Thursday 18 February 2010
Wu Chin- Yuan
吳金原 Wu Chin-Yuan
中國文化大學美術系畢業
國立台南高商廣告設計科教師
著作；1990綠色大地-畫集、吳金原1998-畫集、2008-畫集、油畫-高職教科書
台南市立文化中心、台南縣立文化中心、台中市立文化中心等個展十四
新象畫會員、台灣水彩畫協會會員 年展
2002、2004、2006、2008亞洲新意美術交流展
Graduated from Department of Fine Art，University of Chinese Culture
Teacher of Dapartment of Advertising Design，National Tainan Commercial Vocational Senior High Shool
Writings：1990 The Green Earth-Collection，Wu Chin Yuan 1998- Collection，2008- Collection，Oil Paintings-Textbook for Senior High School
14times of One-man Exhibition
member of New Aspect Art Association，Taiwan Water color Association
2002、2004、2006、2008 New Expression of Asian Art Exhibition
Saturday 6 February 2010
Friday 5 February 2010
Thursday 4 February 2010
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Sandra Angliss - artists profile - for Taiwan 2010
Sandra Angliss is an Australian artist, who has been fascinated by colour and ideas since childhood. She gained a Bachelor of Fine Art from the Royal Melbourne Institute of Technology (1986-88) and is a trained visual arts teacher. She has taught in both Australia and Malaysia.
In 1999 Sandra joined the International Women Artists Council, based in Penang and in 2003 she formed International Women Artists Association -Australia with other local artists from the Box Hill Community Arts Centre, Melbourne. She has participated in, and organised many, group art exhibitions since 1984 and has held three solo exhibitions.
Sandra is currently working as an art teacher with children with special needs. She lives in Melbourne with her partner and two sons.
Artist’s statement:
Recently, I returned to an old love - etching. I love the whole process and playing with metal, ink, acid and tar. I love rolling the heavy press across the plate and waiting for the surprise of my images reversed beneath. I work intuitively and try to delve into my subconscious - I find, in recent times, my images are full of longing and memories.
Tuesday 2 February 2010
INTRO
Introduction to Australian Art - Influences of Land and the Group of Artists Blossom Spirit.
Bridget O’Leary
Australian art has always been influenced by the environment. The Early Settlers from both England and Europe arrived in 1788 and began to ‘settle’ the harsh land in Australia. When they occupied the land they often felt they were fighting the dry, barren and harsh environment. They had trouble at first drawing and depicting the strange flat planes, unusual animals that they had never seen before and the ‘alien’ trees. The trees were much thinner than those in Europe, and very straight, with peeling bark. There was also the Australian light that bleached the landscape and made the colours seem brighter; highlighting the red, dry earth and the bright searing sun. These early artists often complained that their sketches sent back home to England did not quite capture the true Australian landscape.
The Australian Aboriginal people have always depicted art that is inspired from the land in Australia, in its true colors with an iconic and unique style. This ancient culture is as old as 45,000 to 50, 000 years. Their artwork was first applied on rocks and in the sand; using (as colors) the mixture of rock powders from the Australian environment. They depicted animals, each with an important role within the Aboriginal world view, etched in their Dreamtime. This art was interwoven with ceremony, dance and song to provide an explanation and meaning for creation and day to day life. This Dreamtime is also referred to as the Dreaming and still plays a very important spiritual part in the Aboriginal lifestyle and consciousness. Their Dreaming links the sacred with the human and the physical in a balanced relationship.
Their artwork served purposes of storytelling, as a form of signs and maps and as an integral part of their lives. Aboriginal artwork served as useful maps (to show where things were, including drinking holes). This was vital while surviving within the dry deserts, found in the middle of Australia. These drinking holes would always have water and paths. Some of which were made by people, and some by animals, which led to places where there was water or food.
Aboriginal people have always used nature as their canvas and paints and it wasn’t until late 19th century and early 20th century that white Australian anthropologists gave Aboriginal people paper and drawing equipment and asked them to draw. Later, in early 1970’s, acrylic paints and canvas were introduced to Papunya Aboriginal community in the NT (Northern Territory).[i]
“Art experts at home and overseas are now awaking to the unique power and beauty of Aboriginal art. As described by renowned art critic, Robert Hughes, Aboriginal art is “the world’s last great art movement.” Aboriginal art now accounts for almost half the value of the Australian art market and around 70% of total exports of Australian art. That’s an outstanding achievement for a group that represents just 2% of the Australian population” [ii]
The environment in Australia has and will continue to effect all Australians’ outlook on life – love of the sun, and the ability to withstand harsh weather conditions, that being dry heat, natural bushfires, droughts and floods. And so, we start looking at Australian Art History by looking at the Australian environment.
The Australian land mass is very large. It is an island, like Taiwan, surrounded by sea, although it is 211 times bigger. The land in central Australia is hard to live in if you are not ‘land-wise’. Many people have gone ‘mad’ in the desert. They started on a journey unprepared, and became lost and without water, and had hallucinations.
The desert has been portrayed throughout art as a mysterious, dangerous and awe inspiring place. The famous Uluru Rock is sacred to its local Aboriginal traditional owners and it is protected. The Early Settler artists portrayed the desert as dark and mysterious. In contrast to the Aboriginal people, who, through the Dreaming, understand the desert to be rich, not barren, and full of things relating to spirit, sacred, and the physical.
“The land is our food, our culture, our spirit and identity”[iii]
The Dreaming, though ancient, is still an underlying philosophy and way of life and thinking that is still very much alive and influencing Aboriginal people in their day to day lives. As Anthropologist Professor W. E. H. Stanner, tried to put the concept of the meaning it into words for non-Aboriginals to understand:
“The Aboriginal would speak of earth and use the word in a richly symbolic way to mean his “ shoulder” or his “side”.
He goes on to explain:
“ I have seen an Aboriginal embrace the earth he walked on.”
So he explains in a better definition of the meaning of earth and land to the Aboriginal people would be:
“To put our word ‘”home” and “land” together into “homeland” is a little better but not much.”[iv]
The earth being not just land, and so a spirit:
“we took what to them meant home, the source and locus of life, and everlastingness of spirit.” [v]
This Dreamtime and the art that has been created from it continues to inspire modern Australia and modern Australian identity, of both Aboriginal and Non-Aboriginal peoples. In a recent architectural development in Melbourne, the building Federation Square, has a path made up of Aboriginal patterns and special rock parts to create a unique and abstracted asymmetrical square area which symbolizes Australian rock, earth and the outback. The building itself features solar panels in strange shapes that create blocks of light and pattern are also designed to get the most of the Australian sun. The building creates cooling systems and collects all rainwater that falls onto the building and it’s surrounds.[vi] This is then used in all its operations. In our modern society the influence of Aboriginal Australian Art is seen as a progressive way to embrace Aboriginal history, which once was thought of as primitive. Today Aboriginal Art is seen as exotic and fashionable, especially as part of the international image of Australia. Life for many Aboriginal communities is still burdened by a combination of historical and present day forces.
The Settlers, mostly English and European, included a mixture of artists. Some of which were a set of painters who originally tried to mimic European art in its styles and functions to depict Australian landscapes. This didn’t work, as the landscape in Australia was a stark contrast to Europe.
In the 1890’s one generation of artists started to break this pattern. They became known as the Heidelberg school, and were one of the most important schools as they broke away from the Settler’s way of mimicking European art and its false/ Europeanised renditions of the Australian landscape. This school sought to use expressions of light, much like the French impressionists (they admired at the time), but unique (because the Australian light is unique) and they strived to show it in its true form. Blasts of color would stream onto the canvas where the sunsets were setting along a field of wheat on a farm.
‘The golden glory of English wheat-fields cannot excel the splendour of the wide wastes of grazing land under the dry sky of an Australian summer… nor can the variegated hues of the American autumn much surpass the tints of the ripened Eucalyptus…’ Sidney Dickinson in the Australian Critic, 1 July, 1891.[vii]
Our group, Blossom Spirit, is named after the Australian blossom flower, unique to Australia (this can be seen in Jan Ross’ work). The group often finds inspiration from the Australian landscape. The influence can be seen in: Blossom flowers that overpowered the artist Anne Langdon at her home surroundings; Fay Salmon’s soaring, dramatic skyscapes of Australian skies; the intricate and ornamental window framed views like poetic mirrors on life, in Roma McLaughlin’s work; and Sandra Angliss’ soft and pale light color that creates reflections and patterns with eyes (of a butterfly) which seemingly stare directly into the heart and soul, in a windy sky scene.
Our name also has Spirit because in this exhibition we are sharing the spirit of friendship between two countries, Australia and Taiwan. In this exhibition the group is overjoyed at the fantastic spirit of artists and their shared love of art. To share our art and cultural histories and make new friendships and ties is something that will always be remembered, and is one of the many joys of being a part of this exhibition.
[iv] http://aboriginalart.com.au/culture/community.html
[v] http://aboriginalart.com.au/culture/community.html
Preface
策展人序
銘傳大學非常榮幸籌辦『臺澳當代藝術交流展』，本展覽邀請來自台
吳 可 文
銘傳大學數位媒體設計學系助理教授
中華民國九十九年一月二十二日
Preface from the Organizer
It is with great pleasure that we present the “Taiwan．Australia Contemporary Arts Exchange” exhibition at the Ming Chuan University. The exhibition, focusing on contemporary arts, introduces well-known artists from Taiwan and Australia to present artworks in a variety of fields including interactive media installation, multimedia animation, graphic design, photography, and painting. We sincerely believe that contemporary arts, serving as the embodiment of the artists’ emotion, have the power to uplift its audiences from the existing scheme. It is expected that the artworks in this exhibition, superseding the individual artist’s act of enjoyment, may issue a powerful appeal to its audiences and offer novel perspectives to the world.
Carin Wu
Assistant Professor
Dept. of Digital Multimedia Design, Ming Chuan University
Jan 22, 2010
Preface
Art is a continual part of our cultural history. The search and exploration of life through the arts is something we learn fromthat surrounds us all, regardless of region or race. Artists analyze their minds and record their life into symbols and signs to mark their existence.
Under the stars, our Australian friends paint in an open field of nature and wilderness. Shouting with joy, these artists excitedly release their love for the country in gorgeous colors.
Embraced by the sea, Taiwan nurtures artists with humbledemotions. Upholding the truth of beauty, we look into our hearts to dig out our passion and to record our society in ernest.
I am thrilled to meet all of my old friends from Australia and Taiwan thanks to the Ming Chuan University. May the dialogue between Taiwan and Australia lead us all into a new era of design and creation!
Hsu, Tracy Chui-Hua
February, 2010
Preface
院長序
時值銘傳大學53歲校慶之際，本院積極策畫『臺澳當代藝術交流展
臺灣與澳洲兩國分別屬於不同的東西文化，
個人相信，此次臺澳藝術交流展，
銘傳大學設計學院院長 楊錦潭
民國九十九年一月二十八日
Preface｜Jin Tan David Yang, Dean of the School of Design at Ming Chuan University
On March 12, 2010, the 53rd anniversary of the founding of Ming Chuan University, the School of Design enthusiastically invited renowned contemporary artists from Taiwan and Australia. It is our honor to present the『Taiwan．Australia Contemporary Arts Exchange』 at the Arts Center and the School of Design, Taoyuan Campus of Ming Chuan University.
The Eastern and Western diversity derived from Taiwan and Australia artists is expected to encourage mental activities in identification, expression, creation, and interaction among its audiences. The artworks are the products of abstract cultures transformed into concrete shapes of magnificence, just like how poets master characters of words and symbols to convey the mind. The essence of this exhibition is to create rather than merely reflect the arts culture of the two countries.
I sincerely believe the arts exchange will promote both mental and spiritual satisfaction among the university and our community. In other words, the interaction among the arts and its audiences will definitely result in incisive aesthetic experience. Finally, I would like extend my cordial greetings to the『Taiwan．Australia Contemporary Arts Exchange』!
Jin Tan David Yang
Dean of the School of Design at Ming Chuan University
Jan 28, 2010
Preface
Preface
On behalf of the Australian artists I would like to thank the University , Dept. of Digital Multimedia design, Ming Chuan University, for inviting us to participate in such an exciting event. Our group is thrilled to be a part of this exhibition, Taiwan, Australia Contemporary Arts Exchange. In this contemporary age where we are a global community, we are more able to explore other countries and cultures. Through this exhibition, both Australia and Taiwan artists have had a chance to connect (through their art). We embrace the opportunities and friendships that this visit to Taiwan has brought us. In this exhibition we are sharing the spirit of friendship between two countries, Australia and Taiwan. To share our art and cultural histories and make new friendships and ties is something that will always be remembered.
Bridget O’Leary
Group Director
Australian Artists for Cultural Exchange Group
Feb, 1st, 2010
序
我在此代表澳洲藝術家，誠摯感謝銘傳大學數位媒體設計學系邀請我們參與這次令人興奮的活動。我們很高興能成為此次台澳當代藝術交流展覽的一份子。身處全球共同體的當代潮流中，我們更應去探索其他的國家與文化。藉由此次的展覽，澳洲與台灣藝術家們運用他們的藝術相互聯繫交流。我們都敞開心胸地擁抱這次來台灣參展的機會與所建立的友誼。在這次的展覽中，我們分享著澳洲與台灣之間的友情精神。藝術的分享、文化歷史的交流、更深層友情聯繫的建立，這些都將使這次的展覽永存人心。
歐小咪
團隊總監
澳洲藝術家文化交流團隊
2010年2月1日
Geranium Flower, Acrylic and Gold leaf on canvas, L 36cm x W 46cm x D 3.5cm, 2010
The geranium is a hardy plant that continues to flourish in Australia’s increasingly harsh climate and can still be seen in many suburban gardens. This work is part of a series of paintings, which reflects the artist’s lived experience of the on-going change from a traditional suburban way of life to a more cosmopolitan lifestyle.
Monday 1 February 2010
Wok Icon - Acrylic and gold leaf on canvas, L 45.5cm x W 60.5cm x D 3cm, 2009
Roma’s work uses figurative images of suburban life. Some of these images are taken from her home, garden and surrounding environment. She lives close to the offices, shops and restaurants of Box Hill Central in Melbourne Australia, where there is a large Chinese community. This series of paintings reflects her lived experience of the on-going change from a traditional Australian suburban life to a more cosmopolitan lifestyle.
She uses highly decorative borders, which serve to capture and enhance these scenes of the everyday. They are like windows from which the external world and/or an internal world may be viewed. She uses Celtic patterning inspired by medieval illuminated manuscripts yet the subject imagery and colour palette in this painting have a distinctive Asian sensibility.
For Roma, the heart of her home is her kitchen and one of her most valued cooking utensils is her wok. She pays tribute to it here in this painting.
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