Your SlideShare is downloading. ×
0
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Mintse Chen Worksonpaper04-08
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×
Saving this for later? Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime – even offline.
Text the download link to your phone
Standard text messaging rates apply

Mintse Chen Worksonpaper04-08

341

Published on

e-catalog of my works on paper

e-catalog of my works on paper

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
341
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
0
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. Freedom of Mind -Author’s preface As a child of a culture flooded with comic books and animations, I dreamed of being a cartoonist one day. However, as a result of the strict educa- tion system, I grew up to be an engineer instead. Later I quit my engineering job and went abroad to study at the School of the Art Institute of Chicago (SAIC), and even then I still thought of becoming an illustrator. But maybe illustration was too commercial for an art school with a great heritage; I could hardly find related courses. So when I graduated from SAIC, my professional specialty was in oil painting. Even in an art school those cartoon figures I drew remained hidden in my sketchbooks, only rarely coming out to amuse my classmates. Finally it came to the end of my last semester at school and as the BFA show was over, I relaxed somewhat and was reluctant to work hard on oil. So I brought some casual pen drawings –basically caricatures – to a class final critique. The response was unexpectedly positive, and there were even suggestions: I could use brush instead of pen to get more line variation, or add color to them. Soon the semester ended and people spread out… loaded with heavy financial pressure I promptly took a full-time job in Chicago. Due to the time and energy burden of that full-time job (plus other complications), for almost a year I couldn’t do any oil painting. When the urge for creation came up, I instead would pull out a piece of paper and freely draw some funny, sarcastic black and white images. Inspiration just came out naturally; I never needed to make drafts. After I went back to my country in 2002, oil painting regained its major position in my art creation, but still I kept making this kind of impromptu monochrome. In the last few years I met some editors of books and magazines. At first they saw my works on paper and felt them suitable as illustrations for their publishing projects in progress, thus opening up the doors for our cooperation. However, later when they had new projects and asked me to make illustrations following their instructions and expectations, things usually turned out unpleasantly. Eventually I realized that, indeed, I was not qualified to be a professional illustrator; I could not make art under other people’s terms and conditions, I could only draw and paint what I wanted. Actually, it wasn’t some surprising discovery. From the very beginning I had pursued art for my freedom of mind; if I were to follow clients’ orders to make art just for a living, why not take engineering jobs instead? Persisting in the simplicity of art creation became my principle. Art creation is a kind of urge, and artwork reflects the character of the creator, including thoughts, personality, interests… and so on. The impromp- tu gesture directly projects the concerns of one’s mind, including the state of the subconscious at that very moment, thus making it the most honest statement of an artist. All these years my impromptu work on paper has been the crude voice of my heart, and by listening to it I understand myself better. From some point of view I not only have fulfilled but also surpassed my childhood dream – after years of practice I have polished my drawing skills to the level of a professional cartoonist; beyond that, I make my works not to meet anyone’s need but only to express my true self, thus imbuing them with the spirit of independence. To me art creation is a kind of infrangible freedom - the true freedom of mind. I am lucky to have this. Min-Tse Chen in Beijing, April 2008
  • 2. 自由心靈 -自序   在漫畫與卡通充斥的年代裡成長,年幼的我一直有個夢想,長大以後要成為風靡大眾的漫畫家。然而順著升學的道路走下 來,我長成一位工程師,而不是漫畫家。當我決定離開工程職位、遠赴異鄉到芝加哥藝術學院學習的時候,心裡想的還是要做一 名插畫家。不過也許插畫這玩意兒對正統藝術學院來說太商業了吧,學校裡幾乎沒有相應的課程。最後當我畢業時,專長是油 畫。   那些從小跟隨著我的筆下卡通人物,即使置身藝術學院也只能躲在我的素描筆記本上,偶爾露出來逗樂鄰座的同學。直到畢 業前夕,畢業展都準備好了,同學們基本上進入鬆懈狀態,我自然也不例外;沒心思再使勁琢磨油畫,我把一些隨興用鋼筆畫的 小圖拿到期末評圖課堂上,出乎意料地獲得相當正面的反應。大家認為這是可以繼續發展的方向,建議也許不必局限於單色硬筆 線條,可嘗試軟筆的粗細變化,或加入色彩。很快學期結束,眾人各奔東西,我在經濟壓力下隨即投入一份當地的全職工作。   全職工作期間由於時間與精力的限制,以及其他種種因素,將近一年我沒有辦法進行油畫的創作。當創作慾望湧上來時,我 就拿出一張紙,隨心所欲地畫些滑稽兼嘲諷的黑白小圖。靈感從筆下自然流出,從不須打草稿。2002年回國後油畫又成為我創作 的主軸,但這類紙上單色即興創作始終沒斷過。   前幾年有機會認識一些書刊雜誌的編輯,對方起初看到我的紙上作品,覺得有部份適合直接拿來當他們出版品的插圖,而開 啟合作契機;但是當後續案件要我配合他們的需求來製作插畫時,往往搞得不歡而散。於是我終於明白,自己確實沒有資格成為 職業插畫家;我無法按照別人的指示與喜好來創作,我只能畫自己想畫的東西。想想這也沒什麼奇怪;當初學藝術,為的就是追 求心靈上的自由;如果迫於生計,連創作都還要聽命於人、讓客戶下指導棋,那還不如接工程方面的工作算了。因為這個堅持, 我得以保有創作上的純粹。   藝術創作是一種本能的衝動。因此,創作出來的作品反映了藝術家自身的特質,包括想法、個性、人格,以及感興趣的事物 等等。而即興創作係直接投射當下精神關注的面向、包括潛意識在內,所以就是藝術家最真誠的表白。這些年來,我的紙上即興 作品一直是我未經修飾的心靈聲音;聆聽這聲音的同時也讓我更了解自己。就某個觀點而言,兒時的夢想現在不僅已經圓了,甚 至超越了-長期的習練讓我磨出克當漫畫家的繪畫技巧;除此之外,不為滿足任何人的需求、只要真實表達自我的創作思維,讓 我的人格能夠完整地在作品中呈現,從而賦予它們獨立存在的精神。   藝術創作之於我,是一種不容侵犯的自由,也就是心靈上真正的自由。我很幸運,能擁有這些。 2008年4月
  • 3. neither once upon a time nor on-going now the story suspends in another space-time continuum no beginning, no ending 不是發生在很久以前 也不是現在進行 故事懸浮於另一個時空 無始無終
  • 4. 墨色紙本 ink on paper, 21x112cm 2008 hen s eC M int 5
  • 5. hen s eC M int 6
  • 6. hen s eC M int 7
  • 7. hen s eC M int 8
  • 8. hen s eC M int 9
  • 9. is it at all that heros become legends or actually legends create heros 究竟是英雄成為傳說 還是傳說塑造英雄 hen s eC M int
  • 10. 墨水、水彩於紙面 ink and watercolor on paper 21x112cm 2008 hen s eC M int 11
  • 11. hen s eC M int 12
  • 12. hen s eC M int 13
  • 13. hen s eC M int 14
  • 14. hen s eC M int 15
  • 15. hen s eC M int
  • 16. X2 X1 X4 X3 ink and watercolor on paper (4 sheets) 28x38cm each hen eC 2008 s 墨水、水彩於紙面(4件) M int 17
  • 17. hen s eC M int 18
  • 18. detail 細部 hen s eC M int 19
  • 19. detail 細部 hen s eC M int 20
  • 20. hen s eC M int 21
  • 21. hen s eC M int
  • 22. Z1 Z2 Z3 Z4 ink and watercolor on paper (4 sheets) 30x40cm each hen eC 2008 s 墨水、水彩於紙面(4件) M int 23
  • 23. hen s eC M int 24
  • 24. detail 細部 hen s eC M int 25
  • 25. detail 細部 hen s eC M int 26
  • 26. hen s eC M int 27
  • 27. It is a route full of unexpectedness. 一條無法預期的路線。 hen s eC M int
  • 28. 01 02 03 14 15 06 05 04 13 16 07 10 11 12 17 08 09 20 19 18 ink, acrylic and watercolor on paper (20 sheets) 33x28cm each en 2007 h s eC int 墨水、壓克力、水彩於紙面(20件) M 29
  • 29. 01 02 03 06 05 04 hen s eC M int 30
  • 30. hen s eC M int 31
  • 31. hen s eC M int 32
  • 32. hen s eC M int 33
  • 33. 07 10 08 09 hen s eC M int 34
  • 34. hen s eC M int 35
  • 35. hen s eC M int 36
  • 36. hen s eC M int 37
  • 37. 14 15 13 16 hen s eC M int 38
  • 38. hen s eC M int 39
  • 39. hen s eC M int 40
  • 40. 17 20 19 18 hen s eC M int 41
  • 41. hen s eC M int 42
  • 42. hen s eC M int 43
  • 43. the journey is consecutive photo record as a reminder of the journey is discrete and taken from specific angle but we rely so much on record after all there is no truth to be told only the story we make hen eC 旅程是連續的 s 作為旅程回憶根據的照片記錄是片段且有特定角度的 然而我們如此依賴記錄 M int 終究事實無法言傳 說出來的 只是我們編造的故事
  • 44. black&white: gouache on paper, 21x112cm each (4 sheets) color: watercolor on paper, 20x14cm each (24 sheets) 2006 黑白:紙上水粉,每張21x112公分(4張) 彩色:紙上水彩,每張20x14公分(24張) overview 總覽 hen s eC M int 45
  • 45. hen s eC M int 46
  • 46. hen s eC M int 47
  • 47. hen s eC M int 48
  • 48. hen s eC M int 49
  • 49. hen s eC M int 50
  • 50. hen s eC M int 51
  • 51. hen s eC M int 52
  • 52. hen s eC M int 53
  • 53. hen s eC M int 54
  • 54. hen s eC M int 55
  • 55. hen s eC M int 56
  • 56. hen s eC M int 57
  • 57. hen s eC M int 58
  • 58. hen s eC M int 59
  • 59. hen s eC M int 60
  • 60. hen s eC M int 61
  • 61. hen s eC M int 62
  • 62. hen s eC M int 63
  • 63. hen s eC M int 64
  • 64. hen s eC M int 65
  • 65. hen s eC M int 66
  • 66. hen s eC M int 67
  • 67. hen s eC M int 68
  • 68. hen s eC M int 69
  • 69. 狂想曲 選輯 紙上水粉 gouache on paper, 18x25cm each, 2004-05 hen s eC M int
  • 70. Monologue This morning the master smiled at me before going out, and little worms came out to say hello too. Birds bring in messages from other places, and under sunlight the air looks espe- cially moist. In a word I’m beloved... are you listening? 獨白 今天早上主人出門前對 我微笑,小蟲也冒出頭 來打招呼;鳥兒飛過時 帶來別處的訊息,陽光 en 下水氣顯得特別滋潤。 e Ch 總而言之我是受到大家 s int 關愛的…你,有在聽 M 嗎? 71
  • 71. Legend of the Immortals It’s not that easy to get to the other end of the rainbow even if you have superior power. 三仙台傳奇 想要抵達彩虹的那一 hen eC 端並不如想像中的容 s int 易,即便擁有超越常 人的力量。 M 72
  • 72. Destination “May I ask why we are going there?” “I heard that an important secret would be revealed if we get there. I don’t know what secret that is, but it’s always right to follow the majority.” 目的地 「可以問一下我們為什 麼要到那兒去嗎?」 「聽說到那裡可以解 n 開一個重要的秘密。 e是 什 麼 秘 密 我 也 不 知 e Ch 道 , 跟 著 大 伙 兒 總 不 s Mint 會錯的。」 73
  • 73. Journey I made my promise in front of the flower That I will bring some change through ascetic practice en 旅程 h 我在花前許下承諾 s eC 將用苦行帶來一些改變 M int 74
  • 74. High-Tech Life All non-artificial stuff is hazardous to human health; for example, pol- len triggers allergies, sap hurts your skin... But these low-class creatures are necessary materials for our creation, so that’s how it turns out... there ‘s just no other choice. 高科技生活 所有非人造的東西都 有害健康,例如花粉 使人過敏,樹汁會傷 害皮膚…但我們不得 不利用這些低等生物 n 作為創造發明的原 C he 料,所以就變成現在 se int 這個樣子…那也是沒 M 辦法的事。 75
  • 75. Attack Teddy Bear: “It’s killing me... ” hen eC 攻擊 s 泰迪熊:「我快死了…」 M int 76
  • 76. Expectations What do you want? Grow- ing the flower of wisdom? Gaining release from books? Or flying wing to wing with someone you love? 期望 n 你想要什麼?開悟出智 e慧的花?從書中解脫倒 e Ch 懸 之 苦 ? 還 是 比 翼 雙 s Mint 飛? 77
  • 77. Transformation Something has to be sacri- ficed to gain achievement; the question is who has the power to choose the victims? 蛻變 hen eC 有犧牲才有成就,問題 s int 是誰來決定誰應該被犧 牲? M 78
  • 78. Risk Despite those fallen ones struggling in pain right over there Still many are staking ev- erything on a single trial for the potential great profit 風險 儘管多少失足者在眼 前痛苦掙扎 e n為了背後巨大好處而 e Ch 孤注一擲的仍大有人 s Mint 在 79
  • 79. Immigration I heard that the faraway country is a land of honey and milk with freedom and safety, the true paradise on earth! 移居 聽說那遠方的國度是流 hen eC 奶與蜜之地,既自由又 s int 安全,簡直是人間天堂 啊! M 80
  • 80. Tail It looks really bad dragging like that… Is there any way to hide it? 尾 hen 拖在後面多難看啊…有 s eC 什麼法子可以遮起來 int 嗎? M 81
  • 81. Min-Tse Chen Born in 1972 in Taipei Education 2001 Bachelor of Fine Art, The School of the Art Institute of Chicago 1996 Master of Science in Environmental Engineering, National Taiwan University 1994 Bachelor of Science in Chemistry, National Taiwan University Solo Exhibitions 2007 The Returned of Beijing, Gallery 41, Taipei 2006 Weird Resplendency, Stock 20 in Taichung Railway Station, Taichung 2003 Based on Reality, Smoke & Snake Art Center, Taipei Min-Tse Chen Landscape Paintings, SOW Gallery, Taipei Group Exhibitions 2008 Artists Art Fair, Shin Kong Mitsukoshi, Taipei 2007 Goin’ Mobile, Commerce Street Artist Warehouse, Houston TX, Polvo Gallery, Chicago IL 2006 19th Century Europe Meets 21st Century Taiwan, Shin Kong Mitsukoshi, Taichung Alluring Rendezvous: a meeting between artists of today and tomorrow, Windsor Hotel, Taichung 2005 Animal Logic and the Lack Thereof, Three Walls, San Antonio, Texas 4-people show, Cathay Bank Art Center, Taipei A Friend is a Friend is a Friend, Axtyryx, San Antonio, Texas 2004 Sketches, Scrawls, Scribbles and Such III, The Wiggle Room, San Antonio, Texas TrinOty, Art Gallery at National Taiwan University, Taipei Burnin’ Down the House, Unit B (Gallery), Chicago 2003 Sketches, Scrawls, Scribbles and Such, Unit B (Gallery), Chicago 2001 Turn, Gallery B, Chicago Parson’s Group Show, Parson’s Group and The School of the Art Institute of Chicago, Chicago Ink, Walsh Gallery, Chicago BFA Thesis Show, Gallery 2, The School of the Art Institute of Chicago, Chicago Art Window, Michigan Avenue, The School of the Art Institute of Chicago, Chicago 1999 Artbash, Gallery 2, The School of the Art Institute of Chicago, Chicago 1998 Discovering the Beauty of Original Art, Original Art Association, Taipei
  • 82. 陳敏澤 1972年生於台北 學歷 2001.5 美國芝加哥藝術學院學士 (The School of the Art Institute of Chicago, Bachelor of Fine Art) 1996.6 國立台灣大學環境工程研究所碩士 1994.6 國立台灣大學化學系學士 個展 2007 “陳敏澤 北京歸來個展”,斯依畫廊,台北 2006 “詭異的炫麗”,鐵道藝術網絡台中站-二十號倉庫,台中 2003 “象由心生”,煙蛇藝術中心,台北 “陳敏澤風景畫展”,荒野藝廊,荒野保護協會,台北 聯展 2008 “藝術家博覽會”,新光三越信義新天地,台北 2007 “Goin’ Mobile”巡迴展,Commerce Street Artist Warehouse, 休士頓,Polvo Gallery, 芝加哥 2006 “跨越時空古今藝術”,新光三越百貨公司文化館,台中 “新舊嬌繪”—劉其偉,陳敏澤,林宗範聯展,裕元花園酒店,台中 2005 “Animal Logic and the Lack Thereof”, Three Walls, 聖安東尼,德克薩斯州 國泰世華藝術中心常設展,台北 “A Friend is a Friend is a Friend”, Axtyryx, 聖安東尼,德克薩斯州 2004 “Sketches, Scrawls, Scribbles and Such III”, The Wiggle Room, 聖安東尼,德克薩斯州 “三位異體”,台灣大學活動中心文藝展示室,台北 “Burnin’ Down the House”, Unit B (Gallery), 芝加哥 2003 “Sketches, Scrawls, Scribbles and Such”, Unit B (Gallery), 芝加哥 2001 “Turn”, Gallery B, 芝加哥 “Parson’s Group Show”, Parson’s Group與芝加哥藝術學院,芝加哥 “Ink”, Walsh Gallery, 芝加哥 “藝術學士畢業展”, Gallery 2, 芝加哥藝術學院,芝加哥 “Art Window”, 密西根大道,芝加哥藝術學院,芝加哥 1999 “Artbash”, Gallery 2, 芝加哥藝術學院,芝加哥 1998 “發現原創之美”,原創美術協會,台北
  • 83. author, editor, designer, translator: MIN-TSE CHEN 作者、編輯、設計、翻譯:陳敏澤

×