方式呈現青少年對時尚與品牌的追求。畫中人物面無表情與灰暗色調,展現瀰漫於年輕一代的無助感與無聊感;並以小部分鮮明霓虹稍稍點綴的色塊,代表當前消費主義文化盛行的趨勢;畫中的文字,就像朋友一同拍照時的對話,是重現按下快門、動作停止的瞬間。時間、空間和回憶被壓縮、凝結在平面裡。這個瞬間已成為凡物。
黃琬玲在《貢養人》系列之後,從人物畫慢慢轉向風景畫。《遊記》系列中,她在長長的紙卷裡述說著在不同文化下產生的感受與見聞,藉著傳統水印木刻版畫技法的陰、陽刻,重新將記憶的碎片串為動人故事,墨汁在京和紙的暈染特性,之於時尚流行的面貌與水印木刻形式的有趣對映。
《名所繪》系列是她近期的主要創作,發想來自於思考環景構圖透視消失點之於畫面的關係,創建一個非人眼透視的結構。她利用拼貼與堆疊多種紙材的方式,在畫面中建立不同的空間;紙材的差異性,也帶入不同時間與空間的想像,與文人繪畫的多點透視進行時空對話。
黃琬玲曾於2013年獲選文化部「Made In Taiwan-新人推薦」獎項,作品獲各地美術機構青睞收藏,如雪梨白兔美術館、國立臺灣美術館、國立故宮博物院、關渡美術館、台灣藝術銀行、奧美廣告、英國牛津大學及創見資訊等。
黃琬玲近年也參與多項國內外展出,如「熱血」(2019澳洲雪梨)、第十屆法國沙馬利埃版畫三年展 (2017法國)、 「探索80」奧美零空間(2014中國北京)、「台灣報到!-2010台灣美術雙年展」國立臺灣美術館(2010臺中)、「歡樂:幽默而調皮-新臺灣人藝術」(2007美國紐約)。同時,入選多個駐村計畫,如佛蒙特藝術村 (美國)、安徽松谷庵(中國)、衿川藝術空間(韓國)以及 開墾工作室 (日本)。

Huang Wanling has received M.F.A and B.F.A in Printmaking from Taipei National University of the Arts. With her prominent knowledges and skills about traditional printmaking, she was invited by the National Palace Museum in 2013 to develop the Guide to the traditional woodblock print of the Qing Dynasty, showing in the permanent exhibition of “Rare Books and Secret Archives."
In her continuing effort to break through the established framework of printmaking, she pioneers to combine ink wash painting with printmaking as her unique painting style. Printmaking is time-consuming and detail-oriented, while ink wash painting places an emphasis on layout, sentiment, and artist’s mental state. She uses the natures of ink wash and glue to be mutually isolated, separating the blocks painted with ink wash and characters, while other scenes within the painting seem to be engraved in a woodcut print. The use of black and white as primary tone with some colorful points in one painting frame shows up an imagination of both the printmaking and ink wash media and their possibilities. In this innovative crossover, she tries to seize the beauty of compressed time and fragile memories with a visual effect similar to negative film effect.
In Gong Yang Ren series, she represents that the pursuit of the trendy fashion and brands is like a new “religion” at present. The figures are expressionless and uniform in matted color to signify the sense of helplessness and boredom plaguing the young generation. Only some points are in bright neon-like colors to stand for the trends throughout the current consumerism culture. And the texts in the painting are forming an attempt to recreate the brief moment when motion is stopped, like the time when the photo sticker is taken with friends. As a result, time, space and memories are compressed into one single frame and became an artificial object at the moment.
After Gong Yang Ren series, her painting has slowly changed the focus from human figures to landscape. Traveling Notes series shows the cultural aspects of different countries she has experienced in a long and narrow scroll. It is a collection of memory fragments, which become a narrative storyline, using the printmaking techniques of yin and yang engraving in the traditional woodblock print. The use of black ink in the king wo papers, which inherently involves the uncontrollable spread of ink, conveys more contrast between the trendy contents of fashion brands addictive culture and the traditional format of woodcut print.
Recently she is mainly developing Meisho-E series as she ponders the relationship between panorama perspective vanishing point and the painting frame, constructing a non-eye perspective structure painting. She creates alternative spaces as a painting frame by attaching, collaging, and layering different type and material of papers, and this difference of papers also inspires to imagine the different time and space. By using this method, it seems like she is having a conversation with the old Chinese literary painters.
She received the “Made in Taiwan - Young Artist Discovery” award at the Art Taipei fair in 2013, and her art works have been included in the collections of art institutions, such as White Rabbit Gallery in Sydney, National Taiwan Museum of Fine Arts in Taichung, National Palace Museum, Guandu Museum of Fine Arts, Taiwan Art Bank, Ogilvy, University of Oxford, Transcend.
In recent years, she has participated in various important exhibitions both in Taiwan and abroad, such as: “Hot Blood (Australia)” in 2019, “The Chamalières World Triennial of Prints and Original Engravings (France)” in 2017, “Exploring the 80s” at the O Gallery in Beijing in 2014, “Yes Taiwan - Taiwan Biennial 2010” at National Taiwan Museum of Fine Arts in 2010 “Frolic: Humor and Mischief in New Taiwanese Art” in New York, in 2007. She also has been selected as residency program participant in the Vermont Studio Center (U.S.A.), the Songgu Monastery (China), Seoul Art Space Geumcheon (Korea), and Studio Kaikon (Japan).

 

Michael Lam 林仲文