1984年出生於台北，目前生活及創作於台北。2008年畢業於臺北藝術大學美術系。2018年入選高雄獎，作品曾獲選國立台灣美術館藝術銀行作品購入計劃典藏。 

 

張善學的創作主要來自生活經驗的發想，透過不斷探索自然與未知的場所，從過程中累積感知並轉化成作品，在日常熟悉的物件中重新編排出獨有的美感。作為一個漫遊者，近年來有系統的收集漫遊過程中的拾得物，例如蕨類植物、植物種子、石頭，以及珍奇的物件。透過凝視事物的細節，以及對植物的熱愛以及研究，還有對於收藏的執著，張善學在2022年開始發展一系列以植物為主的平面繪畫創作，透過精確且自由的描繪筆觸，邀請觀者產生共感，並表達對自身成長土地的認同，思考自然與人文歷史之關係。

 

學歷

 

CHANG San-Hsueh 

Born in Taipei, Taiwan,1984. Chang currently lives and works in Taipei. He graduated from Department of Fine Arts, Taipei National University of Fine Arts in 2008. He was awarded for the Honorable Mentions of Kaohsiung Award 2018. And his works were collected by the Art Bank, National Taiwan Museum of Fine Arts.

 

Chang's practice is mainly inspired from life experiences. Through constantly exploring natural and unknown sites, he accumulates and absorbs his perceptions, and then transforms into the works of art. In addition, he rearranges daily objects with his unique sense of aesthetics. Regarding as a "Flâneur," in recent years he has systematically collected found objects during his journey of wandering, such as ferns, seeds, stones, and treasure items. With his eyes of observing detailed things, as well as the passion and research for plants, and the obsession of collecting, Chang has started to develop a series of paintings focusing on plants as the subject. Through the accurate and freestyle brushes, he expects to resonate with viewers, and expresses his identification for the land where he grew up, and also the relationship between nature and humanities history.

 

Education

 

Exhibition

 

 

 

 

避風島 創作論述

《避風島》是我描繪植物群像的系列作品，探討我與植物的關係，以及對台灣這片土地自然與人文的關懷。 

 

北回歸線23.5度經過台灣，是冰河時期的生物避難線，緯度再往北生物便沒辦法生存。當冰河時期過後海平面上升，位處亞熱帶的台灣因為有高山，與歐亞大陸分開後便成為一個西太平洋上的孤島，這些從熱帶到寒帶的動植物也就被困在台灣，卻也在此生存繁衍下去，造就了台灣生物的多樣性。我這幾年收集這些植物的陽台也如同一個避難所，無論他們來自哪裡，能在我的陽台上活下來的都是機緣，可以說我在三樓公寓的陽台也是一個都市中的「避風島」。 

 

這樣的氣候地理條件也與台灣的人文歷史發展脈絡息息相關。台灣位於東亞地理的邊陲地帶，卻也同時是太平洋的西側，其實所謂的東或西取決於用什麼角度去定位我們的位置。以植物來說，台灣是很多熱帶植物分佈的北界、溫帶植物的南界，而台灣也是日本、中國、美國、東南亞文化的邊界、同時也是多種文化的交集地。 

 

我透過類似肖像畫的形式描繪植物，通常在繪畫中做為配角的植物成了主角，以寫意的筆觸表達對植物的情感與熱情。全白的背景有一種中國傳統花鳥水墨的留白，抽離所有暗示背景所在地的線索，將所有焦點集中在植物的姿態、美感和顏料的堆疊，以及繪畫當下的力道與速度上。同時，白色背景也像白色光源透過葉子呈現各種層次的綠，就像我每天觀察、照顧這些植物時所見景象，細微而充滿變化。

 

The Shelter Island is a series of works depicting the group portraits of plants. It explores the relationship of myself and the plants, as well as the solicitude for the nature and humanity of the land of Taiwan. 

 

As the Tropic of Cancer passes through Taiwan, it is regarded as the verge line for creatures during the period of Ice Age. It also limits and threatens the survival of livings if the latitude goes further north. However, after the Ice Age, the sea level had been risen. Due to the high mountains in the subtropics, Taiwan became an isolated island where the western Pacific Ocean after being separated from the Eurasian continent. In this regard, animals and plants from tropical to frigid regions were trapped in Taiwan, but somehow survived, and then multiply which creates the diversity of biology. Similarly, my balcony where I have been collected the plants these years can be seen as a shelter. No matter where they are from, I believe the survival of plants comes by destiny. In other word, it can be said that the balcony on my third-floor apartment is also considered as a "sheltered island" in the city. "

 

These climate and geographical conditions are closely related to the development of history and humanity in Taiwan. Geographically Taiwan is located at the frontier of East Asia, whereas it also can be regarded as the Western side of the Pacific Ocean. As a matter of fact, the definition of the east or west depends on how we position where we are. Taking plants as an example, Taiwan is the northern boundary for many tropical plants, and meanwhile the southern boundary of temperate ones. Furthermore, in terms of culture, Taiwan is the border of Japanese, Chinese, American, and Southeast Asian cultures that can be seen as the intersection where the various cultures meet. 

 

Through the form of portrait paintings, the plants are presented as protagonists instead the supporting roles that we used to. My passion and enthusiasm for plants are expressed with the freehand brushes. The all-white background seems to be the blank space in Chinese traditional ink painting of flowers and birds which leaves out all of the clues without any context of places. It focuses on the gesture, aesthetics and layers of paints, as well as the strength and speed of the painting spontaneously. Furthermore, the blank background can be seen as the lighting in white which reflects the layers and tones of green leaves. The image reveals my daily observation toward the plants-subtle with rich variations.