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Helen
Cheng Peng-chun Kuo
The ceremics and photography storm
二位海外求學多年的台灣新生代女性藝術家
鄭愷文、郭芃君即將於三月份在台北斯依畫廊舉辦雙個展
鄭愷文─大大的世界小小的人
這個系列從人情感的單純面為基礎，很直接地表現出
滿足/期盼/靦腆/苦惱/無邪/焦慮...等等各種狀態。
作者想要屏除成人世界的各種複雜化的情緒掩飾，
以人為主題，每件作品都像是一個電影片段的主角，
故事情節很簡短，或許是獨角戲，或許還有個沒有對白的對象...
平凡的，不偉大的主人翁；平凡的，不偉大的心情，
這些思緒一點點一點點累積出人的每一天，再累積成人生。
就好像織毛衣，幾個平凡的針法，交互變換，一針一針隨著時間流逝，
最後織成一件或許是很溫暖，或許是出乎意料的美麗，或許是太緊或太鬆，
或許是漏洞百出，或許是平淡無奇的毛衣。所以作者堅持一貫手捏的方式，
一塊塊的土慢慢用手捏合堆積，透過這個推砌的過程來咀嚼每一件作品要表達的思緒，使整個表現更純化更無雜念。
少數純粹以著色表現的彩瓷作品，也本著同樣的理念，
利用釉藥的混合變化效果或是線條圖形來表現筆下主人翁的意念。
在這社會中微不足道的個人，喜怒哀樂也都小小的，
並不是具有什麼影響力，但是對自我來說，卻是充滿全體，
於是人與人有了共通點，於是人對作品產生了似曾相識的熟悉感。
The Diminutive Selves in a
Grand World
by Helen Chen
This series
is based on simple human emotions
expressed in a direct way.
Satisfaction, anticipation,
timidity, affection, ingenuity,
etc. The artist tries to avoid
oversimplifying our complicated
world. By taking people as the
subject, every piece of work can
present a hero of one section of a
film with their own, brief story.
Perhaps using a monologue, or by
including some silent co-actors.
Each ordinary and obscure hero
carries their own mix of ordinary
and obscure emotions. Little by
little, these thoughts accumulate.
Gathering into the summation of
one’s life. Just like knitting a
sweater, with a few basic stitches
back and forth, as time goes by
stitch by stitch, the outcome can
be snug, incredibly splendid, too
tight, too baggy, tattered, or
simply mundane. So the artist
insists on making the shapes by
hand. Molding and kneading small
pieces of clay. And through this
process of piling up, creates
their own individual expression
(the art work), and in this way
purifies and realizes their
vision.A few items completed by
merely adding coloring to molded
clay were based on the same idea,
and were expressed with different
coloring effects and lines.A
seemingly insignificant individual
may get lost in society, along
with their unique ability to
express.
These sentiments may not be
influential in the grand scheme,
but can certainly be overwhelming
to oneself.
In this way, all
people have something in common
and so, artwork too seems somehow
familiar to us.
郭芃君--距離
陸蓉之在論1990年代女性意識的崛起和女性化的美學品味提出東方陰性美學裡有種時間流動性的特色：
東方美學的「詩境」結合音律的聯想，再加上光影的變化，變成為強調「時間性」的流動、變化本質。東方女性的陰性美學中、對時間的流逝特別敏感，在文學和繪畫作品皆然。（陸蓉之，民91）
這種強調時間流動性 ，唯心路線的「東方陰性美學」在郭芃君的學習藝術的路上有很深的影響，而她的作品也經常流露這種凝結片刻的特色，然而她的作品與其說是捕追特定片刻時間點的情緒，寄情於不特定的物件描寫，她的作品更企圖在描寫一種距離，一種人與自我的距離，與記憶的距離，與夢的距離，與他者的距離。對她來說距離是一種感受，是動態的。這種移動性讓她的作品呈現出沒有所謂的絕對，或是一針見血黑白分明的結論，對事情的探討，總是在灰與白之間遊走。對距離有高度敏感的她，對很多事情的感受，經常會在距離中去尋找她的答案。她想討論的不是一種度量衡量測的精準距離，而是一種抽象的感性距離。人無法從空間中抽離自身去測量距離，測量過程中不斷的移動更加說明了距離的不確定性以及其動態性。她的作品中所要呈現的就是這種沒有明確答案的答案、一種模糊曖昧的距離。
Distance by Peng-chun
Kuo
Victoria Yung-Chih Lu once
explicates the rising of female
consciousness and the appreciation
of feminized aesthetic occurred in
the 90’s. She alleges that a
feature, which is the mobility of
time, existed in the aesthetics of
femininity in the eastern.
The
emotions in poetry of the eastern
aesthetic connecting with the
temperament and the changeable of
the light and shadow become the
float of time and the essence of
change. The aesthetics of
femininity of oriental female is
highly sensitive to the elapse of
time. This feature occurs in the
creation of literature and
painting as well.
The feature,
emphasizing on the mobility of
time and the aesthetics of
femininity in the eastern
presented by the Idealism, has a
great influence on Ariel,
Peng-chun Kuo’s arts learning
experiences. Her works often
reveal the feature of time-congeal
that are not only in the pursuit
of emotions in some specific
moments and the description of
non-specific objects, but more
importantly make an attempt to
depict the distance. She
illustrates the distance between
you and me, between memories,
between dreams, between other
individuals.
For Ariel, the distance is a kind
of dynamic feeling. This feature
of mobility in the distance
expresses the attribute of no
absolute and no definite
conclusions in her artworks. This
kind of feature makes her always
probe things in an ambiguous way.
To probe into things, she always
moves back and forth between grey
and white areas.
Ariel is highly sensitive to the
distance. When she confronts with
various feelings, she will try to
find the answers in the distance.
What she would like to discuss is
not an accurate measurement of the
distance, but an abstract
emotional distance. Ariel
considers there is no one can
detach himself from the space to
measure distance. When measuring
the distance, a process of
continuous movement can be
discovered. During the course of
continuous movement, it interprets
the essence of uncertainty and
mobility of distance. Her art
pieces are exactly intended to
give the answer to this kind of
uncertainty, which is the
ambiguity of distance.
* The aesthetics of femininity in
the eastern represents an identity
of the artworks created by the
female artists in the oriental.
This kind of aesthetics reflects a
symbol of tender, sensitivity,
amenable, instinct, elegant, etc.
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