穎川畫廊 In River Gallery

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2F., No.45, Sec. 1, Ren’ai Rd., Zhongzheng Dist., Taipei City 100, Taiwan

台北市公車:263,270,651,630仁愛紹興或仁愛杭州路口下車,最近捷運站東門2號出口往信義路一段轉杭州南路一段;善導寺站4號出口往紹興南街方向

Upcoming《蔽‧隱現 》藝術家介紹 洪郁喜Hung Yu Hsi當世界令人不安,我們要如何安放自己的感知?台灣藝術家洪郁喜在此次展覽中,循著貓的身影,探索「躲藏」如何成為安放身體、重新感知世界的一種方式。1989 年出生於臺北,洪郁喜...
18/10/2026

Upcoming《蔽‧隱現 》藝術家介紹 洪郁喜Hung Yu Hsi

當世界令人不安,我們要如何安放自己的感知?

台灣藝術家洪郁喜在此次展覽中,循著貓的身影,探索「躲藏」如何成為安放身體、重新感知世界的一種方式。1989 年出生於臺北,洪郁喜以水墨創作為核心,從國立臺灣師範大學的藝術養成出發,持續探索水墨與膠彩、多元媒材之間的可能。對她而言,水墨承載著觀看、感受與組織空間的方式。

本次創作從薄伽丘《十日談》獲得啟發:青年們逃離黑死病蔓延的城市,在鄉間透過講述故事,重新敘事重建混亂的生活與感知。回望當代,疫病的延燒、地緣局勢與衝突帶來的不確定,也讓「暫時退隱」成為許多人熟悉的心理狀態。從童年的捉迷藏,到防空演練時的掩蔽,身體退出視線的同時,往往更加留意外界的聲響與動靜。

這份敏銳,在洪郁喜此次展出的〈躲貓貓〉系列中化為具體的姿態。濃黑繁密的花葉紋樣,與細膩柔軟的貓毛相互映照;貓蜷身伏臥、藏於紋樣之間,或抬頭凝望。目光隨著牠們的身形,在遮蔽與顯露之間移動,也讓人想起自己曾經尋找安全角落的時刻,把躲藏視為主動與被動之間的一種生存方式。

這樣的探索,更從紙面延伸至立體創作《蔽計畫》。不鏽鋼管與垂掛麻布,搭起一處帶有粗糙質感的避難空間。光影與視線仍能穿過織物孔隙,遮蔽因而保留了與外界相連的縫隙,讓置身其中的人重新感受身體與環境的距離。展覽也將隨時間持續變化。藝術家不定時現身、退場,如同難以預測的貓蹤,讓觀看成為一段等待與發現的過程。

邀請您走近洪郁喜的作品,沿著花葉、毛髮與布幔的縫隙,感受那些藏起來之後,才逐漸清晰的聲息。

When the world unsettles us, how might we find an anchor for our perceptions?

In this exhibition, Taiwanese artist Hung Yu-Hsi follows the presence of cats to explore concealment as a means of sheltering the body and renewing our perception of the world. Born in Taipei in 1989 and trained at National Taiwan Normal University, Hung grounds her practice in ink painting while continually exploring its intersections with mineral pigment painting and other media. For her, ink embodies ways of seeing, sensing, and articulating space.

This body of work draws inspiration from Giovanni Boccaccio’s The Decameron, in which a group of young people flee a city ravaged by the Black Death and retreat to the countryside. Through storytelling, they restore a sense of order to lives and perceptions thrown into disarray. In contemporary life, the spread of disease and the uncertainties surrounding geopolitical tensions and conflict have likewise made temporary withdrawal a familiar psychological state. From childhood games of hide-and-seek to taking cover during air raid drills, withdrawing the body from view often heightens our awareness of the sounds and movements around us.
This heightened sensitivity takes tangible form in Hung’s Hide and Seek series. Dense floral and foliate motifs in deep black resonate with the delicately rendered softness of feline fur. The cats curl into resting positions, nestle among the patterns, or lift their heads in a watchful gaze. As our eyes follow their contours, we move between concealment and revelation, recalling moments when we, too, sought a place of safety. Concealment emerges as a mode of survival poised between agency and passivity.

This inquiry extends beyond the pictorial surface into the spatial installation Project Veiled. Stainless steel pipes and suspended linen form a shelter distinguished by its coarse textures. Light, shadow, and sightlines pass through openings in the weave, preserving a connection to the outside world and allowing those within to sense anew the distance between their bodies and their surroundings. The exhibition will continue to evolve over time. The artist’s intermittent appearances and withdrawals echo the unpredictable movements of cats, transforming the act of viewing into a process of waiting and discovery.

We invite you to draw closer to Hung Yu-Hsi’s work, tracing the spaces between foliage, fur, and draped fabric, and to attend to the subtle sounds and stirrings that gradually become perceptible in concealment.

|展覽日期:2026.11.7-12.9(週一公休)
|開幕茶會:2026.11.7(六) 下午三點
|座談會: 2026.11.22(日) 下午三點 與談人 : 劉信義教授
|展覽地點:穎川畫廊(台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00
|洽詢電話:02-23579900
|聯絡信箱:[email protected]



#洪郁喜 #藝術家 #水墨 #躲貓貓 #蔽計畫 #裝置藝術 #穎川畫廊

《晉見山明-塵三個展》 展品分享塵三|磐石  Monolith, 2026, 油畫 Oil on Canvas, 100x120 cm畫面由左側的冰山、右側的岩漿海,以及中央的黑曜石島與遠處的山景構成。前景鋪展著一片灰藍色地帶,彷彿漂浮於雲...
17/10/2026

《晉見山明-塵三個展》 展品分享
塵三|磐石 Monolith, 2026, 油畫 Oil on Canvas, 100x120 cm

畫面由左側的冰山、右側的岩漿海,以及中央的黑曜石島與遠處的山景構成。前景鋪展著一片灰藍色地帶,彷彿漂浮於雲海之上,也像煙霧瀰漫的海面;視線越過前景,遠處的山巒與雲霧逐漸交融,形成朦朧而難以辨識的背景。冷色與暖色在畫面兩端彼此拉扯,營造出冰火交會後蒸騰而起的霧氣。中央的黑曜石塊則以向下沉降的重量感掌握了視覺重心,如同拔河中兩股力量勢均力敵時所形成的暫時平衡。在碰撞之中,冰與火之間凝結出一塊沉穩、堅硬的岩石。
黑曜石島兩側的筆法進一步強化了這種對照。右側火焰以短促、尖銳的筆觸堆疊,形成烈焰跳動、向外噴發的視覺效果;左側冰山則由較長、連貫的筆觸構成,藍色、綠色與紫色層層交疊,帶出冰晶凝結於岩石、土壤表面的質感。此外兩座島嶼的下緣皆可見細微的綠色痕跡,如同一絲生機從冷熱交界之處滲出,使這片看似荒涼的地景保留了一絲生機。
遠景則延續塵三一貫的視覺語言,採用棕色及相近色調彼此交融。色彩之間不再有清楚的邊界,而是在霧狀的筆觸中相互滲透,使遠方高山彷彿被濃霧遮蔽,只留下若隱若現的輪廓。這種霧裡看花的處理,與前景中冰、火與黑曜石相對明確的形體自然地劃分開,近處的力量彼此抗衡,遠處的景觀則像是餘波盪漾一般逐漸消融於色彩、空氣與視線之中。
冰山、岩漿與霧氣的並置,讓這片海域帶有近乎史詩的尺度,似乎可以使人想像,也許在遙遠的大西洋北方某處,濃霧後方或許潛伏著泰坦般的巨獸,冰與火仍在爭奪地表的形狀;也彷彿是人類出現以前,一片尚未安定下來的世界。畫面沒有交代事件的起點或終點,只留下兩股力量碰撞後暫時凝聚的瞬間,使中央黑曜石的沉穩顯得更加珍貴。
The composition is made up of an iceberg on the left, a sea of magma on the right, and an obsidian island at the center, with distant mountains beyond. In the foreground lies a stretch of grayish-blue that seems to float above a sea of clouds, or perhaps a smoke-filled sea. Past it, the far-off ridges and clouds gradually merge into a hazy, indistinct backdrop. Cool and warm colors pull against each other at opposite ends of the canvas, producing the mist that rises where ice and fire meet. The obsidian mass at the center anchors the composition with a sense of downward weight, like the momentary balance in a tug-of-war between two evenly matched forces. Out of this collision, a solid, steady rock has formed between the ice and the fire.

The brushwork on either side of the obsidian island reinforces this contrast. On the right, short, sharp strokes are layered into flames that flicker and burst outward. On the left, longer, continuous strokes build the iceberg, and overlapping layers of blue, green, and purple evoke ice crystals condensing on rock and soil. Faint traces of green also appear along the lower edges of both islands, like a thread of life seeping out from the boundary between heat and cold, so that this seemingly barren landscape retains a trace of vitality.

The distant background continues [Chensan]'s consistent visual language, blending browns and neighboring tones into one another. The colors no longer have clear boundaries. They bleed into each other through misty brushstrokes, so that the far mountains appear veiled in thick fog, leaving only faint, half-visible outlines. This "flower in the mist" treatment sets the distance apart from the relatively defined forms of the ice, fire, and obsidian in the foreground. Up close, opposing forces contend with one another. In the distance, the landscape seems to dissolve like fading aftershocks into color, air, and line of sight.

The juxtaposition of ice, magma, and mist gives this stretch of sea an almost epic scale. One can imagine that somewhere in the far North Atlantic, a titan-like creature lurks behind the fog, with ice and fire still contending over the shape of the earth. It also feels like a world before humanity, one that has not yet settled. The painting gives no beginning or end to any event. It keeps only the moment when two forces, after colliding, briefly come together, which makes the calm of the central obsidian all the more precious.

|展覽日期:2026.9.12-10.28(週一公休)
|展覽地點:穎川畫廊(台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00
|洽詢電話:02-23579900
|聯絡信箱:[email protected]
|網址 : *更多塵三作品 https://www.inriver.com.tw/page/artist/show.aspx......

#穎川畫廊 #塵三 #晉見山明 #塵三個展 #當代藝術 #水墨 #油畫

《晉見山明-塵三個展》 展品分享塵三|無題  Untitled, 2026, 油畫 Oil on Canvas, 60x60cm無題,不是沒有想法,而是拒絕讓語言先於感受抵達。在尚未被框架定義前,無題已然在某個地方產生了無形的影響。黑色的量...
15/10/2026

《晉見山明-塵三個展》 展品分享
塵三|無題 Untitled, 2026, 油畫 Oil on Canvas, 60x60cm

無題,不是沒有想法,而是拒絕讓語言先於感受抵達。在尚未被框架定義前,無題已然在某個地方產生了無形的影響。

黑色的量體壓進畫面中,像山,又不完全是山。有重量、稜角,以及一股迫在眉睫的壓迫。是外在的風景,或是內在的省思,在形式與意義之間的灰色地帶,塵三創造了一處供觀者思考的過渡空間。

無題的筆觸裡有速度,有衝撞,有某種尚未平息的力量在其中移動。它不是一個結論,而是一個仍在進行中的狀態,在尋找明確形狀之前的樣子,像情緒在落地之前短暫懸浮的瞬間。

大地色調的背景沉默地承接著一切,角落裡藏著一塊橘黃暖焰。在所有的黑色重量裡,區塊很小,卻很溫暖。像是無論發生了什麼,本質的溫度始終還在。

Untitled is not an absence of thought, but a refusal to let language arrive before feeling does. Before a frame is placed around it, the untitled has already made its presence felt somewhere beyond words.

Black blocks press into the canvas, like mountains, yet not quite. There is weight, there are edges, and a sense of something bearing down. Landscape or inner reflection, between the grey area of form and meaning, Chen San creates a transitional space for the viewer to inhabit and think within.

The brushwork carries speed, collision, a force that hasn't yet settled. This is not a conclusion but a state still in motion, the shape of something before it finds its natural habitat, like an emotion suspended just before it lands.

A warm earth tone holds everything in silence beneath it all, and tucked into the corner, a small flame of amber. Amid all that black weight, it is almost insignificant but warm. As if whatever has happened, a certain warmth never actually leaves.

|展覽日期:2026.9.12-10.28(週一公休)
|展覽地點:穎川畫廊(台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00
|洽詢電話:02-23579900
|聯絡信箱:[email protected]
|網址 : *更多塵三作品 https://www.inriver.com.tw/page/artist/show.aspx......

#穎川畫廊 #塵三 #晉見山明 #塵三個展 #當代藝術 #水墨 #油畫

Upcoming《蔽‧隱現 》洪郁喜|陳廷彰聯展Veiled/Emerging - Hung Yu His|Chen Ting Chang  Joint Exhibition穎川畫廊將於入冬前夕呈現洪郁喜與陳廷彰兩位藝術家,以退隱的身影、朦...
14/10/2026

Upcoming《蔽‧隱現 》洪郁喜|陳廷彰聯展
Veiled/Emerging - Hung Yu His|Chen Ting Chang Joint Exhibition

穎川畫廊將於入冬前夕呈現洪郁喜與陳廷彰兩位藝術家,以退隱的身影、朦朧的視野、織物的孔隙、宣紙的滲透,構築出一場關於感知與存在的對話。郁喜以貓為符號,在大型支柱與垂掛麻布之間,探索躲藏與現身的邊界,讓光影與視線穿透遮蔽,在不安的年代裡為自身尋得一處安放之所。廷彰則以宣紙反覆翻面,讓墨痕在紙背浮現又隱去,於刻意留白的資訊缺失中,凝視主體與世界之間必然、秘而不宣的距離。

兩種截然不同的創作語彙,卻都指向同一信念:真實未必來自看得更多,而是在遮蔽與缺席之中,學會與未知共處。在退隱與清晰的交界,敬邀您一起見證兩位藝術家如何在藏匿與凝視之間,訴說著無盡的對話。

As winter approaches, In River Gallery presents Hung Yu-Hsi and Chen Ting-Chang, two artists whose work unfolds through retreating figures, blurred vision, the pores of woven cloth, and the permeability of rice paper, composing a dialogue on perception and existence. Taking the cat as her emblem, Yu-Hsi explores the boundary between hiding and appearing within the posts and hanging linen of Project Veiled, letting light and sight pass through the covering and finding, in an uneasy age, a place to rest. Ting-Chang turns rice paper over again and again, allowing ink traces to surface and fade on the reverse side. Within deliberate gaps of missing information, he contemplates the unspoken, inevitable distance between self and world.

Their artistic languages differ greatly, yet both point to the same belief: truth does not necessarily come from seeing more, but from learning to live with the unknown amid concealment and absence. At the threshold between withdrawal and clarity, we invite you to witness how two artists, between hiding and gazing, carry on an endless conversation.

|展覽日期:2026.11.7-12.9(週一公休)
|開幕茶會:2026.11.7(六) 下午三點
|座談會: 2026.11.22(日) 下午三點 與談人 : 劉信義教授
|展覽地點:穎川畫廊(台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00
|洽詢電話:02-23579900
|聯絡信箱:[email protected]


#洪郁喜 #陳廷彰 #水墨 #躲貓貓 #蔽計畫 #裝置藝術 #忘川謠 #黃離之道 #穎川畫廊

《晉見山明-塵三個展》 展品分享塵三|朱水 Vermilion Water, 2026, 布面油畫 Oil on Canvas, 60 x 50 cm  《朱水》所描繪的究竟是大自然的危機四伏還是生生不息,或許值得觀者從不同角度細品。  紅...
14/10/2026

《晉見山明-塵三個展》 展品分享
塵三|朱水 Vermilion Water, 2026, 布面油畫 Oil on Canvas, 60 x 50 cm

  《朱水》所描繪的究竟是大自然的危機四伏還是生生不息,或許值得觀者從不同角度細品。

  紅色帶給觀者的第一印象往往是危險、警示或是憤怒,然而,塵三透過對比色的搭配以及動態的筆觸,讓紅色的使用更像在表述一段熱情有力的敘事。

  中間的紅色山脈為畫面形塑穩定的基調以及沉穩的重心,帶領觀者將視野從中心向外擴張。當觀者的視線挪移到上方時,便會被空中紫色、綠色、黃色交雜的景緻所驚豔,原先嚴肅的崇山峻嶺,宛如被春意盎然所點綴。繼續往下觀賞,一條涓涓細流從山間流淌而出,滾滾流水中映照著空中活潑的春色,繽紛的色彩交織於白色的浪花之中。然而,這些色彩的搭配並非日常常有的景致,整幅作品猶如貼上了一張有色的玻璃紙,增添了一絲奇幻且跳脫框架的氛圍。

  此外,若細看《朱水》的筆觸運用,便會發現筆刷的方向與力度是《朱水》得以釋放能量的關鍵。蜿蜒的筆觸用於呈現翻滾的河水,一道一道清晰的塗抹就如同溪水流動的紋理。天空則運用大面積的薄塗,彼此完美融合的顏料,呈現出空氣的朦朧,唯有中間厚塗的黃色保留了油畫顏料的觸感。山脈上崎嶇的岩石則透過凌亂的塗抹,以及混雜於其中的紅黑色顏料,呈現山巒起伏的表面與地勢,交織的筆觸也令人聯想到鹽田千春的紅線創作,兩者都帶給靈魂強烈的衝擊。塵三多元的上色技法,讓觀者宛如聆聽到河水潺潺流動的聲音,以及感受到地質的觸感。

  當觀者仔細觀賞《朱水》的每處細節,便會發現紅色帶給觀者突破正好呈現出大自然的磅礡與蓬勃,那股精神力量隨著紅色顏料一同從畫布中傾瀉而出,帶給生命無限的愛與熱情。

Is it nature's peril or endless vitality? It’s a question worth savoring from different angles in Vermilion Water.

The first impression of red color on viewers is often danger, warning, or anger. Yet through contrasting colors and dynamic brushwork, Chen San uses red in a way that feels more like a passionate, powerful narrative.

The red mountain range at the center establishes a stable tone and a grounded focal point, leading the viewer's gaze outward from the middle. As the eye moves upward, it is blown away by the interplay of purple, green, and yellow in the sky, and the majestic peaks seem to be adorned with the vibrancy of spring. Continuing downward, a gentle stream flows out from the mountains. The rolling waters reflect the lively spring hues in the sky, with vivid colors interwoven among white foam. Nonetheless, these kinds of color combinations are not common scenes in everyday life. The entire work seems to be overlaid with a sheet of tinted cellophane, adding some fantasy and an atmosphere that breaks the mold.

Furthermore, a closer look at the brushwork in Vermilion Waters reveals that the direction and force of the brush are key to how the painting releases its energy. Winding strokes depict the churning river, and each distinct swipe resembles the texture of flowing water. The sky is rendered with broad, thin applications of paint that blend seamlessly together, evoking the haziness of air. There is only a thickly applied yellow at the center retaining the tactile quality of oil paint. The rugged rocks on the mountains are created through rough, scattered strokes mixed with red and black pigments, conveying the undulating surface and terrain of the peaks. These interwoven strokes also recall Chiharu Shiota's red thread installations, as both deliver a powerful shock to the soul. Chen San's varied painting techniques allow viewers to almost hear the sound of flowing river and feel the texture of the earth.

When viewers examine every detail of Vermilion Waters, they will find that the breakthrough red offers is precisely a portrayal of nature's magnificence and vitality. That spiritual force pours out of the canvas along with the red pigment, bringing boundless love and passion to life.

|展覽日期:2026.9.12-10.28(週一公休)
|展覽地點:穎川畫廊(台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00
|洽詢電話:02-23579900
|聯絡信箱:[email protected]
|網址 : *更多塵三作品 https://www.inriver.com.tw/page/artist/show.aspx......

#穎川畫廊 #塵三 #晉見山明 #塵三個展 #當代藝術 #水墨 #油畫

《晉見山明》作品分享塵三|沆藍 Indigo Fog, 2026, 油畫 Oil on canvas, 60x60 cm這是一件明亮而富有生命力的作品。藝術家以青色、翠綠、亮橙與白色等高飽和色彩鋪陳畫面,使光線彷彿自遠方升起,穿透雲霧並灑落...
14/10/2026

《晉見山明》作品分享
塵三|沆藍 Indigo Fog, 2026, 油畫 Oil on canvas, 60x60 cm

這是一件明亮而富有生命力的作品。藝術家以青色、翠綠、亮橙與白色等高飽和色彩鋪陳畫面,使光線彷彿自遠方升起,穿透雲霧並灑落於地表。畫面上方的白色在畫面中形成近似日出的光線投射到遠方山景,青色與翠綠則在其周圍推展,讓景觀帶有濕潤、發亮且持續生長的氣息。相對之下,畫面下方以沉穩的棕色奠定基底,色調令人聯想到肥沃而厚實的火山土壤;它承接上方明亮、流動的色彩,使整體構圖呈現由地面向上舒展的力量。畫面因而傳遞出一種甦醒、萌發與向上生長的希望。

右側一抹鮮豔的青色尤其引人注意。它如同陽光穿過晨霧時,空氣中的水氣折射所留下的冷色光暈。地表浮動的白色霧氣則近似雲海,左側泥土在光線照射下閃現金色與白色的細碎亮點。作品延續塵三一貫處理遠景的方式,畫面中段與上方的色塊並沒有明確分界,而是在筆觸與筆觸之間形成交融如霧氣般的層次。遠方的山景不以清楚輪廓出現,彷彿觀看者正隔著潮濕的空氣望向被雲霧覆蓋的山巒。這種模糊讓畫面產生一種可呼吸的深度,使山、霧與光不再是彼此分離的元素,而在同一層空氣中緩慢混合。

This is a vibrant painting full of vitality. The artist Chensan builds the picture with highly saturated colors such as cyan, emerald green, bright orange, and white, creating a light seemingly comes from far away, pass through mist, and spreads on the ground. The white in the upper part of the composition resembles the light of sunrise projecting to the mountains far away, and the cyan and green spreads along it, creating a vibe of moist, vibrant, and growth. In contrast, the lower part of the painting is anchored by a deep brown ground, recalling the richness and density of fertile volcanic soil. It supports the bright, flowing colors above, allowing the composition to rise upward from the earth with a sense of expansion. The work therefore evokes awakening, renewal, and the hope of new growth.

The vivid streak of cyan on the right is especially striking. It resembles the cool halo created when sunlight passes through morning mist and is refracted by moisture in the air. The drifting white seems like a sea of clouds, while the earth on the left shines with golden sparkles. This painting continues Chen San’s characteristic treatment of distant space with the color fields in the middle and upper portions of the painting have no fixed boundaries, but merge through the interaction of brushstrokes to create mist-like layers. The distant mountains do not emerge through sharply defined outlines; instead, they appear as though viewed through humid air and veiled by clouds. This softness gives the painting a breathable sense of depth, allowing mountain, mist, and light to blend gradually within the same atmospheric space.

|展覽日期 : 2026.9.12-10.28 ( 週一公休 )
|展覽地點:穎川畫廊 (台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00
|洽詢電話:+886-2-23579900
|聯絡信箱:[email protected]
|網址 : *更多塵三作品 https://www.inriver.com.tw/page/artist/show.aspx......

#穎川畫廊 #塵三 #晉見山明 #塵三個展 #當代藝術 #水墨 #油畫

《晉見山明-塵三個展》作品介紹塵三|山間  Between Mountains, 2026, 油畫 Oil on Canvas, 60x50cm山間是夾在山巒之間的存在。風與回聲的獨特氣息,只有在兩座山之間才能被深刻地感受。塵三創造了獨有的...
09/10/2026

《晉見山明-塵三個展》作品介紹
塵三|山間 Between Mountains, 2026, 油畫 Oil on Canvas, 60x50cm

山間是夾在山巒之間的存在。風與回聲的獨特氣息,只有在兩座山之間才能被深刻地感受。塵三創造了獨有的開闊視角,讓觀者佇立於山的縫隙間,感受被包圍卻又遼闊的雙重體驗。

中央那座深藍的山是整幅畫的重心。它沉默、篤定,帶著一種不需要解釋的存在感。藍的深沉裡藏著黑,讓它在所有的色彩之中,顯得格外有重量。

而它周圍,是一場顏色的對話。赭紅的岩石、金黃的山坡、青綠的山壁、粉調的天光,每一種顏色都有自己的溫度和個性,卻又奇妙地共存於同一個畫面裡。塵三用色大膽,卻從不混亂。那是對山的豐富與複雜,最誠實的回應。

前景的地面帶著流動感,像是一條穿行其中的路徑,引著人往山的深處走。山間不是目的地,而是在兩座山及兩極的力量之間,找到專屬自己的位置。

Between Mountains: to exist in the space the mountains make between them. The wind, the echo, an atmosphere that can only be felt from within. Chen San opens up a view that places viewers in the gap itself, held by the mountains on all sides yet somehow part of something vast.

The deep blue mountain at the center anchors the whole painting. Silent, steady, carrying a presence that needs no explanation. Within that blue lives a darkness that gives it weight above everything else on the canvas.

Around it, a conversation in color. Ochre-red rock, golden hillside, blue-green cliff face, the soft pink of sky, each with its own temperature and character, yet somehow coexisting in the same frame without conflict. Chen San's color is bold, never chaotic. An honest response to how rich and complex a mountain actually is.

The ground in the foreground moves like a path, drawing attention further in. Between mountains is not a destination, it's the place where, caught between two peaks and two forces, you find where you truly belong.

|展覽日期 : 2026.9.12-10.28 ( 週一公休 )
|展覽地點:穎川畫廊 (台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00 國慶假日休館 : 10/10.11
|洽詢電話:+886-2-23579900
|聯絡信箱:[email protected]
|網址 : *更多塵三作品 https://www.inriver.com.tw/page/artist/show.aspx......

#穎川畫廊 #塵三 #晉見山明 #塵三個展 #當代藝術 #水墨 #油畫

09/10/2026

【國慶日休館公告】
國慶節假日(10/10.11)畫廊休館。
祝福大家雙十國慶快樂,平安喜樂!

《晉見山明》|塵三個展
持續展出中,歡迎連假後蒞臨參觀~

|展覽日期 : 2026.9.12-10.28 ( 週一公休 )
|展覽地點:穎川畫廊 (台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00
|洽詢電話:+886-2-23579900
|聯絡信箱:[email protected]
|網址 : *更多塵三作品 https://www.inriver.com.tw/page/artist/show.aspx......

#穎川畫廊 #塵三 #晉見山明 #塵三個展 #當代藝術 #水墨 #油畫

《晉見山明-塵三個展》作品介紹塵三|作品 一 Work l, 2025, 布面油畫 Oil on Canvas ,  100x100 cm《作品一》相較於作品二的強烈動勢,作品一如同混沌之後沉澱。色彩轉向黃綠、米白與灰藍色,整體色調更加柔和...
08/10/2026

《晉見山明-塵三個展》作品介紹
塵三|作品 一 Work l, 2025, 布面油畫 Oil on Canvas , 100x100 cm

《作品一》相較於作品二的強烈動勢,作品一如同混沌之後沉澱。

色彩轉向黃綠、米白與灰藍色,整體色調更加柔和平靜。天空與山體之間的界線模糊,使山景逐漸融入空氣與光線之中,使畫面的空間感更加開闊。

左右兩側較為厚重的山體形成一種自然的框景,將視線引向中央大面積的空處,使觀者彷彿站在山谷之間,凝望一個安靜而遙遠的世界。

灰藍色的雲層之間仍透出淡淡的白光與暖色,像是日落最後留下的餘暉,成為空間與情緒轉折的重要元素。像是經歷混沌之後的內省,情緒逐漸沉澱,視線也開始從眼前的山勢轉向更遙遠的地方。

兩幅作品
從熱烈到平靜、靠近到遠望、火花到光芒餘暉。
呈現自然力量帶來的震盪及沉澱
將風景轉化成一段描繪人在自然面前所經歷的情緒、時間、內在狀態的視覺旅程

《晉見山明》|塵三個展
歡迎親臨藝廊觀看,近距離感受作品中細膩的筆觸層次。

|展覽日期 : 2026.9.12-10.28 ( 週一公休 )
|展覽地點:穎川畫廊 (台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00 (請先預約)
|洽詢電話:+886-2-23579900
|聯絡信箱:[email protected]
|網址 : *更多塵三作品 https://www.inriver.com.tw/page/artist/show.aspx......

#穎川畫廊 #塵三 #晉見山明 #塵三個展 #當代藝術 #水墨 #油畫

06/10/2026

《晉見山明-塵三個展》作品 l 、ll 影片

同一片大地,兩種不同的呼吸。
作品 l ,山在兩側守候 ; 中間的霧氣與金黃光暈緩緩漫開,靜謐卻蘊藏著力量。
作品 ll ,筆觸變得緊湊而激烈 ; 像是同一片土地正經歷某種劇烈的內在震動。
塵三用連續的畫作捕捉了大地的兩種狀態,沉靜與動盪並存於同一個世界裡。

歡迎親臨畫廊觀看,近距離感受作品中細膩的筆觸層次。

|展覽日期 : 2026.9.12-10.28 ( 週一公休 )
|展覽地點:穎川畫廊 (台北市中正區仁愛路一段45號2F)
|開放時間:13:30-20:00 (請先預約)
|洽詢電話:+886-2-23579900
|聯絡信箱:[email protected]
|網址 : https://www.inriver.com.tw/page/artist/show.aspx...... *更多塵三作品

#穎川畫廊 #塵三 #晉見山明 #塵三個展 #當代藝術 #水墨 #油畫

Address

仁愛路一段45號2樓
Taipei
100

Opening Hours

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Saturday 13:30 - 20:00
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+886223579900

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