HOU Yan Ting 侯彥廷 (Taiwan)
Graduate Program, Department of Painting and Calligraphy Arts, National Taiwan University of Arts
Head of My Days in Teaching, a painting learning center for adults
2022
IFA Exhibition, Hyogo Prefectural Museum of Art, Japan
2020
“The Possibility of Watercolor” Taoyuan Watercolor Exhibition, Department of Cultural Affairs, Taoyuan City Government
2015
“Majestic Fine Art”, Young Art Taipei
國立臺灣藝術大學書畫藝術學系研究所畢
我在教學的日子—社會人士的繪畫室學習中心負責人
2022
IFA展 日本兵庫縣立美術館
2020
「水彩的可能」桃園水彩藝術展 桃園市政府文化局
2015
「群彩雄姿」臺北國際當代藝術博覽會
In the brief encounter with a stranger, we can only recognize the person via information on surface, like his appearance or his choice of belongings. Such projection activity initiated by external things constructs a subjective world in our mind.
Unless through photography, it is not easy for us to see clearly the look of a stranger. Photographs lay out the whole into partial in the manner of information display, showcasing vividly the missed moments and allowing us to wander through the external of each subject.
People are attracted to press the shutter button, and the attraction comes from an unconscious driver. For the works in this series, I delved into albums, searching for the everyday photographs that move me still. Bringing the targets captured normally into the images is also bringing my unconsciousness into the lab.
People tend to piece together new entirety with the partial information displayed on photographs by means of unconscious reproduction, instead of restoration. Thus, I look forward to the reproduction technology like painting to analyze where my focus is. Approaching myself amidst these transient relationships, I try to process my inner sentimentality through the emotionality of watercolor.
I take a closer look at myself via painting and analyze the eyes behind the camera with a camera. In this experiment, a brush is not merely a tool for record, but also a tool for analysis.
與陌生人短暫交錯時，我們只能透過對方外貌、他對周身物件的選擇等表層資訊來認知這個人。這種藉由外物所發動的投射活動，在我們的心裡構築著一個主觀世界。
若非透過攝影，我們不容易看清陌生人的模樣。相片以資訊展示的態度將整體鋪展為局部，清楚展示那些被錯過的瞬間，並允許我們遊蕩於每一個對象的外部。
人因受吸引而按下快門，吸引則來自於無意識的驅動。本系列作品，我挖掘相簿，找尋至今仍然觸動我的日常攝像，將平日捕捉的對象帶進畫面，亦即將自己的無意識帶進實驗室。
人常在不覺間以再造而非還原的方式，使用相片所展示的局部資訊拼湊出新的整體，我因此期待藉由繪畫這種再造技術來分析自身焦點所在。在這些瞬逝的關係裡接近自己，並試以水彩的情感性來處理內在的感性。
透過作畫來微觀自身，藉由鏡頭來分析鏡頭背後的雙眼。在這場實驗中，畫筆不再是記述工具，而是分析工具。
Encounter 1 交點 1
2023 | Watercolor on Paper 水彩、紙本 ｜49.5 x 75 cm
Encounter 2 交點 2
2023 | Watercolor on Paper 水彩、紙本｜49.5 x 75 cm
Encounter 3 交點 3
2023 | Watercolor on Paper 水彩、紙本｜49.5 x 75 cm
With Book 與書
2020 | Watercolor on Paper 水彩、紙本｜52 x 75 cm
The artist seeks to dissect the sensory structure hidden in experience by depicting certain unique emotional experience. Hence, he may observe personal experience via a new perspective and try to find a transformation technique in painting to turn fact into reality.
期待藉由畫下某一種特殊的情感經驗，來分解隱藏在經驗之中的感覺結構。讓自己以新的視角來觀看個人經驗，並試著在繪畫中尋找一種轉化技術，將事實轉換成為真實。