The Fragment | yenyuting 顏妤庭

The Fragment 殘片

顏妤庭的創作關注於水墨繪畫的文化脈絡與當代生活經驗之間的對話與再詮釋。

她的作品多以個人經驗和虛構情境為背景，結合新聞影像及文字，在傳統水墨語彙的基礎上做轉化，企圖藉由創作補捉當代社會中一種集體躁動而失神的精神狀態，以及伴其而生的荒謬與趣味。

本次個展〈殘片〉便是他近一步將水墨傳統中的「皴法」與新聞時事做嫁接的一次嘗試。不同於她以往色彩明亮輕快的的工筆膠彩作品，本次發表的新作僅以墨色層層堆疊，試圖以更存粹的方式建構出融合包覆感、靜謐感與壓迫感的內在空間。

有別於傳統水墨畫家將「皴法」作為表現自然地貌和賦予物件造型的筆法工具，在她近期的創作中「皴法」是最主要的關注，她透過長時間的搜集和摹寫，將新聞標題謄寫於畫面中，使文字隨著時間與時事一同生長變化，在展出的作品中一部分可見到她以此畫法持續開拓「皴法」的可能性，另一部分則可觀察到他將此種筆法再投放回畫面空間之建構的嘗試。

對她而言，這樣的繪畫過程有時像是在訊息之流中撈取殘存的記憶片段，將文字藉由層層疊染從交纏的線條中重新提取，有時則像是再次倒入日常的殘餘物，以筆墨乾擦在紙面上謄寫最新的新聞頭條。在此，文字、訊息和記憶隨著“書寫與繪畫”的過程不停的變動，反覆得交錯於“提取（罩染）”與”消抹（書寫、皴擦）”之間。這樣的繪畫方式，一方面將「皴法」作為系統化表現自然肌理的原始功能，轉化為對記憶和心理狀態之肌理的描述手法，另方面則延續了「皴法」在水墨繪畫中的位置，成為她抒發個人思緒的重要組成，以及一種對於當代時事的紀錄與緬懷。

顏妤庭的繪畫過程有時彷彿在訊息之流中撈取殘存的記憶片段，透過層層疊染從交纏的線條中重新提取文字；有時則如同再次注入日常的殘餘物，以筆墨乾擦在紙面上謄寫最新的新聞頭條。在這過程中，文字、訊息和記憶在「書寫與繪畫」的不斷變動中交織，反覆穿梭於「提取（罩染）」與「消抹（書寫、皴擦）」之間，此繪畫方式將「皴法」從系統性呈現自然肌理的技法，轉化為對記憶和心理狀態之肌理描述手法，同時延續了「皴法」在水墨繪畫中的地位，成為她抒發個人思緒、紀錄當代時事和緬懷的核心元素。

Yen Yu-ting's artistic focus centers on the dialogue and reinterpretation between the cultural context of ink painting and contemporary life experiences. Her works, rooted in personal experiences and fictional scenarios, combine news images and text, transforming traditional ink vocabulary to capture a collective and disoriented mental state in contemporary society, accompanied by absurdity and humor.

In her recent solo exhibition, "Fragments," Yen Yu-ting further explores the integration of the traditional ink technique of "皴法cun-fa"（Texture Stroke）with current news events. Unlike her previous brightly colored, lively gouache works, the new pieces presented in this exhibition rely solely on layers of ink, aiming to construct an internal space that merges envelopment, tranquility, and oppression more purely.

In her recent creations, unlike traditional ink painters who use "皴法cun-fa" as a tool to depict natural landscapes and give form to objects, Yen Yu-ting's primary focus is on "皴法cun-fa" itself. Through extensive collection and transcription of news headlines onto her canvases, she allows the text to evolve and change over time along with current events. In the exhibited works, one can observe her continuous exploration of the possibilities of "皴法cun-fa," while another part showcases her attempts to reintegrate this technique into the construction of the visual space.

For her, this painting process is akin to retrieving fragments of memory amidst the flow of information, extracting text through layered dyes from intertwined lines. At times, it resembles injecting remnants of daily life, using brushes and ink to transcribe the latest news headlines onto paper. In this process, words, information, and memories intertwine in the constant flux of "writing and painting," repeatedly oscillating between "extraction (covering and dyeing)" and "erasure (writing, wrinkling)." This painting method transforms the original function of "皴法cun-fa" from systematically representing natural textures to a descriptive technique for the texture of memory and psychological states. Simultaneously, it continues the role of "皴法cun-fa" in ink painting, becoming a crucial element for expressing personal thoughts, recording contemporary events, and reminiscing.