Deng-Lin Yang
楊登麟
Deng-Lin Yang, currently resides and works in Taichung, born in 1990 in Kaohsiung, Taiwan. His artistic practice included painting, mixed media, and installations. Beginning with observations and metaphors derived from everyday occurrences where individuals are either ”covered by others“ or ”overlooked due to universality,“ Yang explores various artificial materials such as wax, white glue, and soap. Through juxtaposing and separating these heterogeneous materials, he highlights the existence of relational dynamics. His works often encapsulate his own emotions and memories in minimalist forms while evoking ephemeral sensations. Yang has participated in the residency programs at the Taitung Art Museum (Taiwan, 2016) and the Saari Residence (Finland, 2017). His works have been exhibited at the Taoyuan Land Arts Festival, Taoyuan, Taiwan, 2019; “Techniques of Queer: Q.O.O,” Kuandu Museum of Fine Arts, Taipei, Taiwan, 2024. He was selected for the Kaohsiung Award in 2024.
Deng-Lin Yang’s repetitive manipulation of carbon paper derived from his exploration of wax materials. Initially approaching carbon paper creation through mixed media, he depicted oil-based materials such as wax and Vaseline scraped onto transparent glass surfaces with extensive bodily involvement and the precise strokes of a hard pen. These traces bear witness to the ongoing struggle between the artist and the material, encapsulating unutterable emotions and memories within the work. Subsequently, to expand the expressive potential of the material, he transitioned to painting and drew inspiration from the material’s inherent properties of precise replication and copying traces. His Character Series paintings, such as Here I Am, here I Remain and Proof depict portraits of individuals, exploring the tug-of-war of the relationship between the self and multiple roles, as well as the concept of typecasting and imagery reshaping within object imaging.
楊登麟，1990年生於高雄，目前居住和工作於台中。創作形式涵括平面繪畫、複合媒材與空間裝置，關注日常裡「被他者覆蓋」或「因普遍性而被忽視」的隱喻及觀察為起點，涉略各式蠟類、白膠、肥皂等人工材料，並藉由異質材料之間既聯繫又分離的語境突顯「關係性存在」。作品多以低限的形式包裹自身的情感與記憶，也同時寄寓稍縱即逝的感受。楊登麟曾參與2016年台東美術館與2017年芬蘭薩利駐村計畫，過往曾參展於桃園地景藝術節，桃園，台灣，2019；「技術的酷兒論 I : Q.O.O」，關渡美術館，台北，台灣，2024。2024年獲高雄獎入選。
楊登麟對複寫紙的反覆操演，源自對蠟類材料的探索，初期以複合媒材的形式切入複寫紙創作，透過大量的身體參與、硬筆的筆觸刻畫，將複寫紙上的油性材料(蠟、凡士林)刮至透明玻璃平面；既刻寫著創作者與材料間不斷角力的痕跡，也裹挾著內在難以言表的情感與記憶。爾後，為了擴展材料的表現面向而轉為繪畫的形式，並根據複寫紙具備精確複寫、複印軌跡等材料本身的自明性，從電影演員與角色間的關係尋獲靈感發展《Character Series》繪畫系列的作品如〈Here I am, here I remain〉與〈Proof〉，透過人物肖像畫的繪畫題材，表現個體在多重角色的差異與置換下拉鋸的虛實關係，探討角色定型或影像重塑的物像。
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Deng-Lin Yang’s repetitive manipulation of carbon paper derived from his exploration of wax materials. Initially approaching carbon paper creation through mixed media, he depicted oil-based materials such as wax and Vaseline scraped onto transparent glass surfaces with extensive bodily involvement and the precise strokes of a hard pen. These traces bear witness to the ongoing struggle between the artist and the material, encapsulating unutterable emotions and memories within the work. Subsequently, to expand the expressive potential of the material, he transitioned to painting and drew inspiration from the material’s inherent properties of precise replication and copying traces. His Character Series paintings, such as Here I Am, here I Remain and Proof depict portraits of individuals, exploring the tug-of-war of the relationship between the self and multiple roles, as well as the concept of typecasting and imagery reshaping within object imaging.
楊登麟，1990年生於高雄，目前居住和工作於台中。創作形式涵括平面繪畫、複合媒材與空間裝置，關注日常裡「被他者覆蓋」或「因普遍性而被忽視」的隱喻及觀察為起點，涉略各式蠟類、白膠、肥皂等人工材料，並藉由異質材料之間既聯繫又分離的語境突顯「關係性存在」。作品多以低限的形式包裹自身的情感與記憶，也同時寄寓稍縱即逝的感受。楊登麟曾參與2016年台東美術館與2017年芬蘭薩利駐村計畫，過往曾參展於桃園地景藝術節，桃園，台灣，2019；「技術的酷兒論 I : Q.O.O」，關渡美術館，台北，台灣，2024。2024年獲高雄獎入選。
楊登麟對複寫紙的反覆操演，源自對蠟類材料的探索，初期以複合媒材的形式切入複寫紙創作，透過大量的身體參與、硬筆的筆觸刻畫，將複寫紙上的油性材料(蠟、凡士林)刮至透明玻璃平面；既刻寫著創作者與材料間不斷角力的痕跡，也裹挾著內在難以言表的情感與記憶。爾後，為了擴展材料的表現面向而轉為繪畫的形式，並根據複寫紙具備精確複寫、複印軌跡等材料本身的自明性，從電影演員與角色間的關係尋獲靈感發展《Character Series》繪畫系列的作品如〈Here I am, here I remain〉與〈Proof〉，透過人物肖像畫的繪畫題材，表現個體在多重角色的差異與置換下拉鋸的虛實關係，探討角色定型或影像重塑的物像。
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