2026 One Art TAIPEI 藝術台北
Room 1115
VIP PREVIEW | Jan. 16,2026, PUBLIC DAYS | Jan. 17-18, 2026
觀止堂（ADMIRA Gallery）很榮幸將於 2026 年1月參與台灣規模最大的飯店型藝術博覽會「2026 One Art TAIPEI 藝術台北」，本次是本畫廊連續第8次不間斷參與，帶來六位來自台灣與日本的藝術家作品，有兩位新銳日本藝術家都淳朗（Atsuro Miyako）、衣田雅幸（Masayuki Kinuta）是創作人生中第一次參與藝博會！
ADMIRA Gallery is honored to announce our participation in One Art TAIPEI 2026, Taiwan's premier hotel-based art fair, this January.
Marking our eighth consecutive year at the fair, we are proud to showcase a curated selection of works by six exceptional artists from Taiwan and Japan. This year’s highlight includes the international debut of two rising Japanese artists, Atsuro Miyako and Masayuki Kinuta, who are participating in an art fair for the very first time in their creative careers.
都淳朗 Atsuro Miyako
S_2_Negative（BLK）
2026
PET / Polarizer / LED / Acrylic / Aluminum
40.5×29.9×9.5cm
都淳朗1996年於德島縣出生。2021年取得千葉大學大學院融合理工學府創成工學專攻設計學程（博士前期課程）。身為跨界創作者團體 Konel 的成員，以科技來實現未來體驗之餘，也積極投入於實驗性商品開發及利用自然現象的藝術創作。主要獲獎紀錄包括：Good Design Award（優良設計獎）、TOKYO MIDTOWN AWARD 優秀獎，並獲選DESIGNART TOKYO 2024 UNDER 30 。以宏觀的製作人視野，持續進行既是設計也是藝術的創作。
《Visible Stress》是一個試圖要挑戰將不可視之「光」，藉由人類工業技術具現化的實驗系列作品。
古典藝術時期之浪漫主義的英國藝術家威廉透納（Joseph Mallord William Turner），使用半透明顏料疊加技法讓光線從顏料漸層透射，包裹在光裡的風景抽象展現；印象派藝術家如梵谷（Vincent van Gogh）創作的作品，透過他身體不同時期眼睛所能接觸到的光之粒子，表達內心的情感與生命體驗；當代藝術家如塚本智也（Tomoya Tsukamoto），以光之三原色為基礎，結合圖地反轉的東方美學，在純白畫布上折射出萬紫千紅的世界。
有了無形之光，從物體反射至人類視網膜當下才真正成像，換句話說，我們看到的事物都可視為不可視之光之具現化，但若要以人類可識別之物描繪出光之本質，又該如何是好？
《Visible Stress》應用了自然界存在的「光彈性（photoelasticity）」物理現象，並結合現有真空成型之工業技術，將真空成型時所產生的負載，以光的紋理可視化。把不可視之「光」的自然現象，加入「人力」之非自然干涉後，呈現出一種違和又讓人為之炫目的視覺幻象。透過這件作品，觀者得以欣賞因真空成型壓力而生成的光之質地。
這樣的體驗，讓人重新思考我們如何感知自己與周遭環境，並想像那些隱藏於世界之中、美麗而看不見的力量。
Born in Tokushima in 1996, Atsuro Miyako is a multidisciplinary artist and a member of the creative group Konel. After earning his Master’s in Design from Chiba University, he has focused on using technology and natural phenomena to redefine human experience.
A recipient of the Good Design Award and a TOKYO MIDTOWN AWARD winner, Miyako was also recognized as a DESIGNART TOKYO 2024 UNDER 30 artist. His work occupies the unique intersection of macroscopic production, functional design, and evocative art.
"Visible Stress" is an experimental series that challenges the visualization of invisible "light" by manifesting it through industrial technology.
Throughout art history, masters have pursued the essence of light: J.M.W. Turner, the Romanticist, used translucent layering to allow light to permeate through gradients, creating ethereal, light-wrapped landscapes. Post-Impressionists like Vincent van Gogh captured light as particles through his unique physiological perception to express profound emotion. In the contemporary era, artists such as Tomoya Tsukamoto utilize the three primary colors of light, blending them with the Eastern aesthetic of "figure-ground reversal" to refract a kaleidoscopic world onto white canvas.
Light is invisible until it reflects off an object and reaches the human retina to form an image. In essence, everything we see is a manifestation of invisible light. Yet, if we are to depict the very essence of light itself through recognizable forms, how should we proceed?
"Visible Stress" employs the natural physical phenomenon of "photoelasticity," integrating it with industrial vacuum forming techniques. By visualizing the structural load generated during the vacuum process as luminous textures, the work subjects the natural phenomenon of light to artificial interference. This creates a striking visual illusion—a mesmerizing tension between the natural and the synthetic. Through this series, viewers are invited to appreciate the "texture of light" birthed from the sheer pressure of industrial formation.
衣田雅幸 Masayuki Kinuta
2024
Scraps of wool fabric
32x28x17 cm
1974 年生於日本奈良縣。父親為菇類學者，自幼便對動植物與昆蟲等自然生命懷抱濃厚興趣。1993 年開始投入創作，曾與時尚品牌簽訂委託（commission）合約承接製作。2021 年，相隔 13 年後，再度以個人名義正式發表作品。藝術家承襲自父親的敏銳觀察力，以布料為主要媒材，全手工創作各式動物形象。其選材範圍廣泛，從尾州西裝布料的樣本碎片，到古董亞麻布等皆納入創作，透過細小布片的拼接、縫合與堆疊，形塑出宛如真實生物般充滿動態張力的立體造型。
其創作可從「軟雕塑（soft sculpture）」的脈絡加以理解。衣田將布料視為可被雕塑的材質，藉由填充、縫線與結構控制，使柔軟的纖維轉化為具備體積、重量感與支撐性的立體形體。作品不僅追求外觀上的擬真，更著重於表情與氣息的捕捉——那是一種介於可愛與不可名狀之間、彷彿被瞬間定格的生命狀態。
定格瞬間的貓、目光銳利的貓頭鷹、以及散發神祕魅力的兔子……這些作品喚起人們童年時對動物所懷抱的純粹好奇與敬畏，也體現了藝術家最珍視的創作核心——以帶著難以言喻表情的「布的雕刻」，為柔軟材質賦予情感重量與雕塑性的存在。
Born in Nara Prefecture in 1996, Masayuki Kinuta grew up under the influence of his father, a mycologist (mushroom scholar), which sparked his deep fascination with flora, fauna, and insects from a young age. He began his creative journey in 1993, previously creating commissioned works for fashion brands. In 2021, after a 13-year hiatus, he officially returned to the art world to debut works under his own name.
Inheriting his father’s keen eye for observation, Kinuta uses fabric as his primary medium to handcraft intricate animal figures. His materials range widely—from fragments of high-end Bishu wool suit swatches to antique linen. Through the meticulous splicing, stitching, and layering of these small cloth fragments, he sculpts three-dimensional forms that possess the dynamic tension of living creatures.
His work is best understood within the context of "soft sculpture." Kinuta treats fabric as a sculptural material; through stuffing, stitching, and structural control, he transforms soft fibers into forms with volume, weight, and architectural integrity. Beyond mere realism, his work captures the very "breath" and expression of his subjects—a state of life frozen in time, hovering between the charmingly familiar and the inexplicably uncanny.
A cat captured in a fleeting moment, an owl with a piercing gaze, a rabbit exuding a mysterious allure... these pieces evoke a sense of pure childhood curiosity and awe. They embody the core of Kinuta’s practice: using "sculptures of cloth" with enigmatic expressions to bestow emotional weight and sculptural presence upon soft materials.
%202026%2C%20acrylic%20on%20canvas%2C%2031_8x41cm_B_JPG.jpg)
国本泰英 Yasuhide Kunimoto
Lantern(Qilin)
2023
Acrylic on Canvas
31.8x41cm(F6)
國本泰英曾獲2019年One Art Taipei新賞獎入選，他以「記憶」為創作軸線，認為人類依賴視覺形象組織過去的經驗，缺失的片段，或多或少都會經由人類擅自的解釋補上，最後存在於記憶裡的影像可能早已不是事情的原貌。作品經常呈現相似又不盡相同的畫面，尤其經常描繪橫綱力士或游泳選手，最有辨識度的五官及形體邊界卻刻意以技法模糊，似乎要告訴你記憶是一件多麽籠統而不可被信任的事情，讓人想起高松次郎60年代創作的〈影〉系列。
相撲（SUMO）系列之外，本次展出的全新作品系列「ランタンのオブジェ」（燈籠之立體雕塑），視覺畫面感與過去作品有很大不同。過去常消失在畫面裡的邊線以扭曲如水墨的方式呈現，同一物件的姿態以一種極緩和的動態軌跡變化，邊界線也逐漸交融一致。這次新系列是他在九州產業大學授課時進行的專案，研究追蹤長崎縣原爆後倖存者的相關計劃時經常前往長崎，因而躬逢其盛當地著名的燈籠祭典，首次看見盛大燈籠祭典的樣貌在他心中留下深刻記憶。
Yasuhide Kunimoto, a nominee for the One Art Taipei Art Selection Award in 2019, centers his creative practice on the theme of "Memory." He believes that humans rely on visual images to organize past experiences, yet missing fragments are often filled in by our own subjective interpretations. Consequently, the images preserved in our memory may drift far from their original reality.
His works often present scenes that are similar yet distinct, frequently featuring Sumo wrestlers (Yokozuna) or swimmers. By deliberately blurring their most recognizable facial features and physical boundaries, Kunimoto suggests that memory is inherently vague and untrustworthy—a concept that echoes Jiro Takamatsu’s iconic Shadow series from the 1960s.
In addition to his renowned Sumo series, this exhibition unveils his latest body of work, "Objects of Lanterns" (ランタンのオブジェ), which marks a significant visual departure from his previous style. The boundaries that once vanished into the background now appear as distorted, ink-wash-like strokes. The forms of a single object evolve through a slow, rhythmic trajectory of movement, their edges gradually blending and harmonizing.
This new series originated from a project during his lectureship at Kyushu Sangyo University. While frequently visiting Nagasaki for research on atomic bomb survivors, he had the chance to experience the city's famous Lantern Festival. The overwhelming spectacle of the festival left a profound impression on him, serving as the catalyst for this evocative new collection.
野村仁衣那 Nina Nomura
Three holes bottles
2026
Plastic
野村仁衣那（Nina Nomura），1993年生於日本東京，作為年輕藝術家的她曾修讀文學，並於桑澤設計研究所學習空間設計。2021年開始以藝術家身份進行創作，獲得日本設計展SICF22中獲得評審獎（MIKIKO賞）、後浪賞《原創藝術實驗獎》。2022年頻繁創作參與展覽，在日本最大型藝術展會「DESIGNART TOKYO」中，獲選為最受矚目的5位「UNDER 30」年輕創作者之一。2023年，作品更曾被米蘭被譽為設計界神仙教母的Rossana Orlandi 選入其「Spazio Rossana Orlandi」設計藝術畫廊裡展出。
野村的創作實踐，致力於探索日常工業物件如何轉化為生物記憶與感性時間的載體。她將塑膠追溯至其物質本源：提煉自石油——一種在巨大地質壓力與漫長時光中，由古代有機殘骸演變而成的物質。對野村而言，塑膠並非冰冷中性的合成材料，而是一份濃縮了古代生命的檔案。
然而，在當代消費文化中，塑膠已被簡化為速度、便利與一次性消耗的象徵。野村試圖扭轉這種廉價且快速的物質狀態。在她持續進行的系列作品《Life Through Holes》中，她展開了一場近乎偏執的勞動修行：使用電烙鐵，在每個物件表面規律且重複地鑽出無數微孔。每一處孔洞都如同一個「細胞」，透過勞動的疊加與時間的延續，這些微孔激發出材質中潛藏的生命感，使人造物質彷彿被重新注入了生命力。
在野村的手中，大規模生產的工業製品轉化為介於功能與記憶、設計與雕塑之間的「類有機體」。這種轉變並非直接描繪生命，而是讓材質透過勞動的痕跡，形成一種能承載時間、情感與溫度的表面。這些作品邀請觀者重新思考當代生活中「精神富足」的意義——生命不再僅止於生物體，亦能存在於物質表面所積累的痕跡與堅韌不拔的意志之中。
Nina Nomura (b. 1993, Tokyo) is a rising artist whose interdisciplinary background spans Literature and Space Design at the Kuwasawa Design School. Since embarking on her artistic career in 2021, she has garnered significant acclaim, receiving the Judge’s Prize (MIKIKO Award) at SICF22 and the Original Art Experiment Award at the Next Wave Awards. In 2022, she was selected as one of the five most watched "UNDER 30" creators at DESIGNART TOKYO. Her international breakthrough came in 2023 when her work was curated by the "Godmother of Design," Rossana Orlandi, for exhibition at the prestigious Spazio Rossana Orlandi in Milan.
Nomura’s practice explores the transformation of everyday industrial objects into vessels for biological memory and emotional time. She traces plastic back to its material origins: petroleum—a substance formed from ancient organic remains under immense geological pressure over eons. To Nomura, plastic is not a cold, neutral synthetic, but a condensed archive of ancient life.
While contemporary consumer culture has reduced plastic to a symbol of speed, convenience, and disposability, Nomura seeks to reverse this perception. In her ongoing series, "Life Through Holes," she engages in a nearly obsessive labor of devotion, using a soldering iron to methodically burn countless micro-holes into the surface of objects. Each perforation acts as a "cell." Through the accumulation of labor and the passage of time, these holes awaken a latent vitality within the material, breathing life back into man-made substances.
Through Nomura’s hands, mass-produced industrial goods are transmuted into "quasi-organisms" that exist between function and memory, design and sculpture. This transformation does not merely depict life; it allows the material to develop a surface capable of carrying time, emotion, and warmth. Her work invites viewers to reconsider the meaning of "spiritual abundance" in modern life—suggesting that life exists not only in biological entities but also in the traces of human will and the accumulation of persistent effort.
蔡旻芸 Min Yun Tsai
剩餘的寧靜
2025
Ink on Paper
69x38cm
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年入選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，那種「清冷、疏離卻又充滿張力」的當代水墨特質讓觀者感受到「人為干預」與「空無感」之間的矛盾美學，在當代水墨中開創出獨樹一格的世界觀。
Born in 1993, Min-Yun Tsai graduated from the College of Arts at National Kaohsiung Normal University. Her talent was recognized early in her career when she won the Grand Prize at the Nanying Award in 2014. In 2023, she was selected for the One Art Taipei Art Selection Award, making her the fourth artist represented by ADMIRA Gallery to receive this prestigious honor.
Tsai’s work masterfully captures the pervasive sense of ennui and isolation in modern life. This journey began with her 2014 award-winning ink piece, Sink · Drown, where she used the traditional courtyard house (Sanheyuan) of her childhood as a creative axis. While these scenes are filled with objects of memory that should evoke warmth, the human protagonists seem absent or fleeting—as if, in the blink of an eye, one is left entirely alone to face the world.
Since 2016, Tsai has continued to explore themes of alienation through her Courtyard House Series and subsequent works. Her paintings feature flattened visual planes and deliberate "freeze-frames" of quiet, uninhabited landscapes. In her Beyond the Gaze Series, she utilizes the motif of the "window" to demarcate interior and exterior spaces. By observing the world from a bystander’s perspective, she conveys the detachment and coldness one feels toward contemporary society.
A recurring element in her work is the presence of potted plants and manicured gardens. These vibrant, flourishing plants are clearly the result of human care, yet there is a complete lack of human presence, as if time has stood still. The juxtaposition of man-made structures and natural scenery creates a "fabricated silence"—a landscape of desolation following a period of bustle. This reflects the artist’s own anxiety and the paradox of feeling alienated from a world she must still inhabit. Her work is a silent scream, a private dialogue with the self, carving out a unique and profound worldview within contemporary ink art.
.jpeg)
魏聖倢 Sheng Chieh Wei
#silentpresence
2025
Acrylic on canvas
65 x 53 cm (F15)
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 earned his Master’s degree from the Graduate Institute of Interdisciplinary Art at National Kaohsiung Normal University. His early work explored the intricate emotional entanglements of the self through distorted bodily forms. Later, he drew inspiration from social media, creating imagined "IG life scenes" through repetitive collage. Recently, his focus has shifted to the organic, burgeoning lines of nature and the invisible fragrances of flowers. He subtly employs points and lines to navigate the canvas—sometimes somber, sometimes jubilant—reflecting the modern condition where loneliness and revelry are inextricably linked in our social relationships.
In his major 2024 solo exhibition in Kaohsiung, Wei further elevated his subjects into the realm of the invisible: "Scent." Drawing a parallel to Wassily Kandinsky, who famously "heard music in colors and saw colors in music," Wei intuitively applies pigments to represent the aroma and spatiality inherent in flowers. He treats color as a sensory trigger for the olfactory system, fostering a profound sense of existence through this multisensory perception.
Technically, Wei masterfully blends acrylics with various mediums to achieve a translucent, fluid texture upon drying. His extensive use of creamy, viscous mediums is inspired by Enfleurage, an ancient and nearly lost technique used to extract delicate essential oils from sensitive flowers. Much like the fat-saturated chassis used in the perfume capital of Grasse, France, Wei’s creative process involves carefully layering imperceptible "scents" onto a pristine white canvas. He allows unspeakable emotions to steep into the pigments layer by layer, continuously emptying his deep self until the canvas is fully saturated with a unique and evocative "fragrance."
