Tzu Yi, YANG | 楊子逸
Exploring the Essence of Chinese Painting
Painting and Calligraphy Arts, M.A.National Taiwan University of Arts.
The artist seeks to use a simple approach to highlight elements that are often overlooked. What goes unnoticed is not necessarily dismissed or ignored; rather, it exists within everyday life, yet few take the time to truly appreciate it.
Each layer of the painting is more than just a physical process connecting the body and the canvas—it is a dialogue between the heart and the work. The repetitive nature of labor itself becomes an expression. By composing images into a cohesive visual language, the artist reinterprets the established concepts and textures of landscapes, prompting viewers to reconsider the scenery before them. Within the blurred, chaotic surfaces formed by the overlapping of silk and ink, the artist invites the audience to move beyond mere appearances, searching for a deeper truth within the philosophy of landscape.
Through a subtle connection between form and nature, the artist employs a minimalist approach to illuminate what has been ignored. The perception of visual ambiguity transcends mere objectivity, engaging a vibratory awareness that integrates the purity of reductive art. The result is a meditative experience that reflects human understanding and the inherent structures of nature.
It is akin to using both body and mind to step beyond the winding trees, to witness the layered mountains, and to feel the infinite expanse of serenity and stillness.
畢業於國立臺灣藝術大學
書畫藝術研究所藝術碩士
以水墨為主要媒材，探索中國畫的本質 — 尋找平衡。藝術家希望能用一種簡淡的手法，凸顯出某些不受重視的事物。不受重視的，並非令人唾棄或不在乎，它往往就在尋常生活間，卻鮮少有人仔細品嚐。
畫上每一個層次，不僅是身體與畫面連結的勞動過程，同時是心與作品的對話。重複的勞動本質，也是一種表達。將畫面組成一種影像感，轉化山水本體既定的概念和質感重訪眼前所謂山水為何物。並在絹布與墨交疊出的模糊、混屯塊面中，貫穿層次表象，在山水的哲思裡找到一種方法，找到背後的真實。
建立造形與自然形象之間模糊的關聯，以極簡的方法，反而凸顯出某些被忽略的事物。對眼前所見的不明確感，知覺已超越了客觀，振動感知，還原性藝術的純粹和整合性，創造出令人沉思冥想的作品，體現出人的理解與規則。
彷彿用身心去體會那種步出蜿蜒林木，望見群山交疊，感受到無限延伸的舒暢與寧靜。