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Bluerider ART 藍騎士藝術空間
2023 JINGART藝覽北京 B30
Bluerider ART 藍騎士藝術空間將於2023年6月1日-6月4日參展 JINGART 藝覽北京藝術博覽會，推出十餘位國內外藝術家的代表性作品，深入探討人文與自然、抽象與具象等經典主題。
其中，中國藝術家曹吉岡（Cao Jigang）以西方坦培拉媒材呈現東方山水的虛無之境，瑞士錄像雕塑藝術家馬克（Marck）以錄像結合雕塑的獨特語匯探討人性框架，德國藝術家魯普雷希特・馮・考夫曼 （Ruprecht von Kaufmann）以反覆被厚塗消失模糊的面孔表現非傳統「肖像畫」的當代群像。藝術家們將對自然色彩、紋理、光影的感知以及人文哲思融入作品，以多元方式探索當下時代議題並展現當代藝術的多種形態。
Bluerider ART 創始人王薇薇（Elsa Wang） 表示：「2023 JINGART 藝覽北京是Bluerider ART 第二年在北京展出，北京一直是我們很重視的藝術重鎮之一，不同於2021年推出的雙人展形式，此次展位空間較大於以往，我們推出更多元化、代表性、當代多媒材作品，期待帶來不同風格，帶來嶄新的視覺體驗，與北京藝術藏家愛好者交流。」
曹吉岡 Cao Jigang（China, b.1955）
中國藝術家曹吉岡 （b.1955）使用古老的西方坦培拉技法，以多層打底，以有為創造“留白”，表出中國山水文人精神上的“虛空”意境；初期以油畫描述歷史長城的生命，之後歷經不同技法及概念創新演變階段，形成個人獨特風格。近年則以西方古老的坦培拉技法，慢工細活多層打底中的有為留白、玉質感，表現中國山水文人精神最高虛空意境。
魯普雷希特・馮・考夫曼 Ruprecht von Kaufmann (Germany , b. 1974）
德國藝術家魯普雷希特・馮・考夫曼(Germany , b. 1974）作為一位突出的圖像敘事藝術創作者，他選擇研究圍繞著人的各種層面，利用當代繪畫的視覺語言，展現批判敘事與平行現實幻境。 使用油彩創作，包括繪畫、雕塑和紙上作品，創作靈感來自於生活經驗，更多時候利用閱讀文學、音樂、電影引發腦海中各種意象與想象，尤以電影影響甚巨。相較於電影的時間敘事與聲線的交織，繪畫是定格的作品，藝術家在繪畫中引入前與後的感覺，以此方式打開更多表達的可能性，也預期觀者觀看作品時，隨著畫面構圖的引導，產生強烈的情緒反應。
里埃拉・伊・阿拉貢Riera i Aragó （Spain , b. 1954）
西班牙藝術家里埃拉・伊・阿拉貢（Spain , b. 1954）可謂為一位視覺詩人，由於對深海環境、潛艇、飛機等引擎機械的熱愛，「機械」成為貫穿所有作品的主軸。以青銅和回收鐵進行雕塑，也以其雕塑為描繪對象進行繪畫和紙上作品，不僅模糊了雕塑和繪畫之間的傳統邊界，最終重叠了兩種藝術形式，也模糊了功能性機械與藝術品的界線。
威利・希伯Willi Siber (Germany，b.1949)
德國藝術家威利・希伯（b,1949）擅長利用木頭、鋼與環氧樹脂探索物質的可塑性，令他感興趣的並非只有材質外表的美感，更多的是突破媒材的限制所進行的無盡的探索、驗證與推翻既定認知的過程。他作品所呈現出的色彩的玩味更突出其簡練的風格。創作不僅承襲巴洛克藝術的流動性、戲劇性和華麗的視覺效果，並帶入當代的視角。創作始於繪畫和石頭雕塑，1980年後漸以木質材料為軸心探討形變，這也是他將實驗精神帶入創作的重要分野，作品成為記錄質地、形體和感知交互影響的載體，如透過淺白基調和刨出弧度的邊角處理，粉飾木頭的粗曠生硬，轉化為觀者眼前的柔軟的意象。
雷諾・奧德霍恩 Reinoud Oudshoorn (Netherlands，b.1953)
荷蘭藝術家雷諾・奧德霍恩（Reinoud Oudshoorn，b.1953）專注透視法與空間的探索以及“視覺的模擬兩可性”，將滅點（Vanishing Point）的視覺高度統一設在1.65米，繁復精準且大膽地創造視覺空間無限反射延伸的“絕對過程”。奧德霍恩主張“雕塑應創造比作品本身更大的空間”，以“滅點”作為每件作品的開端，由線延展成面，再由面創造詩意的想象空間。
馬克Marck (Switzerland, b.1964)
瑞士藝術家馬克（Marck，b.1946）的作品展現社會各階層的人在熟悉與陌生環境中的生理及心理狀態，和對時間及空間的認同。在各處層層疊疊的限制之下，當代的人們遊走在生存的邊界，並做出身體的回應。馬克將這些問題藉由錄像雕塑（Videosculpture）拋向觀眾，喚起共鳴與想象。
帕斯卡爾・多比斯 Pascal Dombis (France, b. 1965)
法國藝術家帕斯卡爾・多比斯（Pascal Dombis，b.1965）是一位研究語言、算法等領域的視覺藝術家。他所創造的動態視覺環境和藝術作品，以它們技術過程的繁雜操作、重復性和不可預測性而著名。多比斯將AI等技術應用於繪畫中，展開一場繪畫與科技的探討，並展現科技所帶來的藝術之美。
Pascal Dombis ｜Control (X2)｜2015｜110x110cm｜Lenticular pirnt on aluminum compostie
安格拉・格萊札 Angela Glajcar（Germany, b.1970）
德國女性藝術家安格拉・格萊札（Angela Glajcar，b.1970）曾接受知名英國雕塑家Tim Scott的指導，早期以鋼鐵、⽊質或玻璃纖維等材料進行創作，近年來則專注於使用紙張作為雕塑的獨有材料。她跳脫出紙張細膩柔軟的傳統觀念，使用特殊紙打造出筆直銳利的邊緣，呈現⼏何塊⾯及延伸性畫⾯，也讓原有空間創造出新的想象。紙作為材料，吸收了周圍環境的光與⾊，因溫濕度產⽣卷曲，擁有⼀種暫時性的變化，與空間有機地結合在一起，綻放它獨有的姿態。
彼得・克劳斯科夫Peter Krauskopf (Germany, b.1966)
德國藝術家彼得・克勞斯科夫（Peter Krauskopf，b.1966）的創作以抽象繪畫為主。他在創作時先將流體顏料進行反復塗抹，再用刮刀把顏料刮除，使整個畫面形成層層疊疊的效果。克勞斯科夫對這種“反復繪畫的過程” （process of overpainting）相當感興趣，他認為這是“對時間的反覆書寫”(overwriting of time)，在抹去過去回憶後，再塗上一層新的歷史與記憶。
楊・克拉Jan Kaláb (Czech Republic, b. 1978)
捷克塗鴉藝術家楊・克拉（Jan Kaláb，b.1978）持續走在一條非傳統的藝術之路，其幾何塗鴉壁畫可見於紐約、布拉格、倫敦、波哥大等城市。他以點出發，發展幾何圓形形變， 以及 3D 塗鴉立體雕塑，從街頭到畫布，塗鴉的概念走入極簡純白的藝廊空間，擦出迷幻的火花。克拉擁有抽象藝術與街頭創作的雙重語匯，創造出充滿能量的抽象作品。
德爾克・薩爾茲 Dirk Salz (Germany, b. 1962)
德國藝術家德爾克・薩爾茲（Dirk Salz，b. 1962）出身於藝術世家，從小學習繪畫與藝術史，現居住創作於德國米爾海姆。薩爾茲創作時從不使用筆刷和畫布，而是使用油漆滾筒及潑灑樹脂時的重力，使作品脫離傳統極簡主義，探索透明度和色彩與光線和空間之間的關系。此次展出的是他「Deep Dive」系列的作品，藝術家以顏料與環氧樹脂反復構築出深不可測的抽象色塊，也使他的作品在富有深度的同時又被賦予了神秘的色彩。
Dirk Salz｜DSAM 812 no.2592｜2020｜140x100x12cm｜Rsinworks, deep dives, pigments and resin on multiplex
斯芬・杜爾 Sven Drühl (Germany, b.1968)
德國藝術家斯芬・杜爾（Sven Drühl ，b.1968) 對於藝術史相當著迷，風景一直是他創作的重要主題。他運用顛覆傳統繪畫的手法，利用非傳統的材料如矽氧樹酯、油彩、漆料等不同化學組成的顏料，描繪山景、樹木、火山等多樣的自然景觀。
Sven Drühl｜JLC｜2019｜160x120cm｜Oil and silicone on canvas
珍娜・華生Janna Watson（Canada, b. 1983）
加拿大藝術家珍娜・華生（Canada, b. 1983）以抽象繪畫作為逃避及回歸現實的方式，當她將我們所認知的世界非物質化為筆觸，她的繪畫也以鮮明的構圖與色彩喚起觀者的情感。受到古典構圖及現代主義幾何的影響，她的作品優雅卻充滿力量，以離散卻又無法分割的色塊組合成束的色彩。
Janna Watson｜Skywriting｜2023｜147.5x203cm｜Mixed media on panel
張惠文 Eunice CHEUNG Wai Man (Hong Kong, b.1986)
中國香港藝術家張惠文 （b.1986）擅長以精細的工筆技法，創作超寫實的美學風格，表達其對萬物生命的敬意。張惠文是香港“新工筆”繪畫代表人物之一，她的繪畫延續細膩繁復的工筆技法，主題思想則以擬人化手法從動物的視角描繪世界。提醒人們思考動物在不同環境地域與社會文化下的生存狀態，述說人與動物之間親密的關系，並透過細致的筆觸繪出自然之美的詠嘆；作品中加入許多現代生活的元素，也能引起觀者的共鳴。
Eunice CHEUNG Wai ｜The Mother of Nature｜2014｜138x83cm｜ink an dcolor on silk
西瑞・菲兹 Thierry Feuz（Switzerland，b.1968）
瑞士藝術家西瑞・菲茲（Thierry Feuz，b.1968）從⽣命經驗及⾃然風景中取材，將具體之物放入虛實之間，並巧妙地跨越⽂化及抽象的界線，用藝術的方式記錄生命的美好瞬間。作家Oliver Orest Tschirky如此評價西瑞．菲茲的畫作：“ 不僅可以看到⾊彩、形式、層次以及主題中那明亮、閃耀、且歡樂的情緒交織，也能感受深刻且令⼈回味的意義。”
Thierry Feuz｜Blue Monsoon｜2021｜200x130cm｜ Lacquer and acrylic on canvas
克里斯蒂安・格琳 Christiane Grimm（Germany, b.1957）
德國藝術家克里斯蒂安・格琳 （Christiane Grimm ， b. 1957) 的創作被描述為“不插電的動態光影”。多年來，她致力於研究光線、色彩、空間，與特殊玻璃、壓克力等材質的有機結合，並系統地、精確地處理層次與感知色彩。格琳擅長以光作畫，物理光線影響著作品的具體成像，光線變化與不同的觀看位置使作品顯現出不同的立體層次效果。
Christiane Grimm｜Pearl VI｜2021｜100x100x10cm｜Mixed media and acrylic glass
潔西卡・德里克Jessica Drenk (USA,b.1980)
美國藝術家潔西卡・德里克（Jessica Drenk ，b.1980）透過創作傳遞物質的可塑性，延伸自然與人造物間循環應用的關系。德里克的創作理念源於對大自然的崇敬，以及物質形變的可能，在她的作品中常見有機的形體、花紋或質地，或是經人工再造的創作媒材如書冊或 PVC 水管等，也會歸根於大自然的型態。此次展出作品將數千的鉛筆黏合，再經磨砂處理，褪去外部人為加工的色彩與包裝，留下天然的色澤質感，呈現內外兩種不同型式的對照。
Jessica Drenk｜Circulation 11｜2019｜94×91.5cm｜books, wax
卡蘿．普魯莎Carol Prusa（American, b. 1956）
美國藝術家卡蘿．普魯莎Carol Prusa（American, b. 1956）受到文藝復興圓頂教堂繪畫的啟發，開始埋首銀針筆繪畫研究，以機械紋理低調洗練的灰階，展現自成一格的創作風格。早期以半弧形體，後逐漸展現360度球體功力，近期轉向平面畫作以及大型裝置，跳脫以往球體裝置，開創新平面風格，卻仍為觀者營造無限的視覺感。Carol Prusa 融合了她對宇宙、自然科學，以及浩瀚宇宙間神秘「未知」的著迷，將古老的銀針筆技法，結合雕刻樹脂、玻璃纖維、金屬箔甚至是LED燈等當代媒材，使我們得以去想像宇宙初始的渾沌、融合以及萬物間的神秘力量。
Exhibiting artists:
曹吉岡（ Cao Jigang）
魯普雷希特・馮・考夫曼（Ruprecht von Kaufmann）
里埃拉・伊・阿拉貢（Riera i Aragó）
威利・希伯（Willi Siber）
雷諾・奧德霍恩（Reinoud Oudshoorn）
馬克（Marck）
帕斯卡爾・多比斯（Pascal Dombis）
安格拉・格萊札（Angela Glajcar）
彼得・克勞斯科夫（Peter Krauskopf）
楊・克拉（Jan Kaláb）
德爾克・薩爾茲（Dirk Salz）
斯芬・杜爾（Sven Drühl）
珍娜・華生（Janna Watson）
張惠文（Eunice CHEUNG Wai Man）
西瑞・菲茲（Thierry Feuz）
克里斯蒂安・格琳（Christiane Grimm）
潔西卡・德里克（Jessica Drenk）
卡蘿．普魯莎（Carol Prusa）
2023 JINGART藝覽北京
Bluerider ART 藍騎士藝術空間
展位B30
尊貴藏家預覽（僅限邀請）
6月1日 星期四 14:00-20:00
6月2日 星期五 11:00-18:00
公眾日
6月3日 星期六 11:00-18:00
6月4日 星期日 11:00-18:00
北京展覽館
西直門大街135號
Works
Artist
Cao Jigang
(China, b. 1955）
曹吉岡 Cao Jigang（China, b. 1955）出生於北京，1984年畢業於中央美術學院油畫系，2000 年畢業於中央美術學院油畫系材料表現研修組。曾任教於中央美術學院造型學院基礎部。曹吉岡的作品融合東西方美學，用混生方式表現中國山水畫中的「虛空」。知名中國藝術評論家夏可君教授Ph.D 談論曹吉岡作品 :「曹吉岡的坦培拉作品乃是連接自然與生活，西方古典與中國古典，傳統與當代，現實與夢想之間的仲介，是在趙無極與朱德群的抒情風景抽象之後，華人藝術家所給出的另一個新階段，這就是古典山水畫的歷史記憶與西方古典的手法觸感，經過新的極簡主義與虛薄化轉換，更為具有東方典雅高貴的氣質與生命洗心的精神。」曾多次於中國美術館及海外展出，榮獲第九屆全國美展銀獎(1999)並由中國美術館、 上海美術館…等永久收藏。
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Ruprecht von Kaufmann
(Germany , b. 1974)
Ruprecht von Kaufmann 魯普雷希特．馮．考夫曼 (德，b. 1974) 出生於德國慕尼黑，BFA洛杉磯藝術中心設計學院畢，曾任教柏林藝術大學、漢堡應用科學大學和萊比錫美術學院，現居住創作於柏林。作為一位突出的圖像敘事藝術創作者，他選擇研究圍繞著人的各種層面，利用當代繪畫的視覺語言，展現批判敘事與平行現實幻境。於歐洲各大城市倫敦、柏林、斯圖加特、奧斯陸、紐約展出；作品獲紐約知名收藏家族(Hort Family)、德國 Sammlung Philara 博物館、德國法蘭克福德意志聯邦共和國國家銀行等，眾多公私立機構永久收藏。
Riera i Aragó 里埃拉・伊．阿拉貢
(Spain , b. 1954)
目前創作及居住於西班牙巴塞隆納。於西班牙聖霍爾迪美術學校取得藝術學士學位。Aragó可謂為一位視覺詩人，由於對深海環境、潛艇、飛機等引擎機械的熱愛，「機械」成為貫穿所有作品的主軸。以青銅和回收鐵進行雕塑，也以其雕塑為描繪對象進行繪畫和紙上作品，不僅模糊了雕塑和繪畫之間的傳統邊界，最終重疊了兩種藝術形式，也模糊了功能性機械與藝術品的界線。曾於歐洲美術館舉辦多次個展，如：比利時奧斯坦德現代藝術博物館、比利時弗隆基金會博物館、法國安德烈·馬爾羅現代藝術博物館、西班牙巴塞隆納城市歷史博物館、德國海布隆市政博物館等，作品永久收藏於西班牙巴塞隆納當代美術館、德國巴特洪堡ALTANA文化基金會等，其作品亦在許多知名大型公共藝術展出。
Willi Siber
(German, b. 1949）
Born in Upper Swabia, the center of Baroque art history, Willi Siber studied art history at the University of Stuttgart, Germany. His creations inherited the fluidity, theatricality, and splendid visual effects of Baroque art also incorporated a contemporary perspective. Siber once said "My creations stem from change." Over the long artist career he not only excels in painting, but also known for art objects , installations, sculptures. Using wood, steel, epoxy resin, exploring the malleability of materials, focusing not just on the aesthetic expression of materials he constantly research, validation, and overturning of established perceptions, breaking through the limitations of materials. His playfulness with colors further highlights his concise style. Willi Siber's exhibitions have spanned across Europe and the United States, his works permanently collected by German Federal Parliament, the German Embassy in Argentina, Deutsche Bank, Staatsgalerie Stuttgart, Städtisches Kunstmuseum in Singen, and private art museums Kunstwerk Sammlung Klein, Museum Ritter and private collectors worldwide.
Reinoud Oudshoorn 雷諾．奧德霍恩
（Netherland, b. 1953）
Reinoud Oudshoorn is a contemporary minimalist artist from the Netherlands. He graduated from the AKI Art Academy in the Netherlands and currently lives and works in Amsterdam, where he used to teach at the KABK (Koninklijke Academie van Beeldende Kunsten). Reinoud Oudshoorn is renowned for his minimalist sculptures focus on "Vanishing Point" to construct three dimentional spaces: physical space, invisible space and poetic imagination space. He advocates that "sculpture should create space larger than the work itself" . His exhibitions across Europe, America, and Asia, exhibited at the Stedelijk Museum and Museum Fodor in Amsterdam..etc. Works permanently collected by the Stedelijk Museum Amsterdam, the AkzoNobel Art Foundation in the Netherlands, ABN AMRO Bank in the Netherlands, and the private art museum Sammlung Schroth in Germany..etc.
Marck
(Switzerland, b. 1964）
nternationally renowned X-ray artist Nick Veasey reveals the hidden facets beneath the surface using his unique X-ray penetration technique. His work humorously and mischievously explores the essence of people and objects' inner nature. Nick Veasey uses x-ray to strip back the layers and show what it is like under the surface. The technique reveals what, and often how, things are made, which grants his art to penetrate the surface and take us on a journey into a world otherwise hidden and unseen. Veasey has an extensive exhibition experience worldwide, with his artwork featured on the cover of TIME magazine and invited to give a TED talk. In 2018, he held a large-scale exhibition at the renowned Fotografiska museum in Sweden, visited by The Prince and Princess of Wales and the Crown Princess of Sweden. He also photographed important antique costumes for the Victoria and Albert Museum and collaborated with various brands such as Louis Vuitton, United Airlines, Balenciaga and Alexander McQueen. Works collected by the Victoria and Albert Museum, National Science and Media Museum in the UK, the San Francisco Museum of Modern Art, The Museum at FIT in the USA, the BMW Museum in Germany and the Museum of Applied Arts and Design (MUDAC) in Switzerland.
Marck 的作品看似以女性為主體，實際上則是以其作為社會縮影的代表，與框架的沖撞更探討著有形與無形的束縛，喚起觀者心中的共鳴。作品無法被單純定義為錄像與雕塑的結合，更像虛實的壹體呈現，由出演的排序、影片拍攝的精確定位，「錄像的目的不是敘述壹個故事，而是激發觀眾的情緒」，滲入我們習以為常的生活，以動態的畫面觸撥我們觀看雕塑的思維，同時也築起多媒體素材，至動力機械和雕塑的手工制作。錄像雕塑以全新的形式，揉合影像的平面表述與雕塑的空間意義，不僅辟出錄像創作的新道路，也再擴張觀者的感官體驗。
Pascal Dombis 帕斯卡爾・多比斯
（Frence, b. 1965）
Graduated from Tufts University computer art and Insa University in Lyon, France. Digital artist Pascal Dombis currently lives and works in Paris. His focus involves the exploration of language, noise, control, and irrationality. Dombis has been using computers and algorithms to generate and elaborate repetitions of simple processes, which computationally reproduce geometric or typographical signs. Started as a painter, Dombis notes that his encounter with William Burroughs’s art was a key moment for his new investigations into digital art. Dombis uses optical materials such as lenticular plates to revisit the way viewers look at things, and to question the very nature of images in the broad sense of the word. By using lenticular, allows him to play with the viewer’s gaze. The incessant circulation of images has made the way of looking at things more dynamic. Moreover, the lenticular material questions this new reading paradigm and brings about a physical and time-related experience. Over the years he created monumental public works for the City of Perth, Australia, the Ministry of Culture in France, and an 8 meter long outdoor sculpture installation along the River bank in Shanghai, China. His art exhibited around the world including Musée en Herbe in France, Museum Kunstpalast in Denmark, Velchev Art Museum in Bulgaria, and the University of Georgia in the USA.
Angela Glajcar
(Germany, b.1970）
Born in Mainz, Germany, Angela Glajcar studied sculpture at the Akademie der Bildenden Künste in Nuremberg from 1991 to 1998. Glajcar's work embodies sculpture and installation, it examines the way in which space is experienced using a material that is fragile and light. In the act of ripping and perforating a material that is traditionally used as a two-dimensional support, Glajcar gives paper a strong sculptural presence. Terforation is the title of Angela Glajcar's famous cubic pieces. The staggered arrangement of the vertically hung series of sheets of white paper, with torn edges, produces cave-like recessions. These extend into the depth of the sculpture. The sharp ridges and deep caverns gives viewer a fascinating room of harmony and silence. Glajcar has exhibited extensively and been the recipient of numerous awards and fellowships including Studio Award of the Kunststiftung Erich Hauser, the Asterstein scholarship in 1999 and Vordemberge Gildewart Award in 2004. Glajcar's works have been showcased in various prominent public art exhibitions, including Cologne Cathedral, the Frankfurt Department of Culture, the Jacksonville Museum of Contemporary Art, and the Mainz Gutenberg Museum. Permanent collections of Glajcar's works can be found at the Jacksonville Museum of Contemporary Art in the United States, the Wiesbaden Museum in Germany, the Mainz Arts and Sciences Center in Germany, and the Hanten Schmidt collection in Austria.
Peter Krauskopf 彼得・克勞斯科夫
（Germany, b. 1966)
Peter Krauskopf studied at the Academy of Fine Arts in his birth town Leipzig and later continued as a post-graduate under Arno Rink. Known for his break with the figurative tradition of Leipzig painting, Peter Krauskopf especially interested in the process of overpainting, which he understands as an overwriting of time. All of his pieces – the intensive colored smaller plates, as well as the big monochrome color gradients, seem to be abstract at first sight, but they are all ‘concretions of a period of time’. On homogeneous, smooth grounds which either consist of an old, former abandoned painting or a monochrome under painting, Krauskopf performs one single intervention to form a new picture. In 2015 he received the Falkenrot Prize. His paintings were widely exhibited including the Mies van der Rohe-Haus, Berlin, the Forum Kunst Rottweil, the Kunsthalle Lingen and Kunsthaus Kaufbeuren, works presented in the collection of the Albertinum in Dresden, the Ludwig Forum in Aachen, the City Museum of Wrocław, the Kunstverein Ludwigshafen, the Museum Schloss Morsbroich in Leverkusen, Kupferstichkabinett and the Galerie Neue Meister in Dresden, Germanisches Nationalmuseum in Nuremberg.
Jan Kaláb 楊‧克拉
(Czech Republic, b.1978）
Jan Kaláb graduated from the Academy of Fine Arts in Prague, Czech Republic, and currently lives and works in Prague. As a pioneer of Czech graffiti art, Jan Kaláb has been constantly forging a path as a non- traditional artist. He transitioned from street graffiti into pure white spaces, starting with points and developing them into circular transformations and 3D sculptures, condensing the exuberance of the outdoors onto geometrically distorted canvases. He represented the Czech Republic at the Shanghai World Expo in the Czech Pavilion and his works are held in collections at The National Czech & Slovak Museum & Library (NCSML), National Art Museum of Brazil, Deji Art Museum in China, Daejeon Museum of Art in South Korea, and cooperate with numerous international luxury brands including Dior and Tiffany.
Dirk Salz 迪爾克・薩爾茲
(Germany, b. 1962）
Dirk Salz lives and works in Cologne. He was born 1962 in Bochum, Germany, to an artistic family. Through his childhood and high school, he grew up painting, drawing, and studying art history. Salz’ artistic work deals in different manners with human perception or rather with the insufficiency of our mind that shapes this perception. His work can be found in a number of private collections, as well as prominent corporate collections, such as the Akzo Nobel Art Foundation.
Sven Drühl
(German, b. 1968）
Sven Drühl currently lives and works in Berlin. He studied both in art and mathematics. With a PhD in art theory, he is also an author and editor of publications on contemporary art. Conceptually, Sven Drühl dissects visual shapes and types taken from every era from Romanticism to the present day, re-mounting them and combining them with his own motifs. Drühl reacts to the crisis of expression in post-modern painting with these transformed citations, but has purposefully not ceased to paint. His exploration of art history and his continual questioning of painting as a medium are at the heart of his oeuvre. He became known through his compilations of famous landscape paintings and had been exhibited throughout Europe, Asia and the United States including the St. Matthäuskirche, Berlin, Museum Villa-Rot, Neue Galerie Gladbeck, National Museum of Art of Romania, Bucharest, Kallman-Museum, Ismaning, Museum Haus am Waldsee, Berlin, ZKM | Museum für Neue Kunst, Karlsruhe. His work is in collection of Berlinische Galerie -Museum für moderne Kunst, Berlin, Allianz Forum, Deutsche Bank, E.ON Art Collection, Düsseldorf, Collection Philara, Düsseldorf.
Janna Watson
(Canada, b. 1983)
Janna Watson（Canada, b. 1983）uses abstraction as both an escape from and return to the real. As the world we know dematerializes into paint strokes, so too does her paint take stage as its very own character in a multi-act drama of composition. Bundles of colour, made up of discrete yet inseparable instances of pigment—what Watson refers to as “moments”—are teeming and poised as though caught mid-multiplication. Sweeps of paint re-direct sharply and fold over themselves; thin, rigid ink lines cut into the pictorial field as rudimentary elements in an increasingly complex system of painterly language. All the components play out on a surface of slow, chromatic gradation. Like many of Watson’s players, these backdrops tenderly gesture toward the familiar, stopping just short of representation. The result is a conceptual project (and distinct, stylistic signature) that speaks to a contemporary milieu in which abstract painting is not the retreat of meaning into an unrecognizable realm, but rather the emergence of medium as a “figure” in its own self-inscribed world of feeling and being. Watson does more than reveal paint’s potential to emote—she gives it a space to reveal itself, in its own time.
Eunice Cheung Wai Man
( Hong Kong, b.1986 )
Eunice CHEUNG Wai Man is a Hong Kong artist. Born in 1986, she graduated from The Chinese University of Hong Kong with a Master of Fine Art. She specializes in Chinese gongbi (fine-brush) painting of animals, and her research is about the changing relationships between human and animal throughout the Chinese Art history. She is a frequent participant of different individual and joint exhibitions in Hong Kong and oversea. Her works were exhibited in Art Basel Hong Kong for 4 years. In 2015, Her work is exhibited in National Palace Museum in Taiwan and Basilica of Santa Croce in Florence. One of her work was selected for the exhibition “Hong Kong Contemporary Art Biennial Awards 2009” and many became a part of a private collection.
Thierry Feuz
(Swiss, b. 1968）
Graduated from Geneva University of Art and Design (Haute École d'Art et de Design), Feuz currently lives and works in Geneva. In his artistic realm, art, science, and philosophy converge as he explores the universal meaning of "existence" and presents unseen realms through his unique painting techniques. Thierry Feuz's works have been collected by significant institutions and museums, including Musée d'Art et d'Histoire in Neuchâtel, Singapore Art Foundation, UBS Bank, Saks Fifth Avenue in the United States, as well as the Breeze Crop. and E.Sun Commercial Bank, among other corporate collections.
Christiane Grimm
(Germany, b. 1957)
畢業於斯圖加特大學（Universität Stuttgart）建築所，Christiane Grimm 的創作由建築觀點出發，結合層次性的幾何與色彩，將偌大空間中光影變化，透過與觀者的互動呈現。現居住創作於德國作品獲德國海德堡市政府、德意志銀行，以及私人美術館 Das Kleine Museum…等永久收藏，並擁有眾多私人藏家。
利用圖形迭合起的不明確性，Grimm 將客觀的構圖移交主觀詮釋，並傳遞幾何擴張而成的漸變美感。過去於金屬、玻璃或紙材上的繪畫，以二維的色彩和結構組織畫面，因油彩的飽和光澤及載體的物理反射特性，曖曖映出空間的深度，鮮活的色彩組合則帶出作品的脈動。近期更將創作層次推向三維的探索，迭合單色或無色的有機玻璃（plexiglass），利落劃分空間的同時也模糊色與色的絕對區隔，作品表面的波狀處理，看似發散了感知的維度，受到環境光影連動，不插電卻為靜態作品添加了動態元素，並建起觀者與作品的鏈接。
Jessica Drenk 潔西卡・准珂
（American, b. 1980)
Jessica Drenk’s work is an inquiry into materiality: what makes up the objects that surround us as well as the composition of the natural world. She is interested in how parts combine to create a whole and the intricacies of shape and texture found in the world on every scale. In treating everyday objects as raw material to sculpt, she practices a form of conceptual alchemy: through physically manipulating these objects their meanings become transmuted. Each piece is a direct response to material—a subversion of the meanings associated with it, and a reference to the life cycle of objects through time.
Carol Prusa
(U.S.A, b. 1956）
Carol Prusa holds a Master of Fine Arts from Drake University, where she specialized in painting. She is known for her meticulous silverpoint technique, an ancient and refined grayscale technique with the silver stylus, and the use of unexpected materials from sculpted resin and fiberglass to metal leaf and LED large-scale installations. Through this precise and sophisticated method, she explores the astronomic origin of life as well as the philosophy of cosmology in her silverpoint work. Carol Prusa received a SECAC Artistic Achievement Award in 2017 and awarded for 2020 Manifest Prize. Her works have been highly regarded in historical books on Silverpoint feature. Prusa participated in 2015-2016 Miami Biennale and had exhibited in many museums and important institutions including the American Academy of Arts and Letters, Boca Raton Museum, Louisiana Museum of Art and Science, etc. Her work included in excellent public and private collections, including the Perez Museum of Art, The Museum of Arts and Design (NYC), Telfair Art Museum (Savannah), Spencer Museum of Art, and the Francie Bishop Good and David Horvitz Collection.