靈光‧山水─洪莆日美個展 Hope Has a Place─Solo Exhibition of Purume Hong

靈光‧山水─洪莆日美個展

Hope Has a Place─Solo Exhibition of Purume Hong

展覽介紹

Exhibition Introduction

韓國極簡水墨藝術家洪莆日美於臺灣師範大學修習美術碩士，之後於韓國取得藝術治療博士。身為創作者，她擅長以簡潔近乎抽象的圖像，來詮釋當代的自然情境及城市風貌；基於藝術心理學者的另一身分，她在舉辦展覽發表創作成果時，也特別關注藝術品與觀眾的直接對話方式，以及心靈交流的機制。

Korean minimalistic ink wash painter, Purume Hong received her MFA from National Taiwan Normal University and obtained her PhD in Art Therapy in South Korea. As an artist, she is skilled in interpreting the contemporary natural landscapes and urban scenes through minimalist and abstract images. Also, because of her study in art therapy, whenever she holds an exhibition, she also pays attention to how the visitors respond to artworks and how the artworks affect the viewers.

洪莆日美本次在當代館實驗空間的個展，創意結合了東方水墨畫的空靈美學與當代科技媒體的聲光元素，以二元對照而不對立的概念和表現手法，在當代館實驗空間的通廊和兩個展場中，充分應用了碎形與全整、明亮與黑暗、垂直與水平、動感與寧靜、聽覺與嗅覺…等異質元素或情境的交響對話，並透過觀賞動線的設定和多元感官的激發，讓觀者自然地去發現和體驗各種情境變化，進而去思索、涵詠此中的美學內涵。

Hong's solo exhibition at MOCA Studio, is a combination of the aesthetics oriental ink wash painting and various sound and lighting elements usually used in contemporary media art. The two MOCA Studio galleries and its corridor embody the concept of duality, forming a harmonious comparison. Hong uses fragments and entirety, brightness and darkness, the vertical and horizontal, motion and serenity, auditory and olfactory effect to create dialogues between heterogeneous media. Through the intentional arrangement of viewing sequence and triggering different senses, audiences are inspired to discover and experience the changes of the situation and to further contemplate the meaning of Hong’s art. 

本次展出，作為主視覺元素的水墨畫，可視為兩種山水畫典型的擴張與變奏：明亮氛圍的第一個展場，以近景特寫尺度，結合水聲、氣流和背投影動畫等，營造了高山流瀑「上窮碧落下黃泉」的張力視覺；黑暗基調的第二展場，則是以橫向構圖和弧形開展的遠景江山，搭配日出/日落的動態走位，以及隱形而可感的自然香氣等元素，寫照出空間無限延伸、時間緩緩流動的抒情畫境。這種對立卻又逐漸過渡交融的狀態，表達出藝術家心中追求終極和諧的價值觀，以及宇宙運轉總是趨於動態平衡的認識論。

The main visual of this exhibition is the expansion and variation of Shan-shui (mountain-water) in traditional ink wash painting. In the first gallery, Hong uses a close-up perspective and adds the sound of flowing water, wind and animation to delineate the visual tension of a waterfall in high mountains. The second gallery is relatively dark-toned. The horizontal distant landscapes, collocated with the sunrise/sunset simulation and natural fragrance, create a poetic space of endless landscape where time passes slowly. Such confronting positions which gradually blend together express the artist's pursuit of ultimate harmony and the epistemology of a cosmos in perpetual dynamic equilibrium. 

穿梭在洪莆日美精心營造，隱有條理而卻又充滿詩意的這兩個山水空間中，觀眾的各種感知機制，包括視覺、聽覺、嗅覺、觸覺、以及空間方位的知覺等陸續啟動，正如在面對真實自然環境時，我們的多元感知總是交錯運行的。

〈永恆的聖殿I〉Everlasting Sanctuary I

在展覽入口處，與觀眾展開第一類接觸的水墨裝置作品〈永恆的聖殿I〉中，使用的元件是從一張完整的水墨畫裁切成的一百個碎片山水，藝術家將它們錯落地裝置在入口牆前緊繃的絲弦上，猶如在五線譜上寫歌作曲一般，最終成果，這些山水斷片除了重新組構成一種抽象的視覺陣列，彷彿也伴隨了各種音像的交響。

At the entrance, the first installation, titled Everlasting Sanctuary I, is consisted of hundreds pieces cropped paintings from a complete ink wash painting. The artist places the pieces on strings in front of the entrance wall as if composing music on music sheets. As a result, the re-organization of the segments forms a visually abstract yet musical installation.

〈永恆的聖殿II〉Everlasting Sanctuary II (2 Pieces)

緊接著在通廊中，以兩張橫長畫面接力出現的〈永恆的聖殿II〉中，可以見識到一種純粹極簡而不乏筆墨韻味的水墨山水，藝術家以一氣呵成的筆觸呈現了一河兩岸、綿延無限的自然景觀，整個基調是空靈靜定的。

In the corridor, two horizontal pieces of Everlasting Sanctuary II are minimalist ink wash paintings incorporating traditional aesthetics. The artist paints the two sides of river, showing the natural scenery that unfolds into infinity in a peaceful, tranquil tone. 

〈上帝之光〉Again in His Light

順著動線進入第一間展場，在明亮的空間氛圍中，以〈上帝之光〉為名的水墨畫作，以垂直畫面的瀑布山水，結合了多媒體的背投影動態水流、立體音效和滿室生風的氣流，讓觀者在欣賞靜態平面的畫作時，也可以感受另一種如臨現場的空間體驗。

Entering the first gallery, in a bright environment sits Again in His Light, a vertical painting of waterfall presented with rear projection of flowing water, sound and airflow effect. Audiences are invited to appreciate the static painting while experiencing the simulation of a real waterfall.

〈永恆的聖殿III〉Everlasting Sanctuary III

穿過拱門進入第二展間，黑暗之中迎面可見的是〈永恆的聖殿III〉這張橫跨整個牆面的山水大畫。藝術家以近乎對稱的構圖和布局，呈現了大小不一的山巒/島嶼在空靈純白的天空/江河中自我呈現也相互對話的一種奇特情境。無言的山石透過充滿筆情墨韻的書寫而一一呈現，平靜寧和之中也展現了自然內在的生機能量和風、光、水、氣的律動。在這水天相連的自然情境中，藝術家刻意結合燈光和香氣等元素的應用，來演繹日出日落的時光意象，營造節氣氛圍的變化，以此為傳統山水注入新的表現元素和閱讀機制。

Entering the second gallery through the arched door, visitors will see Everlasting Sanctuary III, a huge horizontal Shan-shui painting in a darker space. The different sized mountains and islands are placed in the white sky/river in a nearly symmetrical structure. The voiceless mountains and rocks embody an inner force corresponding to the rhythm of wind, light, water and air in tranquility and harmony. In this natural landscape where river and sky merge into one, Hong uses lighting and fragrance to create the images of sunrise and sunset, implying the changes of solar terms, and thus, adding new elements of presenting and reading traditional ink wash paintings. 

這個展覽，希望引導觀眾在賞畫的過程中，逐步啟動視覺、聽覺、嗅覺、觸覺和心靈等全方位的感知，在接收藝術品的抒撫或衝擊，解讀其中的訊息和內涵之同時，最後能達到一個與自然和諧交流且自我平衡的心靈狀態。

This exhibition is designed to gradually trigger visitors' senses, including visual, auditory, olfactory, tactile senses, and spiritual perception through the process of appreciation. Upon receiving the comfort or impact from the artworks, audiences could eventually reach an inner balance and a harmonic communication with nature.
 

洪莆日美 Purume Hong

韓國極簡水墨藝術家，現居韓國釜山。

曾於台灣師範大學修習美術碩士，後於韓國取得藝術治療(Art Therapy)博士學位，任職於韓國釜山高神大學藝術學院(Dept of Fine Arts, Kosin University, Busan, Korea)，教授藝術治療及藝術創作專業科目。作品結合其極簡水墨與藝術治療的兩個跨領域專業，關注於作品與觀眾之間直接與心靈層次的溝通與互動，期許將藝術創作過程及藝術觀賞體驗作為促進人類社會與心靈生活的處方籤。

Purume Hong

Korean minimalistic ink wash painter; lives and works in Busan, South Korea.

Hong obtained her MFA from Taiwan Normal University, and received her PhD in Art Therapy in South Korea. She is currently teaching art therapy and artistic creation in the Department of Fine Arts, Kosin University in Busan, South Korea. Her works incorporate minimalistic ink painting and art therapy, focusing on the direct and spiritual interactions between artworks and audiences. Hong aspires to use artistic creation and art appreciation as means to improve human society and spiritual life.