台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

藝術家徐薇蕙於2004年遠赴美國進修，先後完成了喬治亞州的莎凡納藝術學院繪畫系，和密西根州的克連布魯克藝術學院纖維系的創作碩士學位。在這之後，她的創作軸線，一方面以身體細胞組織做為形式架構的起點，另一方面從個人的生活經驗去探討女性意識、文化認同、及價值觀差異等議題，透過作品呈現和紓解自我的矛盾和個人的焦慮感。有關於創作媒材，她偏好使用生活中的現成物，試圖從日常物件中開發特殊的美感和象徵意義。2006年起，她開始大量使用市售的面膜創作，一路發展出平面性、立體化到空間裝置等不同類型的作品，但其核心內容，始終聚焦於挖掘女性美麗的外表之下，所隱藏的個人焦慮與諸般矛盾。 本次的【未竟之途—徐薇蕙個展】，將當代館實驗展場的走廊及兩個展間營造為三部曲式的體驗空間，呈現了她從面膜擴張到其他日常媒材的多元化創作。首先是，透過走廊展出的空間裝置作品〈徑：未竟之路〉，隱喻女性纖細的情感與姻緣的尋覓過程。而在這象徵人生旅程的兩端，則是各自打造了〈幽：游移時光〉和〈明：生命之花—青春〉這兩個一明一暗、象徵截然不同心境的空間，並保留了讓觀眾自行決定先明後暗，或先暗後明的觀賞動線或體驗順序。 整體看來，本展力請觀眾在三種空間和三個主題之間穿梭觀想，閱讀徐薇蕙從自身的女性經驗出發，對於當代社會與流行文化的概括寫照，乃至於對於人生價值取向的一種反思。對於完美的追求，總是伴隨著時間的焦慮和路徑的迷思，現代人如何面對和處理這些生活課題，藝術也許無法提供具體的答案，但至少可以促使我們從新的角度和面向去思索和實踐。 Wei-Hui Hsu left Taiwan to study in the United States in 2004 and received her MA degree in Painting from Savannah College of Art and Design in Savannah, Georgia, and received her MFA degree from the Fiber Department at Cranbrook Academy of Art, Bloomfield Hills, Michigan. Ever since then, her format of art has been based on the structures of our body tissue, and she has probed into topics like female consciousness, cultural identity, and differences in values through her personal life experience. As for the media she uses for her creations, she prefers to use the ready-mades in our daily life, trying to discover the sense of beauty and the symbolic meaning out of the objects. Since 2006, she has begun to extensively use the commercially available facial masks to create her works, and developed different styles of work, ranging from two-dimensional to three-dimensional and to full-scale installations. Moreover, the core of her creation has always been focused on digging into the hidden anxiety and the secretive conflicts underneath the women’s beauty underneath the skin. Hsu’s solo exhibition at MoCA Studio Unfinished Journey this time has made the corridor and the two galleries become a trilogical experience space, from which Hsu presents the diverse creations with other media in daily life, from facial masks to other objects. First of all, the corridor is used to present her works of space installation Path: Unfinished Road, which implies a woman’s sensitive feelings and her seeking process in love and marriage. On the two ends of the road, the artist builds two separate spaces in the galleries, Brightness: Flower of Life—Bloom and Dimness: Wavering Time, that represent different minds: one is brightness, the other is darkness, and the audience is free to choose which one they want to see first. As a whole, the exhibition invites the audience to step about among the three spaces with three different themes to read Hsu’s reflection on the portrayal of the contemporary society and pop culture, the orientation of life values, and the self-reflection from Hsu’s own female experience. The pursuit of perfection is always accompanied with anxiety about the flowing time and the myth about which path to take. Art might not be able to provide satisfying answers as to how modern people should confront and handle these questions of life, but at least, art can push us to think and practice from a new point of view.