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邀展藝術家Invited Artist

李偵綾|Lee Chen-Lin

李偵綾|Lee Chen-Lin

李偵綾 Chen-Lin LEE b.1984

10年前藝術家在服裝產業工作時,感悟到流行設計更迭太快生產過剩,織品被無情丟棄可能因為對紡織品文化與織造細節的不理解,她想延續織物生命週期的機會,決定轉而投身纖維創作,深入探尋一塊織品被製造的文化與社會意義。2019年後,她覺得當代風景中的環境問題是不能忽視的,應該刻不容緩地透過創作表達對環境的關切,她刻意將原本大山大海的創作脈絡拉近到微觀你我周遭的池塘,鼓勵觀者跳脫常規思考,從不同角度覺察生活環境的改變和遺漏的細節。

Ten years ago, while working in the garment industry, Chen-Lin LEE realized that fashion design was changing too fast and often overproduced. And it is possible that due to the lack of understanding of the culture and process of textile weaving, often fabrics were being discarded without second thoughts. Wanting to prolong the life cycle of the fabric, she decided to devote herself to fiber creation, exploring the cultural and social meaning of every fabric being made. In 2019, LEE felt the need to face the environmental issues, as well as expressing her concern for the envi-ronment through her works. Since then, she tried to bring the context of mountains and ocean closer to the small ponds around our daily environment, encouraging the viewer to think outside the box and perceive the changes and missing details of our living environment from different perspectives.

▌個 人 簡 歷 ∣ Curriculum Vitae

李偵綾|Lee Chen-Lin
出生於1984年

▌學 歷 ∣ Education

2012-2015      碩士,臺南藝術大學應用藝術研究所纖維組,台南,台灣
2003-2007      實踐大學服裝設計學系,台北,台灣

▌展 覽 ∣ Exhibition

◇個 展
2021 「那個碧池」,甘樂阿舍美術館,台南,台灣
2019 「覓園」,虎尾科技大學藝術中心,雲林,台灣
2019 「二又二分之一維度」,黑白切,台中,台灣
2018 「觀園」,葫蘆墩文化中心,台中,台灣
2018 「遊園」,野無境,高雄,台灣
2017  「遊園尋夢」,日升月鴻,台北,台灣
2015 「重返變奏風景」,如果藝術,台中,台灣
2015 「變奏風景」,北畫廊,台南,台灣
 
◇聯 展
2021   台中藝術博覽會,台中日月千禧酒店,台中,台灣
2021 「天之瞳」,養心空間,台中,台灣
2021 「熠熠四人聯展」,罐子茶書館,台北,台灣
2021 「型。態II」材質聯展,富貴三義,苗栗,台灣
2021 「心嶼」,養心空間, 台中, 台灣
2020 「夏花|器。物。聯展」,罐子茶書館,台北,台灣
2020 「福壽石飾品聯展」,Z書房,台中,台灣
2020 「傳承與改變-研、衍、演」,臺中市纖維工藝博物館,台中,台灣
2020 「華麗派對:纖維工藝的生活時尚」常設展,臺中市纖維工藝博物館,台中,台灣
2019   台北藝術博覽會,台北世貿中心,台北,台灣
2019 「花本:提花織物展」,寬藝術,台中,台灣
2019 「型。態」材質聯展,富貴三義,苗栗,台灣
2019 「時間。人間。空間」聯展,日升月鴻畫廊,台北,台灣
2019 「繽紛集」迎夏聯展,日升月鴻畫廊,台北,台灣
2019 「行藝游春」新春聯展,日升月鴻畫廊,台北,台灣
2018 「巡遊山水」,養心空間,苗栗,台灣
2018   台北藝術博覽會,台北世貿中心,台北,台灣
2018 「隱寫」,黑白壇,屏東,台灣
2018 「擬態書寫」,奔放E倉庫,台南,台灣
2018   台南藝術博覽會,台南大億麗緻酒店,台南,台灣
2018 「借景」,Z書房,台中,台灣
2017 「總總」,臻品藝術中心,台中,台灣
2017 「工藝援引-臺灣‧金澤當代織品藝術交流展」,金澤21世紀美術館,金澤,日本
2014 「勾勾纏-探索纖維藝術」,高雄市立美術館,高雄,台灣

▌獲 獎 ∣ Award

2018 敘夢,宜蘭獎,立體造型類,入選,宜蘭,台灣
2018 借景,第二十三屆大墩美展,工藝類,優選,台中,台灣
2018 變奏山水-秀姑巒溪,第十九屆磺溪美展,立體工藝類,優選,彰化,台灣
2016 如何度過一個寒冷的冬天,洛桑到北京第9屆纖維藝術雙年展,入選,深圳,中國
2016 變奏風景II,第42屆纖維慶典,掛毯組,入選,科林斯堡,美國
2016 變奏風景II,第42屆纖維慶典,服飾組,第二名,科林斯堡,美國
2016 分界面,第18屆迷你纖維藝術,入選,布拉提斯拉瓦,斯洛伐克
2016 變奏山水I,臺南新藝獎,入選,台南,台灣
2015 變奏山水II,台灣工藝競賽,美術工藝組,一等獎,台北,台灣
2015 倒影II,台灣工藝競賽,創新設計組,入選,台北,台灣
2015 變奏風景III, 臺灣美術新貌展,平面系列,第三名,台中,台灣
2014 朦朧的詩意,國際學生競賽-織品與可穿的藝術,WSN獎,香港,中國
2014 4分33秒,洛桑到北京第8屆纖維藝術雙年展,優秀獎,南通,中國
2014 複調,南通當代工藝雙年展,入選,南通,中國

 

▌ Curriculum Vitae

李偵綾|Lee Chen-Lin
Born in 1984

▌ Education

2012-2015   Fiber studio,Graduate Institute of Applied Arts,
                     Tainan National University of the Arts,Tainan ,Taiwan
2003-2007   Department of Fashion Design,Shih Chien University Taipei , Taiwan

▌ Exhibition

Solo exhibitions
2021 That green pond, Tainan, Taiwan
2019 Looking for garden, Yunlin, Taiwan
2019 Between the second dimension and the third dimension, Taichung, Taiwan 
2018 View Garden, Taichung, Taiwan
2018 Garden, Kaohsiung, Taiwan
2017  Peony Pavilion, Taipei, Taiwan 
2015 Return Variations on Landscape, Taichung, Taiwan 
2015 Variations on Landscape, Tainan, Taiwan
 
Group exhibitions
2021 Art Taichung, Taichung, Taiwan
2021 Styles and Forms II- Multi-Textural Artwork Exhibition, Miaoli, Taiwan
2021 Comforting Island, Taichung, Taiwan
2020 Let life be beautiful like summer flowers, Taipei, Taiwan
2020 Fú shòu dàn -Lee Chen-Lin& Chang Ching-Yi Double Solo Exhibitions,Taichung, Taiwan
2020 Heritage and Transform: Textile craftsman co-creation,Taichung, Taiwan
2020 A Fashion GaLa:fiber arts in life,Taichung, Taiwan
2019 Art Taipei, Taipei, Taiwan
2018 Art Taipei, Taipei, Taiwan
2018 Drinking Shanshui-an inner landscape with tea and art, Miaoli, Taiwan
2018 Drinking Shanshui-an inner landscape with tea and art, Miaoli, Taiwan
2018 Art Taipei, Taipei, Taiwan
2018 Steganography- Lee Chen-Lin& Chang Ching-Yi  Double Solo Exhibitions, Pingtung, Taiwan
2018 Mimicry writing, Tainan, Taiwan
2018 Art Tainan Fair, Tainan, Taiwan
2018 Borrowed scenery-Lee Chen-Lin& Chang Ching-Yi  Double Solo Exhibitions, Taichung, Taiwan
2017 Piles Of Pal, Taichung, Taiwan
2017 Citation From Craft-Contemporary Textile Art, Taiwan/Kanazawa Interchange Exhibition, Kanazawa, Japen

▌ Award

2018 Merit Award , 23rd Da Dun Fine Arts Exhibition-Crafts , Taichung, Taiwan
2018 Merit Award , 19th Huangsi Art Exhibition-3D crafts, Changhua, Taiwan
2016 Finalist Award, "From Lausanne to Beijing" 8th International Fiber Art Biennale, Shenzhen , China
2016 Second prize, 42nd annual juried exhibit Fiber Celebration(in the Wearable Accessories category), Fort Collins , USA
2016 Finalist Award,"face to face"18th International Minitextile Exhibition, Bratislava, Slovakia
2015 Finalist Award ,Next Art Tainan, Taiwan
2015 Third prize, the Newly Emerging Artists In Taiwan-2D Creation Series, Taichung, Taiwan
2015 First prize , Taiwan Handicrafts Design Competition-craft ,Taipei, Taiwan
2015 Finalist Award , Taiwan Handicrafts Design Competition-design ,Taipei, Taiwan
2014 WSN(world Shibori Network)Award, New Beats: International Student Competition – Textile and Weara-ble Art, Hong kong, China
2014 Award of Excellence,‘From Lausanne to Beijing’8th International Fiber Art Biennale, Nantong, China

 

創作自述 Artist Statement

蓬萊,這個「虛擬真實之物」似真非真的有趣討論作為世俗世界到想像世界間的過渡轉換,成為人類集體潛意識中難以尋覓的美好原鄉。以”日本枯山水為體,中式山水為用“概念鋪陳,連續、對稱的紋樣可以象徵一種無水卻似有水,無雲卻似有雲的哲學境界,傳達出一種簡單卻無盡的概念,提供追求永恆的靈感。嘗試透過科技的應用,讓原本單純的織畫,增加了具有時間推移劇本的厚度,完整了作品的詮釋。另一件作品福壽石暗示主題中水的存在,不只局部參考印象派莫內睡蓮的意象,並利用鵝卵石的形狀符號取代傳統裝裱,刻意讓材質自身的語彙鋪張一個華美又荒誕警世的水池景象。

Penglai, the "virtual real thing" seems to be an interesting discussion as a transition from the secular world to the imaginary world, and it has become a beautiful homeland that is hard to find in the collective subconscious of man-kind. Based on the concept of Japanese Rock Garden and traditional Chinese landscape painting,continuous and symmetrical patterns can symbolize a philosophical realm of waterless but like water, and cloudless but like clouds, convey a simple but endless concept, and provide inspiration for the pursuit of eternity. I tried to use technology to increase the thickness of the original mere weaving script with the time-lapse script and complete the interpretation of the work. Another work Fu-shou Stone , I used Monet's famous water lily as imagery to suggest the water in the theme, and made an image of cobblestones covered with fabric to imply that the golden apple snail was not consid-ered as a creature but a symbol back in the 1970s.I deliberately leave the materials themselves to depict a gorgeous and absurd beautiful but alarming water scene. 

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