1993年生於彰化，畢業於國立台灣藝術大學美術學系碩士班。

黃立穎於2019年榮獲高雄獎，並於中國信託新銳美術獎受邀展出，近年來活躍於台北市，不僅受邀參與多場聯展，亦在同年舉辦了三場個展，為「感實的石頭」分別於台藝大B展間和稻舍USR329展出，以及「241SS新銳藝術計劃」於新竹241藝術空間展出。黃立穎透由直覺以感知從自然而生的石塊，在鉛筆逐步層疊的過程中，以描繪其神秘感與特殊性。

面對奇石，黃立穎「感實性」(truthiness) 的接收，從直觀的觀看中聯想自然。從三維度至二維度的轉化，再藉由媒材屬性與載體特性的逐步建構，以幻化出奇石全新的面貌，成為超現實而神秘的樣態。黃立穎在單一或低彩度的畫面描繪中，運用鉛筆特性所達成的反光效果，反轉過去訓練的素描處理方法，使得光線照射愈加強烈時，反而疊加更多的鉛量。在多角度的觀看下，奇石的狀態將不斷變動。由此，黃立穎在想像與真實之間，以於繪畫平面上組織全新的世界。

HUANG Li-Ying 

Huang Li-Ying (b. 1993) is a Changhua born, Taipei-based artist. He graduated with a master's degree in fine arts from National Taiwan University of Arts. In 2019, Huang awarded both Kaohsiung Award and CTBC Arts Award. He has been invited to several group exhibitions in Taipei, and has held three solo exhibitions in the same year awarded. The exhibitions are respectively The Truthy Stone, located in NTUA Nine Single Arts Practice Space and USR 329, and S.S Project, located in Hsinchu 241 Art Gallery. Huang uses his intuition to perceive from stones, that were born in nature. By gradually adding up layers of the pencil traces, he seeks for the sense of mysterious and specialty in his works.

Confronting the stones, Huang receives the nature through truthiness, which he associates things in a straightforward way. It is transformed from the three-dimension reality to a two-dimension platform, then constructs into a whole new look with traits of the media and medium. As a result, his works have revealed a surrealism and cryptic feeling. In the single-colored or low-chroma drawings, he applies the reflective characteristic of pencil-drawings. Huang breaks through the usual measures learnt from his past trainings in sketching, instead, he accumulates the traces deeper as the light being more intense. Thus, looking the works from different angles, the appearance of the stone remains changing. As such, Huang combines his observation and imagination, so as to organize the whole new world in his works of art.

Exhibition

Award

Collection

Chasing Light

作品試著提出展場內的光與觀者之間的關係，藉由媒材的特殊性，反轉了原本素描對於影子描寫，在黑底上將需要光的地方一筆一筆的畫出來，然而石墨在物理上是屬於深色，因此觀者在展場移動時，作品的光源也會隨之變化，看起來就像是觀者在追逐光的過程，同時將平面作品產生了動態的變化。

描繪物件上選擇了特殊的奇石造型與組件，藉由這樣的造型引導出觀者對於其抽象情感與想像的投射，隨著觀看者的社會背景產生了不同的詮釋，在黑色的背景襯托下，擴張了對於整個畫面空間裡的想像，以及運用平面繪畫的轉換、物件裝置，巧妙地安排許多參數，使觀者能藉由感官對於作品進行思辨與想像。

The work aims to locate the relationship between the light in the exhibition hall and the viewers. Due to the particularity of the medium, the capture of shadows in the original sketch is reversed: on the black background, the parts that need light are drawn stroke by stroke. However, graphite, a soft and dark grey form, reveals its special essence from different perspectives. When the viewers appreciate the work from varied angles in the exhibition hall, lights and shadows on the work will change accordingly. This process looks like the viewers are chasing after the light, and at the same time, it makes the two-dimensional work dynamic.

Shapes and components of strange stones are selected for the drawn objects. The certain objects allow the viewers to project their abstract emotions and imaginations—viewers with different social backgrounds would have personal interpretations. The play with darkness and light shown on the special shape expands the imagination within the picture space. The work subtly arranges many parameters, so that viewers can speculate and imagine the work through their senses.