12/11/2025
在倫敦開幕座談結束後的一週，應蘇格蘭愛丁堡大學楊佳玲教授的邀請，前往愛丁堡參與一場專門研究台灣當代藝術與全球網絡的學術發表會。
我的發表題目為：
「超越墨跡：重塑當代藝術中版畫的跨域實踐」
Beyond Ink: An Interdisciplinary Practice that Reshapes Printmaking in Contemporary Art，以「無華之境」系列作品創作後台分享為內容，將在台灣探索版畫創新技術與科學研究合作成果帶向國際視野，期望與所有來自世界各地的專家學者分享由版創概念朝向當代藝術的創新實驗。
Abstract:
Originating from printing technology, printmaking has long served as a crucial medium for cultural transmission, historically contributing to the dissemination of civilization, religion, literature, and art. While it remains an essential component of commercial practice, printmaking, when embraced by artists, becomes a medium of boundless potential—capable of embodying imagination, thought, and innovation.
As an artist deeply engaged with this medium, my practice investigates a unique artistic trajectory achievable only through printmaking. Informed by the discourse of contemporary art, my work continuously experiments with redefining the role and position of the printmaker in the current art landscape.
Since 2019, I have collaborated with Dr. Chien-Kuo Hsu （徐建國）of the Taiwan Forestry Research Institute （台灣林業試驗所）on an interdisciplinary project that examines the material and conceptual relationships between paper, printmaking, and ink. The project challenges two traditional assumptions: that ink is indispensable to printmaking, and that paper serves solely as a substrate for content. By removing ink and denying paper its conventional role, we sought to explore what remains when both materials are allowed to exist as pure aesthetic entities.
This experimental process, spanning over three years of repeated failure and redefinition, culminated in the 2023 exhibition Flora of Formosa at Gallery de Sol (曜畫廊) in Taipei and the Taiwan Forestry Research Institute. The project returned paper to its most elemental form, inviting viewers into a space where paper is no longer a passive receiver but an autonomous artistic presence. This research proposes a new model for understanding printmaking’s potential in contemporary practice—one that positions the medium not merely as reproductive but as fundamentally transformative.
*與三十多位藝術史學者同場發表，壓力山大...
*是一場全英文發表的試煉魔王場
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