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翁榛羚|Weng Jhen-Ling

翁榛羚|Weng Jhen-Ling

1996年生於台北,2024年畢業於國立台北藝術大學美術學系水墨組碩士,使用銅版腐蝕的方法刻畫內心奇異古怪的想法,2022年獲得南瀛獎,2023年獲得高雄獎以及中國信託繪畫獎入選,今年2024年獲得MIT新人獎,「比起肉體的刑求,心靈上的刑求更為恐怖」感到共鳴,腐蝕的過程中,稀釋的硝酸液體,沾黏在皮膚上刺痛搔癢,讓我能得到已經不再受到控制與鞭策的『安全感』。
銅版對於我來說,是一片完整無缺的媒材,當淋上防腐蝕液的那一刻開始,我變成了「控制者」的身分,它乘載著與我外在相反的模樣,家庭塑造淑女的形象,在光潔的銅板上,是佝僂的形象,不斷的複製與刻劃,如同疤痕快癒合時又劃開。
這是與自我矛盾的地方,沉溺在痛苦中,來滿足「安全感」,卻又想逃出,因此在創作的過程中,不只是銅版對於「自我」,更多面向的探討不同時間、不同空間、不同的人事物中,那「地獄的風景」是甚麼模樣。


Born in Taipei in 1996, he graduated from the National Taipei University of the Arts with a master's degree in the ink painting department of the Department of Fine Arts in 2024. He uses copper plate etching to depict his inner weird and weird thoughts. He won the Nanyang Award in 2022, the Kaohsiung Award in 2023, and was selected for the CTBC Trust Painting Award. , this year won the MIT Newcomer Award in 2024. "Compared to physical torture, mental torture is more terrifying." I feel the resonance. During the corrosion process, the diluted nitric acid liquid sticks to the skin and stings and itches, which makes me feel itchy. Able to gain a "security" that is no longer controlled and spurred.
For me, the copper plate is a complete piece of media. From the moment I apply the anti-corrosion liquid, I become the "controller". It carries the opposite appearance to my appearance, and the shape of the family. The image of the lady on the smooth copper plate is a rickety image, which is constantly copied and carved, like a scar that is about to heal and then opens.
This is a place of contradiction with oneself. Indulging in pain to satisfy the "security", but also wanting to escape. Therefore, in the process of creation, it is not only the copper plate's discussion of "self", but also more aspects of exploring different times and different situations. What does the "landscape of hell" look like in space and among different people and things?
 

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