Li-Yun Chien
簡莉芸
Li-Yun Chien, lives and works in Tamsui, born in 1997 in Luodong, Taiwan. She is studying for a Master’s in the School of Fine Arts (Art Creation) at the Taipei National University of the Arts. Chien uses various mediums such as painting, sketching, installations, and sculpture, fluidly navigating between different forms. The core of her work transitions from an obsession with the visible and invisible aspects of materials to observing the forms created by objects and spaces in daily life, serving as sources of inspiration. Her solo exhibition experiences include: “Newton’s Third Law of Motion Uncertain Analysis, Examples,” Zone Art, Taoyuan, 2023; ”Allergic Predisposition,” Fish Art Center, Taipei, 2022; ”Well, well, welcome to My Space,” King Car Cultural & Art Center, Taipei, 2022. Her works were participated in “Until Day Dreamed,” Pine Garden, Hualien, 2023; “HAIKU-Sculpture,” Library and Art Museum, Okinawa, 2023; “Taoyuan Fine Arts Exhibition,” Zhongli Arts Hall, Taoyuan, 2023; “Double Helix,” 116 Gallery, Kaohsiung, 2023.
The sound has the power to summon forth many blurred memories from the past, bringing back the sensory experiences, humidity, and events of a particular moment. Li-Yun Chien's installation piece, Sound of Shell uses IKEA storage boxes as models, replicated with different materials. The artist re-edits sounds recorded during her life abroad, with random sung notes echoing the contours of the space at the time within each replicated box, encapsulating memories of time and the shapes of space into the soundscape.
In everyday life, liquids are given different names in various situations. The artwork, Don’t Cry, Don’t Cry, Tears are Pearls, unfolds based on the different names liquids acquire in other events. It visualizes the humidity in the air through the material itself, attempting to collage scenarios about liquids from life events. Another suspended installation piece, Large and Small Beads Falling on a Jade Plate, draws inspiration from the description of sounds in the poem "The Pipa Player." The artist extracts poetic verses and uses brightly colored beads to translate the scenario of droplets falling onto vessels, transforming the sensory experience of sound into a rhythmic interplay of color and form. Through the transfer of texture and senses, these tiny fragments of life present a heterogeneous experience.
簡莉芸，現居住和工作在淡水，1997年出生於羅東，台灣。目前就讀於國立臺北藝術大學美術學系碩士班創作組，並以繪畫、素描、空間裝置、雕塑等不同方式呈現，並穿梭在不同形式之間。作品的主軸從迷戀物質的可見與不可見，到觀察在生活當中，物、空間所形成的樣貌，來進行發想。近期的個展為「古典力學的錯誤分析實例」，众藝術，桃園，2023；「浪漫型體質」，秋刀魚藝術中心，台北，2022； 「Well, well, welcome to my space」，金車藝文中心承德館，台北，2022；作品曾參與聯展如「直至日夢濾了一室的光」，松園別館，花蓮，2023；「雕刻五七五」，沖繩縣立藝術大學，沖繩，2023；「2023桃源美展」，中壢藝術館，桃園，2023；「雙螺旋式──北藝x高師交流展」，116藝文空間，高雄，2023。
聲音可以召回許多過去模糊的記憶來到眼前，將某個時刻的體感、濕度還有事件再度浮現。簡莉芸的裝置作品〈Sound of Shell〉以IKEA整理箱為模型，分別用不同的材質來翻製，並重新剪輯藝術家在異地生活的聲音，而隨機吟唱的音符在每個翻模箱子中，以回音描摹當時所處空間的輪廓，將時間的記憶與空間的形狀一併地打包進聲音裡頭。
日常生活中，液體在不同的場合擁有不同的名稱，作品〈不哭不哭眼淚是珍珠〉是以液體在事件下的不同名字而展開，將空氣中的濕度透過材料本身顯現，試著拼貼生活事件裡關於液體的情境。另一件懸吊的裝置作品〈大珠小珠落玉盤〉則取自《琵琶行》裡對於聲音的描寫，藝術家擷取詩句並用色彩鮮豔的珠子，轉譯水滴落在器皿上的情境，將聲音的感受轉為一種色彩的、造型上的節奏，將生活中的微小片段，透過質地、感官的移轉，呈現一種異質的經驗。
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The sound has the power to summon forth many blurred memories from the past, bringing back the sensory experiences, humidity, and events of a particular moment. Li-Yun Chien's installation piece, Sound of Shell uses IKEA storage boxes as models, replicated with different materials. The artist re-edits sounds recorded during her life abroad, with random sung notes echoing the contours of the space at the time within each replicated box, encapsulating memories of time and the shapes of space into the soundscape.
In everyday life, liquids are given different names in various situations. The artwork, Don’t Cry, Don’t Cry, Tears are Pearls, unfolds based on the different names liquids acquire in other events. It visualizes the humidity in the air through the material itself, attempting to collage scenarios about liquids from life events. Another suspended installation piece, Large and Small Beads Falling on a Jade Plate, draws inspiration from the description of sounds in the poem "The Pipa Player." The artist extracts poetic verses and uses brightly colored beads to translate the scenario of droplets falling onto vessels, transforming the sensory experience of sound into a rhythmic interplay of color and form. Through the transfer of texture and senses, these tiny fragments of life present a heterogeneous experience.
簡莉芸，現居住和工作在淡水，1997年出生於羅東，台灣。目前就讀於國立臺北藝術大學美術學系碩士班創作組，並以繪畫、素描、空間裝置、雕塑等不同方式呈現，並穿梭在不同形式之間。作品的主軸從迷戀物質的可見與不可見，到觀察在生活當中，物、空間所形成的樣貌，來進行發想。近期的個展為「古典力學的錯誤分析實例」，众藝術，桃園，2023；「浪漫型體質」，秋刀魚藝術中心，台北，2022； 「Well, well, welcome to my space」，金車藝文中心承德館，台北，2022；作品曾參與聯展如「直至日夢濾了一室的光」，松園別館，花蓮，2023；「雕刻五七五」，沖繩縣立藝術大學，沖繩，2023；「2023桃源美展」，中壢藝術館，桃園，2023；「雙螺旋式──北藝x高師交流展」，116藝文空間，高雄，2023。
聲音可以召回許多過去模糊的記憶來到眼前，將某個時刻的體感、濕度還有事件再度浮現。簡莉芸的裝置作品〈Sound of Shell〉以IKEA整理箱為模型，分別用不同的材質來翻製，並重新剪輯藝術家在異地生活的聲音，而隨機吟唱的音符在每個翻模箱子中，以回音描摹當時所處空間的輪廓，將時間的記憶與空間的形狀一併地打包進聲音裡頭。
日常生活中，液體在不同的場合擁有不同的名稱，作品〈不哭不哭眼淚是珍珠〉是以液體在事件下的不同名字而展開，將空氣中的濕度透過材料本身顯現，試著拼貼生活事件裡關於液體的情境。另一件懸吊的裝置作品〈大珠小珠落玉盤〉則取自《琵琶行》裡對於聲音的描寫，藝術家擷取詩句並用色彩鮮豔的珠子，轉譯水滴落在器皿上的情境，將聲音的感受轉為一種色彩的、造型上的節奏，將生活中的微小片段，透過質地、感官的移轉，呈現一種異質的經驗。
⭢ Main Page
⭢ Participated Artist