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霓虹的盡頭 The End of the Rainbow
王亮尹個展 Solo Exhibition of Wang Liang-Yin
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展期 Date｜2018.7.20 - 9.23
開幕 Reception｜2018.7.27 17:00
地點 Venue｜
國立臺北藝術大學關渡美術館402展覽室
Gallery 402 Kuandu Museum of Fine Arts, TNUA
藝術家王亮尹將於2018.07.20 - 09.23在關渡美術館舉辦全新個展「霓虹的盡頭」，延續藝術家創作中對日常生活的觀察，展出作品主題反思著社會行為，剖析著生命與人性，勾起觀者對尋常事物的反思。王亮尹提煉了日常生活中的美好事物，而生成物就是欲望，然而在欲望燃燒殆盡後，剩餘的殘留物卻幻化成各種型態，暗喻著生命的現實，對人們進行反噬。
德國新表現主義代表人物Anselm Kiefer曾在一次訪談中說：「對我來說並不存在什麼開端，只有終結，而這終結同時就是開端。」這種弔詭的兩重性，一直是王亮尹繪畫的重要特徵，它指向一個遙遠的精神邊界，在那裡，盡頭不是真的盡頭，而是當人站在自認的邊界上時，那種思緒躁動，隱痛般的喧鬧。在那裡，實與虛假、記憶與想像、永恆與消逝甜蜜而殘酷的樣貌交融在一起的，因此她的作品給人印象總像是一場濃烈、神秘而不平靜的夢。
王亮尹的創作軌跡從物質給人的刺激出發，捕捉動物性與精神性的共振擺盪的片刻，如同雨後天晴之際短暫美麗的霓虹，但真正吸引藝術家的是「殘餘」（空氣中的水珠）與「轉化」（陽光的折射與反射），而從物我之間的隱密關係，發散至人與消費社會、自然環境的曖昧與矛盾更是她的作品令人玩味的地方，從她2014年北美館「親愛的，生日快樂」個展、2016年「禮物與塵埃」，到此次「霓虹的盡頭」個展，這條脈絡清晰可見。王亮尹使用「欲望」這個人類的共通語言，讓筆下的馬戲團、旋轉遊樂園、玩具人偶與聖誕樹脫離了物質的表象，敘說私密的隱喻，有某程度精神上的抽象與表現性，氣氛鮮明而強烈，弔詭但不悔澀，有種感染的能量，摻雜著幽微又緊密的危險，帶領觀者在永恆的斑駁間穿梭，探索自己的回憶與想望。
1979年出生於雲林，王亮尹畢業於台北藝術大學創作所油畫組，展覽足跡遍布臺灣，亦遠赴日本、歐洲，於2014年在台北市立美術館舉行個展【親愛的，生日快樂】。曾入選高雄市立美術館高雄獎，亦獲得台灣美術新貌展首獎、龍顏藝術創作獎、張心龍美術創作獎等，以及國藝會多項藝術補助。作品已被台北市立美術館、國立台灣美術館與藝術銀行等單位典藏。
The representative painter of German Neo-Expressionism Anselm Kiefer once said in an interview, “For me, there is no beginning, there is only an end that is simultaneously a beginning.” This paradoxical statement is related to important characteristics that have always been present in Wang Liang-Yin's paintings. It points to a distant spiritual border where the end is not really the end, but a border that one has resigned oneself to, and stands on, while thinking restlessly in secret anguish. It is there that reality and fantasy, memories and imagination, eternity and disappearance, and joy and cruelty become one. In this way, Wang’s paintings give the impression of intensely compelling mystery, especially the kind associated with disturbing dreams.Wang Liang-Yin's creative trajectory starts from materials that resonate with the viewer and then captures transitions between animalistic and spiritual states. Such a transition could be when the sky clears and a beautiful rainbow appears after a shower. But what really attracts Wang is remnants and transformations, such as midair raindrops and reflected or refracted sunbeams. Links between the self and things epitomize ambiguous and contradictory relationships between individuals, consumer society, and the natural environment. These interesting threads in her work are clearly visible in her 2014 Happy Birthday, My Dear solo exhibition at the Taipei Fine Arts Museum, as well as in her 2016 Gifts and Dust and 2018 The End of the Rainbow solo exhibitions. Wang uses human desire, a shared language of humanity, to make a circus, carousel, toy figure and Christmas tree leave the realm of the material appearance, and become intimate metaphors with a certain degree of spiritual abstraction and expressiveness. Her atmospheres are bright and intense, paradoxical yet not abstruse, and overall, her works have an infectious energy. They also mix a slight and heightened danger, leading viewers to travel among her mottled surfaces that seem to go on forever while exploring their memories and hopes.
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