The Artistic Movement Beyond Northeast Z

by Chen Xi

First and foremost, as seekers of texture and form, when different generations of young creators become a phenomenon or force, they are often categorized, typified, or stylized, defining the relationship or differences between new generations and the past, or even labeled as a new group. The “Bei Yi Style” that emerged in the late 2000s illustrates how flat painting reflects its posture within the contemporary art context and the industry chain (academy—gallery—awards—museum). Thus, the “Northeast Z Style” exhibition featuring creators of Generation Z like Jiang Dongyu, Wu Bo-wei, Li Bing-li, Li Yuan-zao, Huang Shao-wei, and Suzuki Yuri, shows no superficial similarities, yet all explore texture and form to shape their unique creative views.

“Northeast Z Style” is not an exhibition that groups these six Generation Z creators within a stylized or typified framework. On the contrary, this exhibition positively defines the young generation without confining them to such frameworks. We can also see their ability to stand on their own without the need for group identity, evident from elements of their academy training.

The pursuit of texture is one characteristic that makes many artists from the Bei Yi University of Arts recognizable early in their careers. Training in foundational modeling, abstract sketching, and texture exercises, along with the unique community within the academy, are components that help art students from Bei Yi University of Arts shape their methods of creation. These young artists are often first identified as creators focused on texture and form, and only then as painters or artists expressing thoughts through their unique creative languages.

吳柏葳_哥吉拉1962_油彩、壓克力、畫布_27x35cm_2022

例如，吳柏葳選擇以油彩、壓克力與噴漆等繪畫材料，模擬映像管電視時代的低傳真類比訊號畫質，描繪那些開啟自己童年記憶的特攝片影像。他繪畫中的模糊質感，就像當我們再次看到以前喜歡的某部電影，如今終於備份在YouTube等串流平台時，才讓人詫異其畫質跟印象中的差距。是「當過去回到現在」時、被時空磨紗的表面。它同樣是黃少葳在繪畫中處理的事物，不同的是後者選擇以輕描淡繪的、泛黃的表面詮釋。這些視覺的模糊性（而非抽象），時常是創作者用以親近記憶存在狀態的詮釋質感，又以表現載體與介面材料性（如3D建模不協調的平滑與故障，或是低傳真影像的像素感），表達繪畫所乘載的媒介性。

李秉璈_片斷風景_壓克力、無酸樹脂、畫布_112x194cm45.8×60.8cm26x18cm（x2）_2021

不同世代看待影像與其媒介的視角，恰巧都透過了不同的模糊與材質性，表達技術媒介對視覺文化的影響。在李秉璈繪畫中，「複」的狀態揭露了畫家在此一物理平面中，思考視覺經驗的非整體性──「複而不合」的超載與拼裝。這位年輕畫家以直白的方式，詮釋了繪畫作為單一平面的有限性，與螢幕提供給當代視覺經驗之間的糾葛。當視窗影像發生在硬邊繪畫的表面上，圖像的意義溶解於形式語言之中。在《片斷風景》中，李秉璈以多種技法塑造非統一性的質感，繪畫性與影像的數位媒介性在這個平面中衝撞，破壞了彼此框架之中的維度。

與前二者相比，黃少葳繪畫更近似於以一種淡化紀實影像的質感，描繪日常生活。她在畫布上擦抹、交疊輪廓線並讓形象留空，筆觸的均質與和諧色彩，使畫面中的形象與觀者之間像是隔了一層紗。景物被淡化之後，它如何瀰漫於運筆之間，是黃少葳繪畫裡引人尋思之處。《房間》以固定的幾種低彩度與高明度的暖色，描繪和諧而平淡的私密空間，恬靜地像是被薩提（Eric Satie）的環境音樂（Ambiemce Music）所環繞著。

鈴木百合_眨眼Ⅱ_水彩，壓克力，緞布_22×35cm_2022

在繪畫語言之前（或之內）的質感組成

李緣藻、江東諭和鈴木百合三位創作者的作品，各以不同的基底材進行繪畫創作，其反映的是材料質感在色彩與造型結構的對話。鈴木百合以緞布作為繪畫的平面，這個少見被用來作為繪畫創作材料，在她細緻處理水彩與壓克力彩的過程中，布面的材質表現與色彩的浸染創造了一種別具個人特色的薄弱。大尺幅作品《悠遠》中，顏料的流淌、大片薄色的浸染狀態，以及緞布本身的材質狀態，讓這個平面世界看似「空」，卻盈滿著簡逸。

李緣藻_GAITA-5_紙本設色_142-x-129-cm_2022

李緣藻的紙本設色作品，藉由過往水墨創作訓練時層層渲染堆疊的動作「蓋」為靈感，以非強調筆觸的手法表現色彩與形狀。在畫面中的色暈與線條保留了素描勾勒，使畫面如同罩了一層霧的細碎訊號。特別在作品《蓋塔-5》中，圍繞在畫面四周的線條與陰影，更表現著紙本設色創作裡特有的氣韻與氛圍質感。

江東諭_在綠色調中的漸層_壓克力彩、畫布_30x30cm_2022

江東諭對於漸層色的探索，是質感與材質性如何在形塑繪畫語言之前的最佳證明。表現漸層與彩虹的此階段繪畫，與其說是在表現一種抽象的、低限式的表面，不如說這是在開拓自己繪畫實踐的調色盤，一種在繪畫之前（或繪畫之內）的創作。色彩時而化為一波波的訊號，在看似相鄰的色彩之間細膩地放大這個名為「之間」的色階。在此，抽象的繪畫視覺並不為表現精神性，而是純粹色彩的視域，以及畫家自身對色彩純粹性的材質探索。

The artists of the “Z Trend form Northeast” act as explorers of texture. Despite their seemingly abstract visuals, they do not truly dwell on the traditional debates between abstraction and realism, nor do they engage in (post)modernist challenges, rejections, and subversions of the past. The frameworks of modernism, divided between abstraction and realism, fail to satisfy contemporary creators’ abilities to respond to reality and express narratives. Observing from the perspective of texture creation and methodology is intended to expand the discourse of painting in contemporary contexts. Whether it’s crafting tangible textures, mimicking expressive textures, or depicting imagined virtual textures, their two-dimensional creations gain a thought-provoking depth—before shaping a creative language, they create a texture that responds to the environment. This is not necessarily reflexive and sometimes even involves a dialogue with form.

｜《展覽訊息》｜

https://www.san-gallery.com.tw/archives/3708

參展藝術家 |

江東諭 Tung-Yu Chiang
吳柏葳 Pu-Wei Wu、
李秉璈 Bing-Ao Li
李緣藻 Nicole Lee、
黃少葳 Shao-Wei Huang
鈴木百合 Yuri Suzuki

展期 | 2022/12/03(六)~2023/01/07(六) 週二~週六 10:00-19:00
開幕茶會 | 2022/12/03(六) 15:00-17:00
展覽地點 | 弎畫廊 700017 台南市忠義路二段186號 t: 06-2208833