張乃文 (b.1966~)
張乃文生於臺南白河，1994年畢業於國立藝術學院(今國立臺北藝術大學)，2003年自臺南藝術大學造型藝術研究所畢業，2016年起成為國立臺北藝術大學美術系副教授。
藝術家張乃文長年致力雕塑藝術的創作，從早年抽象形式逐次發展成為具象的造像系統，並融合傳統宗教的圖像，發展其特殊的造型語言。觀者可以看到其旺盛的創作慾望，同時也領略雕塑就是在藝術家的實踐過程中，逐漸形構其形式與內涵的意義。
誠如臺南藝術大學藝術創作理論研究所副教授龔卓軍所言：「張乃文的雕塑，涉及一種特別的內爆與混搭…講的是沒人聽得懂的舞鶴式多向雙關語。一種收歛式的狂囂，瘧疾式的忽冷忽熱打擺子。時而精細手工式的拼裝，一會兒又開始暴走，搞著反雕塑的無厘頭：一下子冷冷自嘲式的犬儒，然後馬上轉身對歷史旁徵博引，卻硬要搞笑：最後不忘處處自設陷阱，視歷史的造形為碎片、為無物。」
「不按牌理出牌」已經成為張乃文創作的某種常規，類似達達主義之姿，時時刻刻清醒地反身思考，懷疑經典以及信仰的威權，並在顛覆與拆解的過程中，重新面對這個世界。
Chang Nai-Wen (b.1966- )
Chang Nai-Wen, a native of Tainan, graduated from the National Institute of the Arts (now Taipei National University of the Arts) in 1994, and obtained a MFA degree from the Institute of Plastic Arts from the Tainan National College of the Arts in 2003. Since 2016 he has held the title of Associate Professor in the School of Fine Arts at Taipei National University of the Arts.
Chang Nai-Wen has long focused his dedication to expression in the art form of sculpture. From his early abstract forms, his work has gradually evolved into a system of representational imagery, incorporating traditional religious images to elaborate his unique artistic language. Chang’s exuberant creative desire is palpable to viewers, as is the way the form and content of his sculpture is gradually constructed during the artist’s practice.
In the words of Gong Jow Jiun, associate professor in the Graduate Institute of Art Creation and Theory of Tainan National University of Arts, “Chang Nai-Wen’s sculpture touches upon a certain unusual internal explosiveness and mixture… speaking of a multi-directional pun in the style of Wuhe that no one understands. A sort of restrained howl, and malarial swings between fever and cold sweats. His often refined handcrafted construction can suddenly take off, diverging into the nonsensical realm of anti-sculpture: going from cold self-deprecating cynicism to turning on a dime and citing history, yet in deliberately comical fashion. And finally, never forgetting to set traps for himself, viewing history’s image as fragmented and vacuous.”
Unpredictability has by now become a habit for Chang Nai-Wen in his art, taking a Dadaist posture, and always carefully deliberating, questioning the classic canon and the authority of faith, and taking on the world anew in the process of subversion and deconstruction.