中原大學藝術中心展覽

水流所至，魚隨而行，是為「水到魚行」；藝術家廖秀梅的創作，正如這句意象的延伸。靈感源自女兒一句戲言「媽媽妳是金魚腦嗎？」讓她以幽默回望自身記憶與生命狀態。於是，一尾尾象徵情感與流動的金魚，開始在日常與心靈間游移——藏身茶湯、遊走雪地、化作青花紋飾——在虛實之間展現記憶與生活的交錯，延伸出「徐徐魚行」的創作詩意。 作品以日常可得的利樂包為主要版材，透過再利用與手工技法，如塗黏、刮磨、針刻與揉摺等，結合一版多色印刷與拼貼，轉化為具層次與質感的視覺語彙。此種以廢材再製的創作實踐，不僅呼應永續環保理念，也象徵自然與人文的循環共生。廖秀梅於版墨紙的能量流動中，展現「魚行不止」的創作精神與柔韌之美。 Roaming Goldfish—A Printmaking Solo Exhibition by Hsiu-Mei LIAO Where water flows, fish follow. This poetic image—“where the water goes, the fish roam”—beautifully reflects the spirit of Hsiu-Mei LIAO’s work. The inspiration for this collection came unexpectedly, when her daughter jokingly asked, “Mom, do you have a goldfish brain?” With humor and introspection, she began to explore the fleeting nature of memory and the currents of her own life. From this emerged a stream of goldfish, symbols of emotion and flow, swimming between the ordinary and the inner world. They glide through tea, drift across snowy landscapes, and transform into blue-and-white porcelain motifs, weaving a delicate tapestry between reality and imagination. Thus unfolds the quiet poetry of Roaming Goldfish. The works are created primarily using Tetra Pak cartons as the base material, a choice that merges sustainability with artistic experimentation. Through techniques such as gluing, scraping, scoring, folding, and multi-color plate printing with collage, Hsiu-Mei LIAO transforms everyday waste into richly layered visual expressions. Her printmaking practice, grounded in reuse and handcraft, echoes a deeper message of ecological balance and the interconnectedness of nature and humanity. Amid the tactile rhythm of ink, paper, and impression, Hsiu-Mei LIAO gives form to a spirit of persistence and grace, a vision where the goldfish never cease to swim, and creativity continues to flow.

蘊菁陶釆—李仁燿陶藝創作三十年經典巡迴個展｜第28站 藝術家李仁燿以三十餘年的陶藝實踐，持續探索小口瓶造形的精神內涵與技藝極限。「肚大、細頸」的小口瓶自古被視為聚福納祥之器，亦象徵包容與內斂的哲思。李仁燿以氣功調息融入拉胚歷程，追求手與心的平衡，使瓶體比例與氣韻自然流轉。作品從素燒到高溫焠燒，歷經噴釉、淋釉與柴燒等多重工序，在火與土的交融中展現細膩的釉彩層次與深厚的工藝修為。 近年李仁燿以小口瓶系列屢獲國際肯定，曾於日本東京都立美術館第26屆NPO國際書畫交流會展榮獲「金賞」殊榮。其創作以極限成形與還原燒技法為核心，於細微處映現自然能量的節奏與東方哲思的靜謐之美。本展為《蘊菁陶釆》三十年經典巡迴個展第28站，特於中原大學藝術中心展出，邀觀者於光影與釉色的流動之間，感受火與土共生的詩意與生命韻律。 The Grace of Clay: Jen-Yao LEE’s 30-Year Retrospective of Ceramic Art—Touring Solo Exhibition, Stop No. 28 With over three decades of dedication to the ceramic arts, artist Jen-Yao LEE has continually explored the spiritual essence and technical possibilities of the narrow-necked bottle form. Traditionally valued as a vessel that gathers blessings and invites harmony, this form—with its generous body and slender neck—also reflects a philosophy of restraint, receptivity, and quiet strength. Jen-Yao LEE integrates Qigong breathing techniques into the wheel-throwing process, seeking harmony between hand and heart. This mindful practice lends his vessels a natural balance of proportion and energy, allowing each curve to flow with grace. His works undergo a meticulous process—from bisque firing to high-temperature reduction, layered with spraying, pouring, and wood-firing techniques—each stage revealing delicate variations of glaze and the depth of his craftsmanship. In recent years, Jen-Yao LEE’s narrow-necked bottle collection has earned international recognition, including the Gold Prize at the 26th NPO International Exchange Exhibition of Painting and Calligraphy at the Tokyo Metropolitan Art Museum. His approach, defined by extreme precision in form and mastery of reduction firing, embodies a rhythm of natural energy and the meditative beauty of Eastern thought. This exhibition marks the 28 th stop of The Grace of Clay retrospective tour, and is specially hosted by the Art Center CYCU. Audiences are invited to wander among shifting glazes and flickering light, and to experience the poetic life rhythm born of clay and flame in quiet conversation.