廖文彬，一位於近年屢獲重要獎項：奇美藝術獎、金車青年油畫獎首獎、台灣國展的新起之秀。他的作品主題內聚、筆觸細膩、色調沉穩而溫潤，帶有極富張力的魔幻寫實表現風格；表面看似沉潛的主題，卻又在細微之處給觀者幽默的會心一笑，形塑出他獨具一格而完整的藝術風貌。那些工地勞苦的元素：磚土、黃布條、螺絲、布手套，是廖文彬成長的環境記憶，也是他的遊樂場域；初始的創作動力，便是他能以藝術想像越過現實困窒，從不同的角度觀看物件且賦予深意。
「追夢」系列是畫家筆下描繪社會基層遙不可及的夢想，「踏實」、「剪刀石頭布」、「平衡之二」、「家之二」也成一創作脈絡，含有對勞動者的關懷以及對社會階層不平等的反思，作品「台灣維那斯」則是以勞苦的母親為精神，反射於最美的維納斯雕像形體，生動傳達台灣女性的刻苦耐勞樸實之美，「我是一隻牛」系列及其他作品則以手的姿態，開啟藝術創作的豐富符號。而在最近期的創作系列中，布手套被翻折變異成變色龍的形貌，藝術家的特質也與變色龍窺覷和偽裝的姿態相連結，等待更多創作的演繹、暗示。在廖文彬的個展中，將剝解出藝術創作風格凝聚的內核，以及對未來創作無限的探索可能。
The ‘hand’ is a symbol of hard labor; it is the dream of most credited artists, especially in Liao Wen Bin’s portrayal in paintings showing attitudes towards the self and towards society, and in the growth of metaphorical objects depicted in artwork. Furthermore, there is a depicted ‘temperature’, a warmth at which Mr. Liao’s vision of the world and memories are presented in his pieces.
Liao Wen Bin has won several prestigious awards in recent years: the CHIMEI Art Prize, the JINCHE Youth Painting Award First Prize, and the Taiwan International Exhibition prize. The themes of his artwork are perceptive, his brush strokes delicate, his color palette calm and warm, conveying a style of impactful magical realism. On the surface, his themes may appear serene and composed; however, humorous twists in his objectives deliver smiles to his audience and thus shape his unique artistic style.
Components from laboring and construction sites clay bricks, yellow border tape, screws, cloth and gloves reveal Mr. Liao’s memories of his environment as well as his personal playground.
His initial creative force is, moreover, his approach to aesthetics; crossing reality from different perspectives. Mr. Liao’s ‘Chasing Dreams’ series is his profound depiction of society’s distant dreams; his additional works ‘Pragmatic’, ‘Rock, Paper, Scissors’ ‘The Balance of Double’, and ‘Home of Two’ have also become creative threads of thought expressed through art.
The reflection of social class inequalities is apparent in his piece ‘Taiwan’s Venus’, which is based on the laboring mother’s spirit. With the portrayal of the exquisitely beautiful female form of Venus, the beauty of toil and hard labor is vividly conveyed alongside cultural aspects. The ‘I Am a Cow’ series and other works feature the symbolic hand, adorning Mr. Liao’s artwork with rich symbols. In his most recent series, construction gloves are fluidly molded into the shape of a chameleon characteristics of the artist are also revealed in the reptile subject, including its innately discreet manner and its power of camouflage. Liao Wen Bin’s solo exhibition unearths the core of artistic style, and strives for a future in which to explore endless possibilities.
-學歷
2009年台灣藝術大學雕塑系畢業
-得獎紀錄
2015 第27屆奇美藝術獎 美術類西畫組首獎
2013 第二屆台灣筆會 金筆獎(第一名)
第六屆金車青年油畫獎 第一名
台灣國展 優選
2011 第23屆奇美藝術獎 美術類雕塑類首獎
第二屆台灣美術新人獎-首獎
2010 第44屆國軍文藝金像獎 水彩類-第一名
2009 北縣美展雕塑類第三名
桃源美展雕塑類第二名
-參展紀錄
個展
2017「遊戲人生｣於黑森林藝術空間展出
2016「自化像｣於黑森林藝術空間展出
2015「手的溫度｣於黑森林藝術空間展出
2014 台藝大雕塑系新生代校友聯展 於台藝大藝術博物館展出
2013 台灣筆會 於台灣美術館展出
奇美藝術獎25周年特展-開起天真之眼 於中正紀念堂瑞元廳展出
台灣國展 於彰化生活美學館展出
「逗心機」於國立台北教育大學藝術館201展出
2012 「廖文彬成果展」於草山行館 92館展出
聯展
2016「台北藝術博覽會」於世貿展覽館,台北,台灣
2015「高雄藝術博覽會」於駁二倉庫,高雄,台灣
「高雄漾藝術博覽會」於駁二倉庫,高雄,台灣
2015「擬想迴光」於台灣藝術研究院,高雄,台灣
「 中青四人聯展」於楊品文化,高雄,台灣
2014「台灣藝術家博覽會」於新光三越台北信義新天地A9,台北,台灣
「台藝大雕塑系新生代校友聯展」於台藝大藝術博物館,板橋,台灣
2013「台灣筆會」於台灣美術館,桃園,台灣
「奇美藝術獎25周年特展-開起天真之眼 」於中正紀念堂,台北,台灣
「台灣國展」於彰化生活美學館,彰化,台灣
「逗心機」於國立台北教育大學,台北,台灣
2011「奇美藝術獎」,新竹教育大學,新竹,台灣
「台灣美術新人獎」,師大德群藝廊,台北,台灣
2010「新北市-城市,創意,工藝 特展」於板橋,台灣
2008「節骨眼」於華山藝文特區,台北,台灣
「石敢當」於435藝文特區,台北,台灣
-經歷
2014~2015 高雄駁二藝術特區公共創作四件
2014 台北元宵燈會 燈籠馬雕塑裝置一件
2013 於雲林-孩沙里 製作戶外景觀雕塑「孩沙印象」一件
2012 草山行館藝術家駐村
2011~2012 擔任楊明忠老師助手 製作-奇美博物館-榮耀天使
-典藏
國防部、奇美文教基金會、台灣藝術文化基金會、草山行館、台灣藝術研究院、台灣美術館、奇美博物館
所以這對於當時還在大學創作摸索的我,在心中算是先下了一個震撼彈!於是等待當兵至退伍後的沉澱醞釀期間,讓我決定要以我的生活環境,來做為一個創作開始!
我的父母都是工人，從小我就跟隨著他們的一起到工地，這些自幼熟悉的工地回憶：磚土、布手套、螺絲等，是父母粗糙雙手所賴以維生的工具，在旁人眼中或許毫不起眼，但在現今從事藝術創作的我看來，每一項物件，卻是跟生活、和社會息息相關，具有濃厚的情感和溫度，也因此成為我創作中最重要的媒材和主題，傳達出最深刻的關懷。工地裡的玩樂、工作回憶,及工人的辛勞,透過畫面將這些衝突矛盾,以童趣的方式,除了讓人感受到那份艱辛外,還能會心一笑~
在台藝大經過四年的雕塑學習，但我不以一般的石雕或木雕，而以工地隨處可見的水泥和磚塊為素材，雕刻成質樸卻真切的作品，透過這樣實際用建材來刻化,這樣更能接近及體會到勞動者的工作狀態!也透過繪畫方式,使得立體與平面間,更有了緊密關係及對話!更希望透過這些創作能為這群勞動階層發聲，呈現出他們樸實的心、他們懷抱的夢想，以及他們在這個社會的境遇。
從記錄工人工具至雕刻建材的延伸,後來幾乎都是以工人的手腳作為我的主要創作方向,在創作過程中,體會到勞動者如同在耕耘的牛,總是低聲下氣的埋頭苦幹!於是漸漸地將手的造型開始組合成動物的型態,開始以牛隻作為我超現實寫實畫風的開端。
牛-是工人的象徵,而我創作者就像變色龍一樣,在一旁默默地窺覷著這社會的現象...從牛轉變成變色龍,並不是我不再關心著這些勞動族群,而是我身上就是留著這些族群的血液!以變色龍的姿態,作為我的自畫像!透過這世代年輕人的創意及我自身的詼諧個性,讓布手套不再是一個被丟棄在角落的物件,而是一個充滿想像力及寫實的生物。不過在反應社會現象的同時，或許牠有時看起來就是那樣的無俚頭!?但...這就是牠的眼中世界~
也許是因為家人的理解和支持，讓我在創作的道路上，能一再地從過往和生活記憶中汲取能量，化成屬於我的藝術語彙；也希望每一位欣賞我作品的人，都能從那些日常元素裡看到或體會到不同的喻意，只要換個角度來看，觀看世界的方式也許會變得有所不同。
I vividly remember watching a CD of Ran Mao Qin’s demonstration he mentioned that when he departed from mainland China for Hong Kong, he was forced to consider his options of adhering to a painting career or making money. One late night, under street lights, he came to a realization. Native American realist painter, Andrew Wyeth, had based his paintings around his life. His residence in Maine, his acquaintances, scenery of pastures, seas, farmers... however, he achieved the career of his dreams. He never traveled nor budged a step from where he already was! Some said he should have ventured to Paris or New York, however, he chose not to. This was immensely touching! It illustrated the notion that one’s success arises from insistence and persistence, not from where he has travelled. Art is not migration, but a climb, and the innate need for life and creation! Art is formed to sate the heart’s wishes, not the greed for money and profits!
Thus, this became a shocking discovery for me, during the time I was still in college. I waited until after my military service, and thus rose from my gestation period, living in the natural tide of my life and its surroundings, prepared for a creative start!
My parents were laborers, construction workers; from my early years, I accompanied them to construction sites. Items from these areas of my childhood memories brick clay, cloth gloves, screws, etc. are the tools that sustained my parents’ lives. Presumably, they are mundane or unsightly to the eyes of pedestrians, but to my current, artistically keen self, every object has a relationship to life and society, and carries rich emotion and warmth. Thus, they have become important mediums and themes in my work, conveying the most profound significance. The pleasure, the strenuousness, the workers’ toil in the construction sites, reveals that despite the labor and hardships of work, there still exists the capacity to smile...
At Taiwan’s College of the Arts, I studied four years of sculpture; however, I don’t simply create the conventional stone or wood carvings. I utilize materials from construction sites, cement and bricks, carved into rustic but honest work. Through alternative use of building materials, I am drawn closer to laborers and have the opportunity to translate my appreciation for their work!
Perhaps it is the understanding and support of my family that has led me on the road to creation. I can consistently draw energy from my past and memories, applying them to my art vocabulary and skills. I can also hope that viewers will appreciate my work, viewing the everyday elements in a disparate light, observing the ways in which the world might be different.
