Exploring the Psychological Landscape of New Generation Ink Art
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Exploring the Psychological Landscape of New Generation Ink Art

2024/9/7 ~ 2024/10/12
2024 / 9 / 7
  • Exhibition introduction
  • Exhibition Catalogue

Exploring the Psychological Landscape of New Generation Ink Art

Text by CHENG Nai-Ming

When Wu Guan-Zhong (1919-2010) once stated, "Ink and brush must adapt to the times," how many people truly reflected on the deeper meaning behind this, acknowledging the undeniable changes in the broader cultural environment? The practice of ink painting has evolved from a pure focus on brush techniques to forms of expression distinct from traditional ink art. In a contemporary context, ink painting is no longer bound by traditional rules; it is no longer created for the spirits of the past but for the people of today.

This does not negate the inherent form and meaning of traditional ink art. However, it emphasizes how the brush and ink have advanced with time, reflecting how artists now balance the demands of both mediums when choosing their subjects from everyday life. No longer rigidly adhering to traditional techniques, artists convey intention through the brush, naturally evoking harmony between the mind’s eye and the physical eye. As a result, the artwork resonates more deeply with viewers, allowing for a more profound connection between art and its audience.

Let’s now take a closer look at the artistic heart of these nine contemporary artists…

 

Yen Jen-Kun (1984-)|Ink is still his foundation, but Yen Jen-Kun’s work successfully integrates diverse materials into a fascinating "dialogue." In Yeh’s creative process, the layering of materials becomes a way to express the complexities of his inner reflections on reality. Rarely does an artist manage to capture the depth of blue with such emotional resonance as he does in his "Moonlit Night" series. His deep, contemplative blue mirrors the silence of a night sky steeped in loneliness. Without the need for overt expression, Yeh 's blue penetrates deeply, drawing out a quiet intensity. Few artists can create such profound inner textures using such simple color.

Chen Tzu-Jo (1990-)|In Chen Tzu-Jo’s work, she first dismantles the structured view of reality. By doing so, her artistic expression is no longer confined by traditional rules. Whether depicting landscapes or plants, Chen liberates these subjects within her mind, allowing her to capture their essence more precisely. In her piece Eternal Ephemerality, she intricately intertwines fragments of landscape with finely detailed line work, creating a poetic dialogue between abstraction and representation, giving her art a lyrical quality.

 

Lin Yi-Wen (1990-)|Lin Yi-Wen’s early work explored the relationship between humans and the land, often depicting landscapes of home. She has also referenced interpersonal relationships through close-up depictions of fruits and vegetables. Lin’s work is known for its delicate use of ink lines to portray her keen observations of the environment. Her realistic, fine ink lines serve as a narrative of the landscapes she creates, offering a subtle tension between rationality and emotion. This tension results in her work exuding a light, almost essay-like quality, where the depicted scenes seem infused with hidden life forces, allowing the viewer’s imagination to expand in a captivating way.

 

Yang Yu-Ning (1990-)|For Yang Yu-Ning, the presentation of ink itself becomes a performance. Her brushwork captures the transitions from light to dark, conveying the intricate beauty of ink’s tonality. In her wide brushstrokes, she masterfully transitions between thick and thin, dark and light, giving life to the flowers, objects, and landscapes she portrays. There’s a quiet simplicity to her work, but it invites the viewer to pause and reflect in front of it, capturing their attention with its peaceful demeanor.

 

Wu Cheng-Han (1991-)|Wu Cheng-Han’s ink works carry subtle undertones of intaglio printmaking, hinting at the passage of time and the marks it leaves. His use of somber hues and layering techniques creates a sense of perspective reminiscent of Western painting, yet his open brushwork frees ink painting from traditional constraints. His art doesn’t lean toward any one direction; rather, it establishes a contemporary dialogue within the context of the times, allowing ink painting to breathe more freely while maintaining a sense of elegance.

 

Hu Zai-Qing  (1992-)|Hu Zai-Qing integrates various mediums, finding her own unique balance in the process. She combines the properties of traditional ink and "moriyama" (盛上), a traditional mineral-based pigment ground into powder. The Japanese term "moriyama" refers to a technique of creating a raised effect in certain parts of a painting. In her work, Hu skillfully manipulates different materials to create dimensional effects that shift with light and shadow, breathing life into the visual texture.

 

Huang Yu-Hao (1992-)|Huang Yu-Hao 's work exemplifies the blending of traditional ink painting with the psychological layers often seen in 3D imaging technology. I admire how he chooses everyday objects such as plants and interior spaces as his subjects, yet the inclusion of "glass" transforms these mundane scenes. The reflective and cold nature of glass adds a layer of psychological depth, turning traditional ink into a medium that continues to evolve with contemporary sensibilities, merging the old and the new.

 

Shao Shi-Ming (1993-)|Shao Shi-Ming 's work exudes a subtle luminosity, quietly reflecting the passage of time. Like the gentle arrival of life’s inevitable moments, his use of muted colors and soft rendering techniques invites viewers to experience the calm simplicity of life. His art doesn’t shout its emotions; instead, it whispers, allowing viewers to find their own memories or moments within his works. His paintings are like small human dramas, distilling complex emotions into serene, contemplative scenes.

 

Yen Yi-Hsien (1995-)|In her work, Yen Yi-Hsien uses organic pigments such as "suikan," a Japanese term for unchanging pigments, to reflect the fluidity of time. Working on hemp paper, she focuses on capturing the raw essence of life. Her minimal post-processing ensures that the themes she explores align naturally with the inherent qualities of her materials, producing a dynamic interplay of color and form that lends her work a surreal, dreamlike quality.

 

Young contemporary ink artists are gradually shedding the traditional burdens of the medium, developing distinct characteristics: (1) subjects are no longer restricted, (2) diverse materials are increasingly integrated, (3) expression has become more varied, and (4) techniques continue to evolve, pushing beyond conventional boundaries. While Western perspective techniques have influenced contemporary ink painting, the unique qualities of this new generation reflect a contemporary spirit, deepening the psychological space for viewers to engage with and appreciate.

葉仁焜_月夜VIII_水墨、膠彩、畫布、絹_60×60cm_2023
葉仁焜_往復VII_膠彩、銀箔、畫布、絹_60x60cm_2024
葉仁焜_雪融之際 IV_水墨、膠彩、銀箔、金箔、畫布、絹_100×100cm_2022
林依文_流動Ⅰ_水墨紙本設色_18×28cm_2024
林依文_港口_水墨紙本設色_67.5x86.5cm_29號_2024
林依文_轉彎Ⅰ_水墨紙本設色_26.5×39cm_2024
陳芷若_依然蔓延_複合媒材紙本水墨設色_143x92cm_2023
陳芷若_掠影_複合媒材紙本_27x35cm_2023
陳芷若_眷戀_複合媒材紙本水墨設色_53x135cm_2024
楊寓寧_地榆與矮凳_墨⽔紙本_127x96cm_2023
楊寓寧_鑿⾯_墨⽔紙本_123x186cm_2023
楊寓寧_洋⽢菊與窄⼝陶瓶_墨⽔紙本_77x44cm_2023
吳承翰_光火1_紙本設色_33.5x33.5cm_2023
吳承翰_墜-4_紙本設色_70.7x77.5cm_2024
吳承翰_章節3_壓克力顏料、畫布_162x112cm_2023
胡在晴_修剪天竺葵_水墨設色、盛上、銀箔、紙本_42.5x42.5cm_2022
胡在晴_血瘀_水墨設色、盛上、銀箔、紙本_64.92x38.07cm_2024
胡在晴_仙鶴靈芝_水墨設色、盛上、紙本_88.15x34.4cm_2024
黃昱昊_有植栽的室內-拎樹藤00_紙本設色_90x90x3.5 cm_2024
黃昱昊_有植栽的室內-龍血樹03_紙本設色_151x91x3.5 cm_2024
黃昱昊_有植栽的室內-鶴望蘭01_紙本設色_91.5x171.5x3.5 cm_2024
邵士銘_昨日_水墨設色紙本_72.5x55cm_2022
邵士銘_迴_水墨設色、紙本_82x65cm_2024
邵士銘_驟雨_水墨設色紙本_73.5x55.5cm_2023
葉懿嫺_∞、樹葉、影子在跳舞_水乾顏料、礦物顏料、麻紙_右52x40cm左52x44.5cm_2024-01
葉懿嫺_被包裹的蛹_水干顏料、礦物顏料、麻紙_112.5x 60cm_2021
葉懿嫺_撞爛的得利卡_水干顏料、礦物顏料、麻紙_96x124cm_2023