淡江工作室

我們的網站已移至下列網址，敬請連結下方資訊! 謝謝~

http://danriverstudio.blogspot.tw/

由國立歷史博物館舉辦之「陳進藝術文化獎」，是由著名的畫家陳進女士，捐出其榮獲行政院文化獎的獎金，加上個人的捐款，成立獎學基金，以獎勵優秀的藝術人才，致力於膠彩畫為主之研創發展，每兩年舉辦一次徵件競賽。

    今年第十五屆的陳進藝術文化獎，日前頒獎揭曉，第一名林莉酈、第二名蘇莉雅、第三名陳珮怡。三位都是東海大學美術研究所畢業的校友或是在學的研究生，且三位的指導教授都是詹前裕（現任美術系主任）。

榮獲第一名的林莉酈， 是美術系大學部88級、碩士班98級生，其獲獎作品〈卡爾夫麵包店〉與〈7-11〉表現其多年前之打工場所的孤寂感與疏離感。此外林莉酈的學術論文〈東海氣質：東大學美術系膠彩畫風格之觀察〉也榮獲第二屆「郭雪湖臺灣藝術發展研究獎」，該論文刊登於《史物論壇》第16期，是近五年來得獎最多的系友。

    系友林莉酈表示，行之有年的陳進藝術文化獎學金，得主多為在膠彩藝業上勤肯多年或表現傑出者，相信今年參與競逐的創作者皆然。然資質平庸者如我，僥倖得此肯定，除感謝陳進女士和歷史博物館設立此獎，更感念提供了完備的膠彩教育環境的母校東海美術系。

展期：2012.11.24(六)~12.23(日)
茶會：2012.12.01(六)下午三點
地點：小畫廊‧1F

華裔法籍藝術家梁兆熙以風格獨具的炭筆畫受到藝壇與藏家的垂青，從炭筆的緩、急、輕、重、勾、轉等技巧中孕育出類似東方水墨的精神哲思，並融合西方寫實技巧與東方寫意精神，從筆觸和肌理中帶出駿馬躍動的瞬間、花卉的溫柔綻放，以及祛抹於時空褪色裡的恐龍化石和盔甲武士，穿越了傳統素描達到一種形而上的精神，替欣賞者的想像空間擴展了廣袤無垠的深度。  

小畫廊官網 
小畫廊 on Facebook

「山水尋味」王午版畫個展

Date │ 2012.4.28~8.25
Venue │ 一一畫廊‧高雄市鼓山區西藏街185號 (07-5515535)

一一畫廊‧連結 │ 一一文創 Facebook粉絲團  

 「細感‧直觀」─ 新生代女畫家三人聯展
林莉酈/郭芃君/李昕恩
Date│ 2012.3.24 ~ 4.21
Venue│ 國泰世華藝術中心

§ 開    幕    茶    會 │ 3.24(六) 15:00
§ 藝術家下午茶沙龍  │ 4.7(六) 15:00 

在創作的過程中，學習的功課是"不害怕失去"。

看似淡薄人際關係，其實是用相反的方式自我保護。

擔心結束而不開始， 害怕失落而先捨去。

 因此畫面經常是空盪寂寥的。

但仔細觀察，其中有許多人活動後留下的餘溫，

林莉酈 Lin Li-Li

1981 出生於台灣
2012 東海大學美術系碩士班三年級

個展
2011《林莉酈創作展》︱東海大學藝術中心，台中

微小視點 ― 點．點．點
A Small Point of View
2012.3.10 ~ 5.6
臺北市立美術館 三樓C 展覽室
Taipei Fine Arts Museum Gallery 3C
策展人/ 林振莖
Curator/ Lin Chen-Ching

◎節錄自 Dr. Sung-hui Lee


當觀看版畫時，我們認為，藝術家創作版畫的長期艱苦過程中，需要絕對專注的頭腦與身體。繪畫作品所創造出來的感覺是非常不同的；尤其是木刻版畫， 會使我們想到肌肉的緊繃感─正進行木板雕刻藝術家的肌肉和藝術家刀片刻畫木板時木板所呈現的抵抗力─我們也許會稱它為切割的感覺。

儘管如此，由朴九煥所創作出來的木刻版畫卻略顯不同，在他的版畫裡，尖銳刀片的感覺被柔和的曲線和色彩所包圍。從木刻版畫中獲得這樣細膩、溫和的感覺是非常不同的經驗，但這並不表示他的木刻印刷的過程比其他藝術家來的溫和、容易。正如評論家所指出的，他的版畫是由單版複刻製成的，也就是只用一塊板，刻出想要的圖像，配上各種顏色，這需要由藝術家逐漸削減表面，直到所有想要的部分被不同的顏色印出來為止；因此，他的方式比其他木刻版畫的方式更耗時、更艱苦。眾多的世界和宇宙誕生然後減少，直到他得到最終想要打印的一道風景。值的注意的是，他的風景版畫看起來如此平靜富饒，卻是源自於如此嚴格的製作程序。

Reviewed by Sung-hui Lee (Dr. Philosophy)

When viewing block prints, we think of the artists who created them, and the long painstaking process, which requires absolute concentration of the mind and body. It is a feeling quite different from what is created by paintings. Woodblock prints, in particular, make us think of the tension of muscles – the muscles of the artist who engraved the woodblocks, and the resistance of the wood that is being carved off by the artist’s blades. We might call it the sensation of cutting.

However, the woodblock prints by Gu-hwan Park are slightly different. In his prints, the sensation of sharp blades is surrounded by gentle curves and soft colors. It is a very unusual experience to get such delicate and gentle feelings from woodblock prints. But that doesn’t mean his process of woodblock printing is gentler, and thereby easier, than others. As one critic has pointed out, his prints are made with the Reduction Printing Method, which uses only one block to print the desired image in multiple colors. That requires the artist to cut away the surface little by little, until all desired parts are printed in different desired colors. So his is a method that requires longer and more painstaking stages than most other woodblock print methods. The numerous worlds and universes are born and then reduced, until he gets one final print of a landscape. It is remarkable that his landscape prints – which look so peaceful and bountiful – are the result of such a rigorous process.

In spite of the arduous work, his prints of landscapes are always heart-touchingly cheerful, and pleasant. We see no emotional disturbances, or signs of the violent force of nature that threatens life. His prints are permeated with the positivity and delightfulness of life – on trees full of spring blossoms, and in villages so peaceful along the coasts of southern islands. Perhaps, the landscape in his prints is our home that is now lost, or the deepest part of our heart that has been buried under the thick layers of time we have lived through in this busy modern society. Whatever it might be, we are not to mistake the pleasant colors and gentle curves – and the serene peace that comes from them – as unsophisticated simplicity, or decorations of vanity.