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李俊陽 Li, Jiun-Yang
視覺藝術

1967年生於台東。父親是電影看板畫師,本身精於廟宇彩繪、電影看板、書法、布袋戲偶偶頭製作、複合媒材藝術裝置等。雖然以傳統元素創作,卻以敏銳思維反對既有體制,強調性格與心態造就繪畫風格,畫法只是種形式,追求心靈真正自由的創作。

Li was born in Taitung in 1967. His father was a painter of movie posters. Li has been engaged in colored drawing of temples, painting of movie posters, calligraphy, making heads of Taiwanese glove puppets, and multi-media installations. Traditional elements widely used in his works have not limited his creations. Being a boundary-pushing artist, Li has been challenging existing systems with perceptive observation. For him, personality and attitude define one’s painting style. Painting technique is just a form. What is more important is to create while discovering the freedom of mind. 

訪談紀錄片:https://www.youtube.com/watch?v=2B-IrcqYhjg

呼應蕭壠年度展覽計畫《近未來的交陪-藝陣X當代設計展》,蕭壠國際藝術村徵選四位台灣藝術家,深耕於廟宇彩繪的藝術家李俊陽、視覺藝術家林書楷、新興糊紙店(茂興齋)後代張徐展、木作藝術家邱子晏,共同創作策劃「友境蓋廟」駐村計畫。

「友境蓋廟」計畫,希望透過藝術的對話,進行一場交陪的儀式,以常民生活與信仰,由藝術家從中建構藝術的語言與符號。以蓋廟的概念,想像廟(屋子)的基底為一座祭壇,由李俊陽藝術家以民間廟宇意象進行傳統彩繪,視覺藝術家林書楷繪製巨幅繪畫,結合張徐展的立體紙糊作品、木作藝術家邱子晏進行大廟的形狀建構。創作過程中,藝術家的作品將不斷往上堆疊,同時幅射向外增生,像有機體的繁衍不斷膨脹,展館宛如成為一座大廟,觀眾進入展館的同時,如同進入一間大廟,亦是進入藝術家的異想世界。

Responding to the annual project ‘Kau-Puê, Mutual Companionship in Near Future: Folk Art Parade Design Exhibition’, four Taiwanese artists were selected to conduct residency in Soulangh Artist Village. The project, Building a Temple in Companionship, is co-organized by the temple-painting artist, Jiun-yang Li, visual artist, Shu-kai Lin, the successor of Hsin-Hsing Paper Sculpture Store, Xu-zhan Zhang, and woodcraft artist, Zih-Yan Chiou.

This project aims to carry out a ritual of ‘Kau-Puê’, mutual companionship, through the dialogues of different forms of art. The artists constructed artistic languages and symbols based on life and belief of local community. The concept is to imagine the foundation of a temple (house) is an altar built up by Jiun-yang Li’s traditional colored drawing based on the imagery of folk belief, Shu-kai Lin’s large-scale painting, Xu-zhan Zhang’s 3 dimensional paper sculptures, Zih-Yan Chiou’s construction of the temple’s wooden structure. With the artworks piling up, expanding, and multiplying like an organism, the exhibition space turned into a massive temple welcoming the audience and leading them into a fantasy world of the artists. 




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