裘安 蒲梅爾｜Joan Pomero
1971年出生於法國貝爾奈，1996年畢業於法國國立巴黎高等藝術學院。1999年決定來台灣定居和從事藝術創作，現任教於國立台南藝術大學造形藝術研究所。 青少年時期由於受到80年代法國、義大利繪畫和設計前衛派的薰陶下，開始繪製並製作出一些物品，並試圖質疑這些物件它們的功能，同時也揭示了原材料與成型之間的聯繫。這影響了她在藝術表現上對未經雕琢的材料和形成作品之間，所呈現的某種發展中的進程狀態極為關注。身體，其物理表現形式逐漸成為她研究的主軸。 另一方面由於她對空間轉換成藝術實驗場所的敏銳感受，經常參與一些在廢棄工廠或非典型展場進行的裝置藝術計畫，思考多重歷史和場域約制的關係。 藝術家的媒材運用多樣，且經常選擇具短暫、脆弱和高可塑等特質的材料，並有時著重於它們的非物質性或轉化能力，藉以捕捉造形、媒材的脆弱性，抓住它必需與自身原貎決裂、冒險演化趨向其他事物的當下。 Born in Bernay, France in 1971, Joan graduated from the École Nationale Supérieure des Beaux-Arts in Paris in 1996. In 1999, she decided to settle in Taiwan, and currently teaches at the Institute of Visual Arts at the National University of the Arts in Tainan. Enthused by the French and Italian avant-gardes of graphics and design of the 80s, she began to draw and create objects which try to question their functions but also which let appear a progression between the raw material and its shaping. The body, the representation of its physicality, gradually becomes a center of her research. Sensitive to alternative spaces as new areas of artistic experimentation, Joan has participated very early in projects mounted in brownfield sites or in atypical places. These experiences made it possible to integrate the importance of positioning her work, to open it to the multiple histories and levels of constraint of these sites. These points will prove to be decisive in the context of artistic and environmental awareness-raising activities with local communities. The 921 earthquake provoked a deep crisis in her creation, making her more concentrated after this date on sculpture as a place of creation and destruction, of physical engagement where fragility, desire, body constraints can be expressed. The diversity of the materials has responded each time to the need to give a specific body to a specific questioning. She often chooses them for their ephemeral, fragile, malleable quality. Joan’s work does not show the permanence of a form but becomes an intermediate body under the influences, a sort of receptacle revealing actions and the secretions of these actions over time. She regularly used reproduction, molding, as processes that to question the origin and identity of her forms. They lose their condition of uniqueness while gaining qualities of transmissibility.