Ella WHATELEY / 艾拉．魏特利（韋恩典）
Australia
2019–2024
Adjunct Research Fellow, MADA, Monash University, Melbourne
2023
Curated and Exhibited in “What is Prayer?: Apa itu Doa?,” Salihara Gallery, Jakarta, Indonesia
2022
Visiting Professor, Residency at the Bandung Institute of Technology, Indonesia, with a large solo exhibition, “What is Prayer: Journeys through Artistic Practice,” Soemardja Gallery, Bandung, Indonesia
2022
Finalist, Blake Prize exhibition, Casula Powerhouse Arts Centre, Sydney, Australia
2018
Vice-Chancellor’s Visiting Artist Fellow at Australian National University; short-term research award from the Taiwan Ministry of Education, executed at the National Taiwan University of Arts
2019–2024
墨爾本蒙納許大學藝術設計與建築學院（MADA）兼職研究員
2023
「什麼是祈禱？：Apa itu Doa？」策劃展出 雅加達 Salihara 畫廊
2022
印尼萬隆理工學院駐村客座教授；大型個展「什麼是禮告：藝術創作之旅」 萬隆蘇瑪爾買畫廊
2022
布雷克獎展覽入圍 雪梨卡蘇拉動力藝術中心
2018
澳洲國立大學副校長客座藝術家研究員，獲臺灣教育部短期研究獎助金，於國立臺灣藝術大學進行研究
Through the Eye of The General 透過將軍之眼
2025 / Watercolor, European ink, Graphite and Conté pastel on Chinese paper 水彩 歐洲墨水 石墨 康緹粉彩色鉛筆 中式紙 / 112 × 68 cm
Through the Eye of The General continues the artist’s love-affair with this particularly majestic Coastal Grey Box tree. This work began as a “rubbing” taken off a large knot on its main trunk. Like scar tissue, over time the aged tree has encircled bark around this point of disruption. Finding this significant, the artist responded by taking a “rubbing” and then painting a “space through” the scar. The resultant work appears multi-layered and mysteriously diaphanous as though offering an alternative space through which to contemplate nature alongside magnificent lifeforms like The General, whose life helps to give the world oxygen.
《透過將軍之眼》延續了藝術家對這棵雄偉的海岸灰箱尤加利樹的熱愛。作品始於取自主幹上一處巨大樹瘤的「拓印」。就像疤痕組織一樣，隨著時間的推移，這棵老樹的樹皮在這個斷裂處周圍形成環狀。藝術家認為這一點意義重大，因此透過拓印並繪製「空間穿過」疤痕來回應。結果作品呈現多層次且神秘的半透明感，彷彿提供了一個另類的空間，讓人與像「將軍」這樣為世界提供氧氣的宏偉生命形式，共同在其中沉思自然。
In the Arms of The General 1 將軍的懷抱 1
2025 / Watercolor, European ink, Graphite and Conté stick on Japanese paper 水彩 歐洲墨水 石墨 康緹炭精筆 日本和紙 / 60.5 × 90 cm
In the Arms of The General 1 is the first (left) of a triptych of works. Each artwork began life as a “rubbing”—the simplest form of printmaking—made with graphite and conté stick on Japanese paper laid over branch and trunk of “The General”, a giant Coastal Grey Box eucalyptus tree growing on the southeast coast of Australia. The three artworks were made as one continuous act of “touching” this guardian tree. The placement of these artworks in relation to each other, reflects the linear process of their making and the position of their making on the tree.
《將軍的懷抱 1》為三聯作中的左側第一幅。每件作品都始於「拓印」——版畫中最簡單的形式——使用石墨和炭精條在日本和紙上拓印「將軍」的樹枝和樹幹。「將軍」是一棵生長在澳洲東南海岸巨型海岸灰箱尤加利樹。這三件作品是一個連續的「觸摸」行為，對這棵守護樹進行記錄。作品之間的擺放位置，反映了創作的線性過程以及在樹上拓印的位置關係。
In the Arms of The General 2 將軍的懷抱 2
2025 / Watercolor, European ink, Graphite and Conté stick on Japanese paper 水彩 歐洲墨水 石墨 康緹炭精筆 日本和紙 / 60.5 × 90 cm
In the Arms of The General 2 is the second (central) artwork of the triptych. Like the other two, this work began as a “rubbing” taken off the knotty, highly textured, part of the tree where branch meets trunk. As indexical marks these “rubbings” are in proportion to the source material, and much like skin, each area of bark is completely unique. Because the tree is so tall a very large ladder was needed to climb high up into the tree’s limbs, hence the title of the works. Making these works was highly dynamic and precarious because of the windy conditions.
《將軍的懷抱 2》為三聯作中的第二幅（中央）。與其他兩幅作品一樣，這件作品取自樹枝與樹幹交會處那節理且紋理豐富的部分之「拓印」。這些「拓印」作為索引標記，與原始材料比例一致，且如同皮膚般，每片樹皮區域皆獨一無二。由於樹木高大，需要搭乘大型梯子才能攀上樹梢，因此作品的標題由此而來。創作過程因風勢強勁，而顯得極具動感且充滿不確定性。
In the Arms of The General 3 將軍的懷抱 3
2025 / Watercolor, European ink, Graphite and Conté stick on Japanese paper 水彩 歐洲墨水 石墨 康緹炭精筆 日本和紙 / 60.5 × 90 cm
The third artwork, In the Arms of The General 3 (right), shows the linear undulations of the bark as it flows back up the trunk of the gumtree. Wanting to continue with the organic approach to making these artworks, the artist began adding colour to the three drawings through the process of monoprinting. It is not common practise to print using watercolours because, being water soluble they dry very fast, but the resulting layers add more texture to the works and further enhance their sensory, tactile nature, paying tribute to the theme of this exhibition.
第三幅作品《將軍的懷抱 3》（右側）展現了尤加利樹樹皮向上延伸的線性起伏。為了延續這些作品的有機創作方式，藝術家藉由單版印刷的過程，為三幅畫作添加水彩。因為水彩是水溶性的，會乾得很快，所以通常不會使用水彩印刷，但產生的層次感能為作品增添更多紋理，並進一步增強了其感官、觸覺性質，向本次展覽的主題致敬。