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風景之外─黃品玲、葉仁焜、鄭農軒三人展 Beyond Landscapes─Huang Pin-ling.Yeh Jen-kun.Cheng Nung-hsuan Joint Exhibition

展出時間│2017.5.9~2017.6.25 展出地點│102ART/台南市仁德區成功三街102號 開幕時間│2017.5.13(六) 下午2:30



以「風景之外」(Beyond Landscapes)為展出主題,風景─就字面上的解釋為風光、光景、景致、景物之意。在西方最早出現於荷蘭語(Landscape),意謂「一塊土地」,即是由土地、環境作為客體觀看的樣貌。外在的風景透過藝術家之眼去觀看,所創作出的內在景觀也會有所差異。此次特邀請三位年輕藝術家,以不同面向的創作來傳達他們對於「風景之外」的感受。




“Although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing.” – John Berge Ways of Seeing

The act of seeing involves personal factors, cultural backgrounds, and ideologies that are formed across extended periods of time. Through seeing, the individual develops his or her own feelings, ideas, and distinctions in a familiar environment.

This exhibition is curated around the theme “Beyond Landscapes.” The word “landscape,” interpreted as scenery, view, or sight, first emerged in the Western language in Dutch, literally meaning “a piece of land,” and therefore refers to the objective image of the land and environment. The outer landscape is portrayed as varying inner landscapes through the artists’ perception. This exhibition displays the works of three young artists who express their feelings that exist “beyond landscapes.”

The works of Huang Pin-Ling are mostly landscapes that do not exist in real life but are instead depictions of inner imaginations. The landscape is more than the visual itself, but also the sensation, atmosphere, humidity, and temperature that emerges in the senses when facing the scene. The artists imagine landscapes as sceneries that are able to hold imaginations and attempt to locate and place the self within the view. The drive for creation mostly originates from the urge to express abstract sensations and imagery that cannot be conveyed through words or language.

Yeh Jen-Kun merges the technical characteristics of traditional ink painting with acrylic paintings and gives his works contemporary artistic philosophy. Yeh’s works throughout recent years mostly depict blankscapes of cities with scenes that stress sharp lines, dark blues, and ever-present concrete buildings, all elements with high recognizability. Rather than fixed urban memories, Yeh Jen-Kun is more interested in the blotchiness, emptiness, lonesomeness, and faintness of personal life memories.

The works of Cheng Nung-Hsuan are ways of seeing. On specific points of time, connections link the scenery and artist through form, texture, and color. These connections are random and can be natural sceneries or objects from everyday life. The different themes ultimately transform into a harmonious and tranquil atmosphere through the mind while the boundary between the object and its meaning are deliberately blurred, making the works seem as if floating in an ambiguous space. In the end, all substances will lead to a spiritual unity.

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