Room 909 趙南開&張婷雅

趙南開

1980

2016 國立新竹教育大學藝術與設計學系藝術教育與創作碩士

2003 澳大利亞國立大學坎培拉藝術學院玻璃工藝與設計系藝術碩士

個展

2019 「浮光遊」，當代一畫廊，臺北市，臺灣

2019 「物外」，二空間，臺北市，臺灣

2016 「黑水白石」，邸家，新竹市，臺灣

2015 「白色無盡」，當代一畫廊，臺北市，臺灣

2013 「石上石下」，當代一畫廊，臺北市，臺灣

聯展

2022 「繫物」，二空間，臺北市，臺灣

2022 「論功夫」，The 201 Art順天建築・文化・藝術中心，臺中市，臺灣

2021 「頗開藝術銀行」，藝術銀行展覽室，台中市，臺灣

2020 「初心出新-新竹市玻璃藝術家聯展」，新竹市立玻璃工藝博物館，新竹市，臺灣

2020 「whaaaaat's studio opening」，南港老爺行旅，臺北市，臺灣

2019 「KIAF ART SEOUL 2019」，COEX，首爾，韓國

2019 「2019新竹市玻璃藝術家聯展」，新竹市立玻璃工藝博物館，新竹市，臺灣

2018 「2018新竹市玻璃藝術家聯展」，新竹市立玻璃工藝博物館，新竹市，臺灣

創作論述：

地景藝術創作者安迪‧戈茲沃西(Andy Goldsworthy, 1956 -)作品的黑色圓形有著虛體、有著無法意測的深度，詮釋出虛無存在性。

趙南開嘗試在創作的範疇親身體驗，以台灣溪水為創作契機原點，敘述的並非肉眼所見水的意象感覺，而是高山溪水對他創作的啟迪。以玻璃材質的切割線條，反映溪水、岩石及漩渦自然環境虛與實的危機轉換與他面對恐懼與無助的直觀，經過每道工序，將一切化繁為簡，追求最低的視覺干擾，表現低限純粹的繪畫性特質。

作品受水墨繪畫影響，融合東西方的美學元素，保留了許多繪畫符號。作品利用平板玻璃當作畫布，運用熔合、切割、噴砂、拋光等工法來創作，以霧面不透光等溫潤的感覺，取代了冰冷透亮光滑的質感，風格多以低限造型為主，使用黑與白兩個位於色彩兩端的顏色，就如同紙與墨的表現方式，媒材的轉變不影響思想本質。創作的過程是回憶再現也是自我批判，讓空間自然形成二次元影像，讓不經意形成的自然狀態留存在作品中。

作品製作工序：

平板玻璃（sheet glass）切割、堆疊成形，放入窯爐(kiln)約800°C融合玻璃(fusing glass)，再反覆切割、對疊、窯燒以時間、溫度、厚度（layer）控制玻璃流動狀態，完成滿意的狀態，再加工表面的肌理，噴砂（sandblasting）表面，並放回到窯爐以約600°C火拋光(fire polishing)與烤彎（slumping)成形。

Artist Statement:

The artworks by the landscape artist Andy Goldsworthy (1956- ) often feature a black hole of an immeasurable depth as an embodiment of voidness.

It is an experience CHAO Nan-Kai intends to explore via artmaking, which departs from the mountain streams not to give a realistic depiction but how the landscape of mountainous scenery becomes an artistic inspiration. The contours from glass-cutting reflects the risky transition between the realistic and abstract essence of nature as found in streams, rocks, and whirlpools as well as his intuitive confrontation with fear and helplessness. Every step throughout the artmaking process continuously simplify the complications to achieve the lowest visual disturbance and to manifest the most absolute minimalist painterly quality.

With an influence from ink-wash painting, the artwork integrates the aesthetics from both the East and West as it also maintains painterly symbols. By using plate glass as canvas, techniques such as fusion, cutting, sandblasting and polishing are added with an opaque matte finish – rather than the cold, bright and smooth surface – to create a sense of warmth, while the minimalist shapes in black and white, at the two ends of the spectrum, remind us of a paper-and-ink quality to convey a similar artistic philosophy despite of the use of different materials. The artmaking process is as much an enactment of memory as self-criticism, as it transforms the space into a two-dimensional image for the spontaneous natural scenery to be engraved on it.

How it is made:

The sheet glass is first cut and laminated as a way of shaping it, before the shaped material is put into the kiln at a high temperature of 800°C for further fusion, and the process of glass-cutting, lamination and kiln burning repeats, with its fluidity carefully managed via a control of time, temperature and layering, until it meets expectation. The final steps include textured surface and sandblasting finish, and the work is completed with fire polishing and slumping in the kiln again at a temperature of 600°C.

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