主體‧繪畫‧客體：洪藝真個展

西方藝術史對「繪畫性」的研究，源自「畫框」的設置。在畫框之內，世界變成被觀看的圖像客體；在畫框之外，畫家與觀者成為創作與認知的主體。洪藝真重新界定「繪畫性」的意義，保留「畫框」的窗框形式，揚棄畫面內容的主題言說，將作品簡化到「顏料、畫框、畫布」三種基本元素。看似扭曲的畫框與縮水的畫布，是物件複製與肌理再現的創作結果；厚、薄不同的畫框與顏料的流動特性，都在寧靜的空間氛圍裡如實還原。

洪藝真（1971-）早期赴英國學習美術創作，1992至2002年期間先後進入東倫敦大學、皇家藝術學院與瑞丁大學就讀，並於2002年獲得博士學位，現於國立臺南藝術大學材質創作與設計系任教。其作品風格受到美國抽象主義與極簡主義的影響，強調材料與形式的單純性，運用媒材原來的質感；採用簡單的四邊形，削減具體形像傳達意識的可能性；使用重複或均等分佈的手法，製造畫布與畫布之間理性的對話頻率。

洪藝真近期的展覽是持續發生中的系列事件。2007年伊通公園的「複製─再現 洪藝真個展」，探討「複製即再現的延伸」的觀念，以人工複製的方式將油畫作品翻模處理，精確而完整再現「原作」中細膩的筆觸與畫布原始的肌理。2008年竹師藝術空間的「還原─再現 洪藝真個展」，探討「再現」後「還原」的可能性。2009年在臺北市立美術館「主體‧繪畫‧客體」的命題，再次向觀眾提問「繪畫性」的辯證關係。「繪畫」一詞既是名詞也是動詞，既是主觀的意志表現也是客觀的創作載體，於是將「繪畫」置於主體與客體間，在多義的詮釋中擺盪、發展；讓每件作品都是提問，答案則讓觀者自行提供。

本展展出洪藝真2007至2009年的作品19件，全數以「無題」為名，再次讓創作者隱身在作品之後，讓作品自己說話。除了對創作的精準要求，展場也精心規劃為黑白兩色區塊。黑色空間在方形燈光的幽微指引下，作品本身的物質性益發彰顯，玻璃纖維的原作複製、畫布的橫豎條紋、油彩的流動性與烤漆的鮮豔原色，如同物件般的凝結靜止。白色空間架設透明壓克力架，放置用陶土翻模製成的畫布「文件」480片，藝術家邀請觀眾拿起一片砸碎，解構藝術史中對「繪畫」的定義。破碎後的重新拼組能否再現原件？不同參與者的拼組行為能否得到相同的結果？藉由「事件」的發生，讓觀眾透過主動參與，進而思索藝術家的創作目的。

洪藝真的作品看似簡單，然而所蘊含的能量，讓其作品如肺一般，會呼吸、有起伏。其個人化、手工化、美感化的藝術表現，展現創作者在媒材與作品間靈巧的互動關係，也重新定位繪畫領域中主體與客體的存在價值，並以嚴謹的態度突破現實制約，持續創造深具個人風格的藝術天地。
 
Western art history's research of "pictoriality" originates with the installation of the "frame." Within the frame, the world becomes an image object that is viewed; outside the frame, the artist and viewers become the creative and cognitive subjects. Yi-Chen Hung redefines the meaning of "pictoriality," retaining the window frame shape of the "frame," but discarding the description of the frame's contents, simplifying the work into three fundamental elements: "pigment, frame, and canvas." What appears to be a distorted frame and a shriveled canvas is in fact the creative result of reproducing objects and recreating texture; thick and thin frames and the flowing quality of pigments are all realistically restored in the tranquil exhibition space.

Yi-Chen Hung (1971- ) went to England early in her career to study the fine arts creation. Between 1992 and 2002 she studied at the University of East London, the Royal College of Art, and the University of Reading. In 2002 she received her Ph.D. in Fine Arts and currently teaches at the Department of Material Arts and Design, Tainan National University of the Arts. Her creative style has been influenced by Abstract Expressionism and Minimalism, and she tends to emphasize simplicity in materials and form, reducing excessive processing and utilizing the original quality of the materials. By using a simple quadrilateral, the influence of a specific shape on the artistic message is reduced, and through the incorporation of repetition and equal distribution, a frequency that allows for rational dialogue is established between the paintings canvases.

Yi-Chen Hung has held an ongoing series of exhibitions over recent years. In 2007 IT Park exhibited "Reproduction-Representation: A Solo Exhibition by Yi-Chen Hung," which discussed the concept of "Reproduction is extending of Representation." For the work, Hung reproduced oil paintings through the creation of molds, accurately and completely recreating the exquisite brush strokes and texture of the "original works." In 2008 the NHCUE Artist's Space exhibited "Revivification-Representation: A Solo Exhibition by Yi-Chen Hung," which examined the possibility of revivification after representation. Now, in 2009, the TFAM's exhibition of "Subject‧Painting‧Object: Yi-Chen Hung Solo Exhibition" once again raises the dialectical question of "pictoriality." "Painting" can be used as a noun as well as a verb. It can represent subjective willpower as well as an objective creative vehicle. If the "painting" is placed between the subject and the object and allowed to swing and develop there among a variety of interpretations, every work of art becomes a question, with the answer provided by the viewers themselves.

This exhibition presents 19 of Yi-Chen Hung's works from 2007 to 2009. All of the works are named "untitled," once again allowing the artist to hide behind the works and allow them to speak for themselves. Apart from its rigorous approach to presenting Hung's works, the exhibition space is divided into two distinct spaces of black and white. The black space is faintly illuminated by square lights, emphasizing the materiality of the works themselves: the FRP reproductions of original, the horizontal and vertical stripes interlaced on the canvas, the fluidity of the oil paints and the brilliant colors of the baked paint, all condensed into motionless art works. The white space contains a transparent acrylic stand that holds 480 “documentary” canvases that were reproduced using clay. Viewers are invited to take one and smash it to pieces, thereby deconstructing art history's definition of "pictoriality." After being smashed apart, can the original work be pieced together once again? Will the varied attempts at reconstruction by different participants lead to the same results? Through the occurrence of this "event," viewers participate actively in the art work and are encouraged to ponder the creative aim of the artist.

Yi-Chen Hung's works appear to be simple, but the creative energy that they contain allows them to breathe, rising and falling like a human lung. Hung's individualistic, handcrafted, and aesthetic artistic expression nimbly creates a dialogue between the material and the art work, and the traditional value of the subject and the object in the painting is redefined. Through her rigorous approach Hung breaks through normal constrains as she continues to carve out an artistic realm filled with her unique individual character.