業餘的攝影愛好者黃元煜，1975年生於台灣。我希望透過鏡頭持續發現台灣，提供思考影像後面的各個可能，「美不是只有看見」而已。思考著，透過攝影的影像讓大家看見台灣在地之美，以及風景後面的美麗與哀愁。

 

學歷

1997元智大學機械系 學士學位

 

展覽

2022台灣當代一年展-「一年聚焦」聯展/台灣

2021桃園美術家邀請展/桃園市文化中心/桃園市 台灣

2021台灣當代一年展-「扭轉漩渦流流」聯展/台灣

2019南瀛獎得主特展/新營文化局/台南 台灣

2019桃源創作獎/桃園展演中心/桃園 台灣

 

獲獎

2023全國美展 攝影類/ 銀牌獎/ 臺中 臺灣

2019屏東美展 攝影類/ 屏東獎(首獎)/ 屏東 臺灣

2018南瀛獎 不分類/ 南瀛獎(首獎)/ 台南 臺灣

 

作品介紹

違和家園

受現代主義的影響，全球各現代化城市建築似乎皆存著相對美學標準，在不觀看一座城市的地標假設下，每座城市都極為類似，被去地域化，分不清所屬國家或區域，本系列作品挑戰現代主義建築美學，將街弄之間不起眼房子，予以重新解構、建構成看似合理卻是充滿奇趣的新建物，並融入台灣特色元素，使虛構產生真實的另類美學建築。

形 偽

殘荷枯枝是盛夏遺棄的美麗，蜷曲垃圾是人類丟棄的價值，殊途同歸於冰冷水池，曲折不堪形體，是控訴時間的摧殘，本作品取殘荷枯枝的曲折線條與垃圾不規則的形體，併貼擬態呈現水墨的行雲流水視覺，看似詩一般畫意卻是戲鬧的謊言，是虛像取代了真相，殘荷、垃圾、書畫相互呼應，形體的偽造與被偽造，是現實環境諷刺的反思。

 

 

 

 

Amateur photographer Huang Yuan-Yu, born in Taiwan in 1975. I hope to continue to discover Taiwan through the lens and provide opportunities to think about the possibilities behind the images. "Beauty is not just about seeing." Thinking about it, through photographic images, we can let everyone see the beauty of Taiwan, as well as the beauty and sadness behind the scenery.

Education 

1997	Yuan Ze University-Department of Mechanical Engineering

 

Exhibitions  

 

2022	Taiwan Contemporary Annual Exhibition - "One Year in Focus" Joint Exhibition/Taiwan
2021	Taoyuan Artists Invitational Exhibition/Taoyuan City Cultural Center/Taoyuan City, Taiwan
2021	Taiwan Contemporary Annual Exhibition - "Turning the Vortex" Joint Exhibition/Taiwan
2019	Nanying Award Winners Special Exhibition/Xinying Cultural Bureau/Tainan Taiwan
2019	Taoyuan Creation Award/Taoyuan Performance Center/Taoyuan Taiwan

 

Awards
2023	National Art Exhibition Photography Category/Silver Medal Award/Taichung Taiwan
2019	Pingtung Art Exhibition Photography Category/Pingtung Award (First Prize)/Pingtung Taiwan
2018	Nanying Award Uncategorized/Nanying Award (First Prize)/Tainan Taiwan

 

 

Art Work

Illegal to the homeland

Influenced by modernism, modern urban buildings around the world seem to have relative aesthetic standards. Without looking at the landmarks of a city, each city is very similar. It has been de-territorialized and it is impossible to distinguish the country or region it belongs to. This series of works challenges the modernist architectural aesthetics, re-deconstructing the humble houses in the streets and constructing them into seemingly reasonable but interesting new buildings, and incorporating Taiwanese characteristic elements to create real alternative aesthetic architecture from fiction.

 

Form pseudo

The dead branches are the beauty abandoned in midsummer, and the curled garbage is the value discarded by human beings. Different paths lead to the cold pool, and the twisted shapes are a complaint against the ravages of time. This work takes the zigzag lines of the dead branches and the irregular shape of the garbage. The imitation of the visual flow of ink and wash is presented together. It looks like a poetic painting but is actually a playful lie. It is a virtual image that replaces the truth. Remnants, garbage, calligraphy and painting echo each other. The forgery and forgery of the body is a reflection of the irony of the real environment.