2026/06/11 2026 婆娑花-陳思婷個展

婆娑花-陳思婷個展
Udumbara - Chen Si-Ting  Solo Exhibition

展期Exhibition︱2026.7.21~ 8.21
藝術家親自出席開幕茶會 
開幕 Opening︱2026.7.25 (Sat) 3:00pm 

(週一公休)  13:00-20:00
電話 Tel︱886-2-23579900
網址Web︱//www.inriver.com.tw/
臉書Facebook︱//www.facebook.com/InRiverGallery

      「婆娑」一詞，最早見於《詩經》，意指生命搖曳舞動的姿態；在佛教語境中，它指向娑婆世界的苦與渡化。陳思婷以此為核心展題，以畫筆構築出她自己的婆娑世界，將繪畫置於可視與不可視的虛實中。
 

 陳思婷 Chen Si Ting｜婆娑花 6 Udumbara 6, 絹本 ink on silk, 145x94 cm, 2026

　　陳思婷常以山水植物作為題材的創作，觀者第一眼看到的花或石頭、或貝殼的切面，或像是正在蛻變的生命形體？在她的創作語彙中，花凋之際反而是生命最誠實的時刻，生命褪去盛放的裝飾，露出如石頭般的真實輪廓，展現堅韌而蜷曲的形體。陳思婷將意象帶入自然萬物的花石之中，如形象本身的無常對照石頭堅韌般的永恆。這種「藉物喻意」的創作方法，根植於她長年研究的物色觀，使作品儼然形成一個介於虛實、隱現之間的場域。

 陳思婷 Chen Si Ting｜向生2  Inclining to Life2, 2017, 絹本設色 color on silk, 98x60 cm
 

　　陳思婷以柔軟弧線與纖細植物經脈，乾澀線條勾勒輪廓，濃淡墨韻層層刷染留下筆觸與肌理，以及介於夢境般天馬行空的形體，透過絹布半透光影的特性，使觀者欣賞絹本那既可以覆蓋又透光的特質，讓視線遊走在「顯」與「隱」之間。那些輪廓清晰、用色對比強烈的畫面讓人隱約聯想到薩爾瓦多．達利的超現實氣質，同樣以銳利輪廓線與強烈明暗對比構築畫面，同樣讓不可能的符號並置於同一空間。
 

陳思婷 Chen Si Ting｜共生Symbiosis, 2015, 絹本設色 color on silk, 127x90 cm

      達利從夢的深層挖掘潛意識，陳思婷從生活的場景中出發，發展出個人觀看世界的獨特視角，將東方的「睹物興情」轉化成當代視覺的新穎角度。

      世間萬物如一念婆娑，解世間纏縛，是「可視的盛放」與「不可視的空寂」。絹布鏤空的特質，將纖細、輕透、易飄的特性，以及承載物色的絹布光影，呈現作品幻化 、蛻變、飄渺有無的精神意象傳達。
 

期待與您在穎川畫廊相見~

The term pó suō (婆娑) first appears in the Book of Songs (詩經), where it evokes the swaying, dancing vitality of life. In Buddhist cosmology, it points toward the suffering and salvation of the Sahā world. Chen Si-ting takes this concept as the thematic core of Whirling Flower, building her own pó suō world through paint — situating the act of painting between the visible and the invisible, the real and the illusory.

Working primarily with landscapes, plants, and organic forms, Chen guides the viewer to pause at first glance and ask: what is the object? A flower, a stone, a cross-section of shell, or some life form caught in the middle of transformation? In her visual lexicon, the moment of a flower’s withering is precisely when life becomes most honest, stripped of its blooming adornments, its true contour emerges — stone-like, hard, resilient, and curled inward. Chen extends this philosophical register into the natural world of flowers and rocks, making the image itself a symbol of impermanence. This method of indicating meaning through objects is rooted in her long engagement with the classical concept of “wùsè (物色)” (the way the colors and textures of the natural world stir emotion) and her work coheres into a field suspended between presence and absence, revelation and concealment.

Chen constructs her paintings through soft arcs and delicate botanical veins, dry brushwork tracing contours, and ink washes of varying density that layer depth into space. The semi-translucent quality of silk further complicates the viewing experience. Ink simultaneously covers and admits light, so the eye moves fluidly between what is shown and what is withheld. Moreover, the sharp outlines and high-contrast passages in certain works carry a subtle resonance with the Surrealist sensibility of Salvador Dalí — both employ precise contour lines and dramatic chiaroscuro, both place impossible signs side by side within the same pictorial space. Yet where Dalí excavates the unconscious through the logic of dreams, Chen departs from the wùsè poetics of the Six Dynasties, translating the classical Eastern principle of “dǔ wù xīng qíng” (the evoke of certain emotion through encounter with things) into a distinctly contemporary visual Surrealism.