薛保瑕 (b.1956)

1979年國立師範大學美術系學士,1986年美國紐約普拉特藝術學院碩士,1995年美國紐約大學教育學院藝術博士。現任國立臺南藝術大學榮譽教授。薛保瑕學院出身,集藝術家、學者、教育家於一身,深厚的東方美學底蘊與人文素養,在西方藝術思潮的激盪下,豐富她創作的視野與內涵,孕育出她對多元媒材的靈活運用能力,建構出多面向的抽象表現。

在不事先打稿的創作習慣下,全觀性創作,有邏輯地橫跨畫布連續敘述。如何站在近距離有限的視角創作時,讓視點和諧不混亂?如何將線條在高度位置,不受身體體能或手臂長度限制,呈現有力度地跨越?又如何在理性思維和情感表現之間平衡的展現,不使過度的理性計算影響畫面自然感?都成了藝術家最大的挑戰。

彰化舊倉儲改裝帶有濃厚工業風的畫室,成了她巨幅創作的起點。挑高寬敞的空間容許薛保瑕創作大尺寸,甚或兩層樓高的畫作,有足夠的空間讓視點前後上下移動審視作品。站在特製的長條梯架上,腳底的空間讓畫家可以大幅度扭身、跳躍揮舞長線條,或以具速度感的爆發之姿刷過畫布。

薛保瑕關注如何可能再發展抽象藝術的面向,以抽象語彙做為藝術創作的表現形式,並置冷與熱的抽象符號,因應時代的改變進一步探討當代抽象藝術的特質。其作品多次於臺灣、中國、美國、法國、義大利、韓國,和日本等地展出。作品為國立臺灣美術館、台北市立美術館、高雄市立美術館、北京中國美術館、澳洲白兔美術館等機構典藏,以及私人收藏等。

 

 

Ava Hsueh (b.1956)

Ava Hsueh earned a B.A. from National Taiwan Normal University in Taiwan in 1979, a Master’s in Fine Arts from Pratt Institute in New York in 1986, and a Doctor of Arts from New York University in 1995. Currently, she is an honorary professor in the doctoral program in Art Creation and Theory at Tainan National University of the Arts. A product of formal academic training, she combines the various facets of artist, scholar, and educator in one, with a deep grounding in Oriental aesthetics and humanities and culture, and the stimulus of Western artistic thinking. These influences have enriched her creative vision and makeup to cultivate her ability to use diverse media with aplomb, and to forge multifaceted abstract expression.

Accustomed to working without a roadmap, Ava Hsueh engages in all-encompassing creation, logically spanning the canvas with linear narrative. How to achieve a harmonious perspective while working up close from a limited viewpoint without breaking down into disorder? When working with lines from an elevated position, how to present potent penetration while subject to limitations of physical stamina or arm length? And how to achieve balance between rational thinking and emotional expression so that excessive rational calculation does not overcome the image’s natural feeling? These all become the artist’s greatest challenges.

A studio in a converted Changhua warehouse with a distinct industrial air became the starting point for Hsueh’s oversized creations. The ample space with high ceilings permits the artist to make extra large paintings reaching as tall as two stories high, allowing sufficient space for examining the works from various distances and heights. Standing on a custom-made long trellis, the space underfoot lets the artist bend, stretch, and leap as she traces long lines, or sweeps across the canvas with rapid, explosive movements.

Ava Hsueh is keenly focused on how to re-develop various aspects of abstract art, taking the language of abstraction as the expressive form for creating art, juxtaposing hot and cold abstract symbols in response to changing times, and to further explore the essence of contemporary abstract art. Hsueh’s works have been featured in exhibitions in Taiwan, China, the United States, France, Italy, Korea, and Japan, and held in the collections of institutions such as the National Taiwan Museum of Fine Art, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, National Art Museum of China in Beijing, and the White Rabbit Gallery in Australia, as well as private hands.