1998年出生於台灣苗栗，畢業於國立彰化師範大學美術學系，現就讀於國立台南藝術大學造形所。個人創作致力於平面、裝置、傳統書畫，從個人生活經驗及成長背景延伸至創作的可能性，並關注社會意識。以藝術提供不同的觀看視角，並嘗試使用不同媒材創作，近年開始嘗試將圖片轉印至宣紙上，對應傳統書畫需要大量經驗才能完成，思考現在快速的時代，書畫的可能性。

 

學歷

 

 

 

GU Meng-Xuan 

Born in Miaoli, Taiwan in 1998, graduated from the Department of Fine Arts, National Changhua Normal University, and is currently studying at the Institute of Plastic Arts, National Tainan University of the Arts. Personal creation is dedicated to planes, installations, traditional calligraphy and painting, extending from personal life experience and growth background to the possibility of creation, and paying attention to social awareness. Using art to provide different viewing perspectives, and trying to use different media to create, and began to try to transfer pictures to rice paper, corresponding to traditional calligraphy and painting requires a lot of experience to complete, thinking about the possibility of calligraphy and painting in this fast-paced era.

 

Education

 

Exhibitions

 

 

 

《行軍圖》創作論述

我們處在一個資訊越來越多，意義越來越少的社會，媒體中的影像已經超越現實。在媒體主導下真實事件的影像，如烏俄戰爭，已變成現實與網路資訊戰之間的關係，成為一種虛擬戰爭。在電視、網路世界，我們已失去捕捉戰爭的真實能力，戰爭的恐怖被當成恐怖片一樣的消費，成為一種超越現實的娛樂。當大量讓人感到恐懼不安的網路資訊不斷累積，成為一種崇高感。也對映書畫中人對自然的宏觀視野。藉由巨碑式的自然山水，引發觀者對於數據龐大的無力感。藉由對新聞、電影等網路上對於戰爭、災難圖像，進行轉印，以谿山行旅圖作為傳統水墨憑據，在網路不斷收集大量圖片，回應被量化的影像時代，同時在探索影像氾濫的資訊社會。

 

We live in a society with more and more information and less and less meaning. The images in the media have surpassed reality. Under the dominance of the media, the images of real events, such as the Ukrainian-Russian War, have become a relationship between reality and online information warfare, becoming a virtual war. In the world of television and the Internet, we have lost the ability to capture the reality of war, and the horror of war is consumed like a horror movie, becoming a kind of entertainment beyond reality. It becomes a sense of the sublime when the amount of intimidating and unsettling information on the Internet continues to accumulate. It also reflects people's macroscopic vision of nature in calligraphy and painting. With the monument-like natural landscape, the viewer is aroused to feel powerless to the huge data. By transferring images of wars and disasters from news, movies, etc. on the Internet, and using the travel map of rivers and mountains as the proof of traditional ink painting, a large number of images are continuously collected on the Internet, responding to the era of quantified images, and at the same time exploring the flood of images information society.