My Wonderlands
我的奇幻俗世樂園 | 翁銘邦 個展

10 ~ 25 July 2018
Hwa-Kang Museum
Chinese Culture University
Taipei, Taiwan

本個展是以「我的奇幻俗世樂園 (My Wonderlands)」系列作品為主題,旨在以繪畫、劇場及電影情境再造概念的當代數位影像藝術創作,此呈現他個人對當下俗世人間探尋的另類觀察、看法與異想等,並以攝製、編造、特效等數位藝術多元後製過程之創作融合,形塑一系列似畫般的影像作品。此次展覽將展出翁銘邦近期典藏級微噴輸出的大型影像新作九件。

此系列作品的影像特質,不僅是景框內之視覺奇幻,也是框景外的敘事延伸。他的數位創作手法展現後攝影藝術概念的想像強度,以穿越世俗生活的人物、事件與風景等內容題材對影像本質的探究,使原本平凡無奇的生活景物,頓時轉為一種繽紛盎然之「繁盛當代樂園」的驚艷異想世界 – 即是這系列作品的主題由來。在他的作品裡,場域的另一個特質則是顯現「棲息」、「遊移」與「過渡」之時空狀態、也是一個人生舞台的演義內容,進而與社會、文化和自然環境產生連結。這些都是真實與虛構的「越界」概念,也如同他自身創作過程中的思維,經過數位技術的重組合成似真空間與光影變化,於畫面空間編造接續片段之時空插曲,並將指涉的劇場與樂園兩種「烏托邦境界」更緊密的結合,隱喻著群聚、環境、社會、地域與文化等之間的複雜且有趣之關係。


Chong-Hong X Art Bank Taiwan
The New Square Building, Taipei

2017 ~ 2018
Chong-Hong Culture & Education Foundation, Taipei, Taiwan

The special exhibition of Art Bank Taiwan Collection is held at the art space for public lobby of the New Square Building in Taipei. It is organized by Chong-Hong Culture & Education Foundation and Art Bank Taiwan.   
The two large-scale photographs were originally acquired by Art Bank Taiwan in 2014.​
Beyond Limits
IPA Best of Show 2016 and Formosa's Photo Elites

21 July ~ 20 August 2017
Pire-2 Art Centre, Unit P3
Kaohsiung, Taiwan

IPA (International Photography Awards) opens its first international exhibition in Taiwan in collaboration with Art Angle Corporation, at Pier-2 Art Center in the heart of Kaohsiung, featuring the IPA Best of Show Curated Exhibition and Taiwan’s finest photographers.
Fictional Painting
Re-Imaging Painting in Digital Fiction

16 June ~ 08 July 2012
madL contemporary art space
Taipei, Taiwan

The art form in the solo exhibition presents the relationship between colour, time, and space through a relatively novel approach. A surreal hidden order manifests in my still/moving-image works – an emerging borderline between real and virtual dimensions evolves in my moving image, conveying a dark, optical fantasy. I create the biomorphic forms and surreal compositions, straddling the modernity of painting and photography and the advanced technology of animated images.

These works represent a motion picture of strange beauty – a sense of colour in time – a beauty that evokes the feelings of being ‘emotional’ or ‘sophisticated’ in some audiences. These emotions suggest ‘romance’ in the fictional space, and evoke the uncanny and the sublime. The sense that something familiar has turned ambiguous and unpredictable extends to the meanings of the still/moving images.

10 ~ 31 May 2010
Art Centre for
Chung Yuan Christian University 
Taoyuan, Taiwan

The solo show presents the best of my selected works from 2008 to 2010. What makes the core visual meaning even more interesting is that across these works, the concepts, stillness, slow motion, and soundlessness, have remained significant for each other in the works, not only technically but also aesthetically. Ostensibly, the concept of these works has morphed from painting to photography to digital still and experimental moving image.

In the creation of a ‘manipulated moving image’, I combine the similar visual styles into a body of work using computer animation and cinematography. These works are set in the HD mode (1920 × 1080p) and constantly projected on the walls of the gallery, and screened through several sets of LCD widescreen flat-panel monitors. The concept of the display allows the viewer to perceive the works as two-dimensional paintings.

06 ~ 28 June 2009
Safulak Art Village Gallery
Hsinshu, Taiwan

The animations in Lyricism (2009) are separately screened on eight sets of 32” LCD flat panels using colour systems that include red, orange, yellow, green, blue, indigo, purple, and grey. It appears that the colour-image-scene exhibits a new nature of lyricism here. This new nature reconstructs the perception of space. The moving image transports the audience’s feelings that convey a supernatural journey. The colour, image, and scene flow together into a boundary.

This is primarily because of the ‘lyric’ sublime enveloping the spatiality; the spatiality seemingly allows the audience to enter it. As the stillness of painting extends into the flow of time, the digital technology associated with the immersive concept extends beyond the two-dimensionality of the painting. The audience thus becomes a mental participant within the moving-image world.​

Romance than Fiction
Sixteen Episodes

08 ~ 30 March 2008
Art Site of Chiayi Railway Warehouse Gallery, Chiayi, Taiwan

The moving-image works in the solo show portray abstract linear objects experiencing their innermost emotions. The meaning of ‘romance’ here stems from pictorial sublimes and my aesthetic experiences. This type of romance connotes the contemporary beauty of romance itself. This particular style of beauty is a characteristic of the animation. The light, shadow and time are the underlying forces behind the works in the exhibitions. Another aspect on the structure of the montage is the characteristic of colour in time, to cover what the work makes it cover. All of the works are obscure in objects, colours and scenes, and converting our feelings by the romantic abstractions. The abstracts make images with somewhat mystical appearances.

​The contemporary sublime implies infinite space, which the audience could fall into. This concept reveals ideas of montage, which correspond to the hybrids of time and space. The digital hybrids are the inklings of beauty that have developed into a sense of visual experiment with our emotions. For exploring the relationship between animated images and pictorial colours, their aura is a critical factor. The notion involves seeking various ‘realities’ in the virtual world. What seems clear in the concept of the exhibition is that the animations reveal long-time visual interactions of stillness, movement, swiftness, backward motion, and slowness between the viewers and the works.

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