Immortal Snow - Yu Cyuan GAO Solo Exhibition 永生雪 - 高堉銓個展
Sep 1, 2024
- Artist: Yu Cyuan GAO
- Category: Oil painting / Acrylic
- Size: 30x30 cm
- Price: 1500
From Drifting to Immortal Snow1- Discussing the Composition Landscape of Yu Cyuan GAO.
Written by | YU, YUAN-YI (Art Critic)
The artist focuses on the passage of time, shuttling through the natural landscape, using the imagery of the universe to express his significance. With scenes resemble a distant view of Penglai fairyland, where everything sits among layered clouds and mist, the paintings of artist Yu Cyuan GAO.(b. 1995~) create a remarkable charm. He uses landscapes as a medium to express his daily experiences and memory through the interweaving of virtual and real spaces. He uses gentle and varied colors to create an elegant and soft visual texture in his works, endowing them a unique personal style which is sometimes ethereal and distant, sometimes lively and childlike. In the artistic conception that combines structure and freedom, he presents various complex relationships and meanings between the artist and life experience.
Trajectory of Painting Adventure
Looking back at Gao Yu-Cyuan's works from "Immortal Snow" (2024), they can be roughly divided into four major series. Firstly, "The Vanishing Journey"2, this series belongs to the artist's early creation and the initiation stage of his painting appearance. The composition of this series has the characteristics of cutting and misplacement, as well as obvious location referentiality. For example, "Flow 13" (2018) and " Graceful Time 5" (2018) use geometric images to symbolize the passage of time and record the existential questions brought about by temporal and spatial changes. During this period, artists focused on depicting real-life landscapes, such as "Eight Scenic Spots of Taiwan" (2019), and gradually turned to landscape experiments where reality and fiction coexisted. He injected imaginative elements into real-life landscapes to develop " Borderland Scenery "3. These works often feature vertical and horizontal divisions, with visual effects such as mirror reflections, collection of volumes, and ukiyo-e like colors. Yu Cyuan GAO.used different spatial fields and temporal objects to construct a utopian world with synchronicity, such as the natural landscape in the upper half and the artificial city in the lower half of "Land of Peach Blossoms 1" (2019), showing a sense of integration between dreams and reality. With the boundless imagination of the artist, the scenes of the works are becoming increasingly distant from reality, as demonstrated in "Land of Peach Blossoms"4. Compared to other works, this series uses clear colors and gold as the main color, with objects surrounding the scenes (such as rocks and curtains), presenting a distant perspective or the view of internal and external spaces. For example, "Moon Palace 3" (2020) uses window scenery as a metaphor for the closed life at home during the epidemic, making everything seem close at hand but difficult to reach. Subsequently, the artist continued the strategy of externalizing the spirit of the object's meaning, and once again transformed the scenery of the work to launch "Inky Space-Time"5. Ink-dyed stars, flowing streams, and streams are the aesthetic annotations of this series. In addition to various ink gradient mountain shapes, the artist also focused on the angle of the light source and the treatment of the misty atmosphere, such as the continuous halo effect on the mountain mist ridge line at night in "Immortal Dream" (2024).
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從漂流到永生雪1－談高堉銓的構成風景
文| 游原一（藝術評論者）
藝術家俯仰時光荏苒，穿梭山海之境，正以日月賦形作意。場景彷若遙望彼方，萬物層疊於雲霧中的蓬萊印象，係藝術家高堉銓（b.1995~）繪畫的顯著魅力。高堉銓依山水為媒介，利用虛實錯置的空間，表達自身日常體驗及記憶意識，且以溫和多變的色彩讓畫面生成雅致柔潤的視覺質感，其作品有著獨特的個人形貌，時而空靈悠遠、時而活潑童趣，在兼具結構又放逸的畫面意境中，呈顯藝術家與生活經驗之間的種種複雜關係和存在意義。
繪畫歷程的軌跡
從「永生雪」（2024）回溯高堉銓的創作，大抵可分為四大系列。第一，《消逝的旅途》2，此系列屬藝術家早期創作亦是其繪畫樣貌的發軔階段，該系列構圖有切割和錯置的特徵並有明顯地點的指涉性，如〈流變13〉（2018）與〈韶光5〉（2018）以幾何畫面象徵時間的流逝，記錄時空變化所帶來的存在提問。此時期的藝術家，一方面聚焦於現實景色之描繪，如〈台灣八景〉（2019），另一方面也逐漸轉向現實與虛構共存的景觀試驗，在現實風景中注入想像元素發展出《交界的風景》3，此類作品畫面常以上下劃分為特色，有著鏡
面倒影、集合量體及類浮世繪色彩等視覺效果，高堉銓利用不同的空間場域和時間物件建構出有著共時性的烏托邦世界，如〈桃花源記1〉（2019）以上半部的自然山水與下半部的人工城市，展現出夢境和實境的交融之感。隨著藝術家無垠的想望，作品場景越來越遠離真實，誠如《夢幻的宇宙》4所演練，相較其他作品，此系列用色明晰且金色為多，畫面四周多有物件包圍感（如：山石、窗簾），呈現出遠方平視或內外空間的觀看視野，如〈廣寒宮3〉（2020）以窗景隱喻疫情期間居家封閉的生活，致使一切事物看起來近在咫尺，又難以觸碰的狀態。而後，藝術家延續物件意旨的精神外化之策略，讓作品景致再次轉變開展出《墨色的時空》5，墨染星辰流水澗是該系列的美感註解，除有各式墨色漸變的山形表現外，藝術家更著力於光源角度和霧氣氤氳之處理，如〈永生夢〉（2024）夜間山嵐稜線上連綿的光暈效果。
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Written by | YU, YUAN-YI (Art Critic)
The artist focuses on the passage of time, shuttling through the natural landscape, using the imagery of the universe to express his significance. With scenes resemble a distant view of Penglai fairyland, where everything sits among layered clouds and mist, the paintings of artist Yu Cyuan GAO.(b. 1995~) create a remarkable charm. He uses landscapes as a medium to express his daily experiences and memory through the interweaving of virtual and real spaces. He uses gentle and varied colors to create an elegant and soft visual texture in his works, endowing them a unique personal style which is sometimes ethereal and distant, sometimes lively and childlike. In the artistic conception that combines structure and freedom, he presents various complex relationships and meanings between the artist and life experience.
Trajectory of Painting Adventure
Looking back at Gao Yu-Cyuan's works from "Immortal Snow" (2024), they can be roughly divided into four major series. Firstly, "The Vanishing Journey"2, this series belongs to the artist's early creation and the initiation stage of his painting appearance. The composition of this series has the characteristics of cutting and misplacement, as well as obvious location referentiality. For example, "Flow 13" (2018) and " Graceful Time 5" (2018) use geometric images to symbolize the passage of time and record the existential questions brought about by temporal and spatial changes. During this period, artists focused on depicting real-life landscapes, such as "Eight Scenic Spots of Taiwan" (2019), and gradually turned to landscape experiments where reality and fiction coexisted. He injected imaginative elements into real-life landscapes to develop " Borderland Scenery "3. These works often feature vertical and horizontal divisions, with visual effects such as mirror reflections, collection of volumes, and ukiyo-e like colors. Yu Cyuan GAO.used different spatial fields and temporal objects to construct a utopian world with synchronicity, such as the natural landscape in the upper half and the artificial city in the lower half of "Land of Peach Blossoms 1" (2019), showing a sense of integration between dreams and reality. With the boundless imagination of the artist, the scenes of the works are becoming increasingly distant from reality, as demonstrated in "Land of Peach Blossoms"4. Compared to other works, this series uses clear colors and gold as the main color, with objects surrounding the scenes (such as rocks and curtains), presenting a distant perspective or the view of internal and external spaces. For example, "Moon Palace 3" (2020) uses window scenery as a metaphor for the closed life at home during the epidemic, making everything seem close at hand but difficult to reach. Subsequently, the artist continued the strategy of externalizing the spirit of the object's meaning, and once again transformed the scenery of the work to launch "Inky Space-Time"5. Ink-dyed stars, flowing streams, and streams are the aesthetic annotations of this series. In addition to various ink gradient mountain shapes, the artist also focused on the angle of the light source and the treatment of the misty atmosphere, such as the continuous halo effect on the mountain mist ridge line at night in "Immortal Dream" (2024).
...............
從漂流到永生雪1－談高堉銓的構成風景
文| 游原一（藝術評論者）
藝術家俯仰時光荏苒，穿梭山海之境，正以日月賦形作意。場景彷若遙望彼方，萬物層疊於雲霧中的蓬萊印象，係藝術家高堉銓（b.1995~）繪畫的顯著魅力。高堉銓依山水為媒介，利用虛實錯置的空間，表達自身日常體驗及記憶意識，且以溫和多變的色彩讓畫面生成雅致柔潤的視覺質感，其作品有著獨特的個人形貌，時而空靈悠遠、時而活潑童趣，在兼具結構又放逸的畫面意境中，呈顯藝術家與生活經驗之間的種種複雜關係和存在意義。
繪畫歷程的軌跡
從「永生雪」（2024）回溯高堉銓的創作，大抵可分為四大系列。第一，《消逝的旅途》2，此系列屬藝術家早期創作亦是其繪畫樣貌的發軔階段，該系列構圖有切割和錯置的特徵並有明顯地點的指涉性，如〈流變13〉（2018）與〈韶光5〉（2018）以幾何畫面象徵時間的流逝，記錄時空變化所帶來的存在提問。此時期的藝術家，一方面聚焦於現實景色之描繪，如〈台灣八景〉（2019），另一方面也逐漸轉向現實與虛構共存的景觀試驗，在現實風景中注入想像元素發展出《交界的風景》3，此類作品畫面常以上下劃分為特色，有著鏡
面倒影、集合量體及類浮世繪色彩等視覺效果，高堉銓利用不同的空間場域和時間物件建構出有著共時性的烏托邦世界，如〈桃花源記1〉（2019）以上半部的自然山水與下半部的人工城市，展現出夢境和實境的交融之感。隨著藝術家無垠的想望，作品場景越來越遠離真實，誠如《夢幻的宇宙》4所演練，相較其他作品，此系列用色明晰且金色為多，畫面四周多有物件包圍感（如：山石、窗簾），呈現出遠方平視或內外空間的觀看視野，如〈廣寒宮3〉（2020）以窗景隱喻疫情期間居家封閉的生活，致使一切事物看起來近在咫尺，又難以觸碰的狀態。而後，藝術家延續物件意旨的精神外化之策略，讓作品景致再次轉變開展出《墨色的時空》5，墨染星辰流水澗是該系列的美感註解，除有各式墨色漸變的山形表現外，藝術家更著力於光源角度和霧氣氤氳之處理，如〈永生夢〉（2024）夜間山嵐稜線上連綿的光暈效果。
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