HUNG Ming-Chueh / 洪明爵
Taiwan
Associate Professor, Department of Visual Arts and Design, National University of Tainan
Director, Pingtung County Cultural Foundation
Jury member for the Kaohsiung Museum of Fine Arts Exhibition, Final review jury member for the Huang Si Art Exhibition, Final review jury member for the Taitung Art Exhibition, Jury member for the UBF Impressionist Award, Collection committee member for the Cultural Affairs Department of Pingtung County Government, etc.
Winner of the first prize in the National Art Exhibition, Provincial Art Exhibition, and the Siemens Art Award, etc.
2021–
Present Executive Supervisor, Taiwan International Watercolor Society
2019–2021
President, Modern Art Association of Kaohsiung
國立臺南大學視覺藝術與設計系專任副教授
屏東縣政府文化基金會董事
高雄市立美術館展覽審查委員、磺溪美展複審委員、臺東美展複審委員、聯邦印象大賽評審委員、屏東縣政府文化處典藏委員等
榮獲全國美展、省展及德國西門子藝術創作等首獎
2021–
台灣國際水彩協會常務監事
2019–2021
高雄市現代畫學會理事長
Mountains and Waters of My Hometown 故鄉的山和水
2025 / Water-based pigments, Fluorescent pigments and Collage 水性顏料 螢光顏料 拼貼 / 50F
Recently, I revisited the Duzaiping intertidal zone in Xiaoliuqiu. Due to the longer days of this winter than previous years, plus an additional cleaning and guided tour fee is now required to enter the intertidal zone, the number of visitors has significantly reduced. As a result, the ecosystem has had more time to recover. Looking across the entire Duzaiping intertidal zone, one can see schools of shrimp and fish, sea hares crawl everywhere, and even sea grapes, seagrass, and corals are gradually reappearing. This is so gratifying compared to the desolate and monotonous “sea urchin wasteland” in the previous years.
近日再度參訪小琉球肚仔坪潮間帶，由於今年冬天寒冷的日子較往年長一些，進入潮間帶也需要額外加收清潔費及導覽費，使得願意進入潮間帶場域的人數銳減，生態因此獲得較為充足的養息時間。整個肚仔坪潮間帶一眼望去蝦魚成群，海兔四處爬行，海葡萄及海草，甚至珊瑚都已逐步見到它們的芳蹤。相較於過去幾年「海膽荒蕪」乏奮一息的單調海坪，甚是欣慰。
Childhood Memories 兒時記憶
2024 / Water-based pigments, Fluorescent pigments and Collage 水性顏料 螢光顏料 拼貼 / 50F
How long can the tiny crevices between coral reefs accommodate a deep breath? The duration of a single breath seems to continuously emerge and call forth the days afore I long for!
Unable to relive it as it was, the childhood experience, informed by the seasoning of time and life, renewed visit, and body’s memory, surges forth all at once through painting!
珊瑚礁岩石之間細小的岩縫，能容納多久深呼吸的時間長度？一口氣的時間似乎不斷地浮現與召喚，我懷念著昔日的時光！
兒時經驗雖無法再現，卻隨著時空與生命的歷練、再次的探訪、身體的記憶，一股腦地透過繪畫湧現！
Two Fish and Five Loaves 二魚五餅
2024 / Water-based pigments and Fluorescent pigments 水性顏料 螢光顏料 / 100 × 200 cm
This painting attempts to transform the religious story of Two Fish and Five Loaves into a bridge for contemporary art, juxtaposing religion (God), industrial development (humanity), and environmental issues (nature) to form a multi-layered discussion space. It does not merely retell a divine miracle but, through symbols, structure, and color, prompts viewers to contemplate how humanity coexists with the environment and to reflect on our roles in historical and religious narratives.
本畫試圖將「二魚五餅」的宗教故事轉化為一種當代藝術的橋架，將宗教（神）、產業發展（人）與環境問題（自然）三者並置，形成了一個多層次的討論空間。它不只是重述神蹟，而是透過符號、結構與色彩，促使觀者思考人類如何與環境共存，並反省我們在歷史與信仰敘事中所扮演的角色。
Presence / Fusion 在場 / 融合
2025 / Water-based pigments, Epoxy resin and Fluorescent pigments 水性顏料 環氧樹脂 螢光顏料 / 100 × 200 cm
In the Anthropocene era, humanity has become the center of all things on Earth. Traces of human activity are ubiquitous and have already become part of nature. Although somewhat incongruous, one grows accustomed to these traces over time!
人類世的年代，人已成為地球上萬物的中心，處處得以見到人類的活動軌跡。這些軌跡早已成為自然的一部分，雖有點違和，久而久之就習慣！