魏聖倢(Sheng Chieh Wei)畢業於高雄師範大學藝術學院跨領域藝術研究所，早期他描繪自我身體線條試圖藉著扭曲身體姿態闡釋自我情感上的錯綜糾葛，後來開始從社群媒體取材私領域畫面、重複拼貼出自己想像的IG生活即景牆，到近期他更加聚焦於植物自然生長勃發的線條，以及花朵聞而不見的香氣，將生活裡人們與他人構築關係鏈時，孤獨與狂歡總是相伴相隨的現代生活場景，幽微地以點與線或輕或重地走過畫面，時而鬱鬱寡歡、時而喜形於色。

 

2024年5月於高雄舉辦了畢業後第一場大型個展，進一步將試圖描繪的對象昇華為目不可視的「氣味」；康丁斯基（Wassily Kandinsky）曾提及他在「色彩裡聽到音樂，在音樂中看見色彩」，他直覺地塗上顏料表示花朵蘊含的氣味和空間，希望將色彩視為一種誘發嗅覺感官的來源，從而產生感知世界的真實存在。

 

技法上將壓克力顏料和輔助媒劑交互使用，讓顏料在乾後有種穿透流動的質地。大量使用乳白稠狀的輔助媒劑的靈感是來自於幾乎失傳的古老冷萃手法（Enfleurage），用來提煉不易取得，香氣甚微且敏感的花香。像是法國香水之都格拉斯 （Grasse）用來萃取香味的油脂質地，好比繪畫創作的過程，在白淨的畫布上，小心翼翼的鋪上難以察覺的香氣，將無法言說的感覺一層一層的浸入顏料裡，持續掏空深沈的自我，直到畫布完全吸飽了最獨特的氣味。

 

Sheng Chieh Wei graduated from the Graduate Institute of Interdisciplinary Art, National Kaohsiung Normal University. Early in his practice, he explored the contours of his own body, using twisted poses to articulate the complex emotional entanglements of selfhood. Later, he drew inspiration from social media, creating imagined snapshots of Instagram feeds through repeated collage, blending private and public life. More recently, Wei has focused on the natural lines of plant growth and the invisible fragrance of flowers, capturing the duality of modern life—where solitude and celebration coexist—as he traces delicate points and lines across the canvas, sometimes somber, sometimes exuberant.

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In May 2024, Wei held his first major solo exhibition in Kaohsiung, elevating his subject matter to the imperceptible realm of scent. Inspired by Wassily Kandinsky’s notion of “hearing music in color and seeing color in music,” Wei intuitively applies paint to convey the aroma and spatial presence of flowers, treating color as a medium that can evoke olfactory sensations and engender a more visceral perception of the world.

 

Technically, Wei combines acrylic paint with auxiliary mediums, creating a permeable, flowing texture once dried. His extensive use of milky, viscous mediums draws inspiration from the nearly lost enfleurage technique, a traditional method for extracting delicate and elusive floral scents—like those produced in Grasse, the perfume capital of France. Just as perfumers layer fragrant oils on white fat to capture a flower’s essence, Wei carefully imbues the canvas with barely perceptible “aromatic layers,” gradually infusing his pigments with intangible sensations. This meticulous process mirrors a spiritual excavation, emptying the self layer by layer until the canvas becomes saturated with the most unique and intimate essence of scent.

蔡旻芸 Min Yun Tsai

空景 III

2024

Ink on Paper

30x30cm x2

蔡旻芸1993年出生，畢業於高雄師範大學藝術學院，2014年獲得南瀛獎首獎，2023年入圍One Art Taipei 的新賞獎。這已是本畫廊代理的藝術家裡，第四位獲得新賞獎評審肯定的殊榮。

 

觀看蔡旻芸的作品，總能感受到現代人在生活中的百無聊賴。從她2014年拿到俗稱「難贏」獎的南瀛獎首獎水墨作品〈沈·溺〉談起，她以小時候生活過的三合院當成創作軸線，場景裡的物件都代表她的回憶，但明明應該是溫馨的場景，身為主角的人們卻彷彿從不存在，一眨眼就只剩下自己與這個世界連結著。
 

2016之後到現今的創作，延續〈三合院系列〉表現疏離議題，作品呈現平面式的視覺畫面，並刻意將畫面定格 在那些想像的、靜謐的無人風景。〈視線之外系列〉借用「窗」的形象區分內、外空間，並用旁觀的視角描繪外部世界，以傳達創作者在當代場域中對自我與社會產生的疏遠與冷淡。

 

她的作品經常出現盆栽或花園造景，植物們看起來欣欣向榮頗有朝氣，明顯是經由人類行為才導致的結果，卻毫無人類氣息，彷彿時間靜止。人為建物與自然景物並存的畫面，偽造那些熱鬧過後冷清、靜謐的無人風景，試圖表現自身與世界疏遠，卻又不得不接觸的不安與矛盾，進行一場與自己的對話與無聲的吶喊，在當代水墨中開創出獨樹一格的世界觀。

 

Min Yun Tsai (b. 1993) graduated from the College of Fine Arts, National Kaohsiung Normal University. In 2014, she won the prestigious Nanying Award, and in 2023, she was shortlisted for the One Art Taipei New Award, marking her as the fourth artist represented by the gallery to receive this recognition.

Tsai’s work often evokes a sense of modern ennui and the quiet alienation of everyday life. Beginning with her ink painting “Sink/Immersion” (2014), created as part of the “Three Courtyards” series, she drew inspiration from the traditional sanheyuan courtyard houses of her childhood. Objects within these scenes carry personal memories, yet the human figures—supposed to be the protagonists of these intimate spaces—are conspicuously absent, leaving only the viewer’s connection with the surrounding world.

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From 2016 onward, Tsai’s practice has extended the themes of detachment established in the “Three Courtyards” series. Her works often present flattened, still compositions, deliberately freezing imagined, tranquil, and uninhabited landscapes. In the “Beyond the Window” series, she uses the motif of windows to delineate interior and exterior spaces, employing an observational perspective to convey a sense of estrangement and emotional distance between the self and society in contemporary life.

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Plants, potted gardens, and manicured landscapes frequently populate her compositions. Though vibrant and flourishing, these forms bear no human presence, suggesting human intervention while maintaining an eerie stillness. The coexistence of constructed and natural elements in her work fabricates quiet, post-activity spaces—scenes emptied of people yet layered with tension. Through these subtle interventions, Tsai visualizes the anxieties and contradictions of interacting with the world while feeling detached, engaging viewers in a silent dialogue or inner outcry. In doing so, she has developed a singular worldview within contemporary ink painting, merging traditional techniques with modern psychological and social sensibilities.