楊智富作為一名藝術界的資深工作者,楊智富在圈內大凡是以教育工作者、策展人或評論人為大家所熟知。也因為工作緣故,在逾三十年的藝術職涯中,僅間續地舉辦個展或參與聯展。然而他長期以來創作不輟,始終持續著對於抽象繪畫的探索。

早在1990年代初,楊智富即關注創作造型語言的發展課題,以及藝術、人與環境的關係,認為藝術雖然擁有獨立而自主的生息場域,卻不應抽離人和環境存在。他曾在首次個展中提出「對形式語言的尋找,不只在找尋獨存的語言,而是企圖尋找和人、環境有關且以擁有獨立、自主發展軌跡的語言系統」的見解,揭示了未來創作發展的主要方向。

綜觀楊智富自1993年首次個展至今的創作發展,對於抽象本質的探究始終是其核心命題。他透過藝術造型語彙和意義符徵的辯證和對話,試圖建構具有個人意義並能反映時代環境的創作語彙系統。

As a senior art-worker, Yang Chih-Fu is well known as an education worker, curator or critic to all in the field of arts. For his work, he holds solo exhibitions or participates in group exhibitions only occasionally in his art career which has spanned more than 30 years; even so, he has long been devoting himself to artistic creation and persists in exploring abstract painting all the time.

As early as the beginning of the 1990s, Yang paid close attention to the development of plastic language for the making of art as well as the relationship between art, humanity and the environment. He thought that although art had an independent and autonomous field of existence, it should not be removed from humanity and the environment that it was connected to. In his first solo exhibition, he put forward a point of view: “Not only is the search for formal language an endeavor to seek out a language which exists independently, but it is also an attempt to find a language system that is related to humans and the surroundings but has an independent and autonomous development track.” His viewpoint revealed the main direction for the future development of artistic creation.

Overviewing the development of Yang’s creation since his first solo exhibition in 1993, the exploration of the essence of abstraction is always the core proposition. Through the dialectic and dialogue of artistic/plastic languages and the signifiers, he attempts to construct a language system of creation which possesses individualized meanings while reflecting the environments of the times.