台灣藝術家楊子逸以水墨為方法，回到媒材本身的精神性與感知條件。承接萊茵哈特（Reinhardt）對水墨所提出的「無時間性、明朗、寧靜、高貴及陰柔」等特質，藝術家以節制而純化的語言，透過反覆、近乎苦行的操作，探問一種東方哲思的當代可能。其創作關注「顯現與不顯現」之間的瞬時，以及「有形與無形」之間的過程，試圖捕捉若有似無、僅以痕跡存留的本體狀態。
在歷史層面上，楊子逸回應文人傳統中「逸筆草草，不求形似，聊以自娛耳。」所指向的精神向度。即使士大夫文人階層已不再作為社會結構而成立，重視性靈抒發與自我涵養的文人 ethos 仍深植於水墨脈絡之中。相較於以圖像再現與市場需求為導向的「職業」繪畫，藝術家更重視水墨作為一種不可名狀、不可測量之物的生成方式：它不指向真山水與真雲霧，而是逼近某種難以言說的存在感。
本次個展中，楊子逸以單色繪畫與身體性的重複勞動作為核心結構，使時間不以敘事推進，而在反覆之中顯影其流逝與停駐的張力。藝術家借由山水自然的運行作為隱喻，將觀看引向一種更緩慢的經驗：進入山林般的感知狀態，讓眼與心在展場中暫停、回返，重新貼近那既遙遠又仍在場的水墨傳統。
作品所捕捉的是失焦的表象與模糊的過程，是持續變動的震動被短暫留置於心與筆墨之間的瞬間。展覽邀請觀者步入藝術家所靜靜投射的一方園林，在近乎無聲的場域裡，使所見與所感相互貼合，並在時間穿行於空間的流動之中，獲得共感與回聲。
In this solo exhibition, Yang Tzu-Y approaches ink not as an image-making tool but as a method of perception. Echoing Ad Reinhardt’s description of ink’s qualities, “timelessness, clarity, tranquility, nobility, and a gentle femininity,” Yang distills these fragments into a restrained visual language. Through repetition and an almost ascetic procedure, the artist probes a contemporary possibility of Eastern philosophical sensibility: the instant suspended between appearance and disappearance, the passage between the tangible and the intangible, and an ontology that persists only as trace.
Yang’s practice also revisits the ethos of the literati tradition, long grounded in the expression of inner nature and self-cultivation. Even after the scholar-official class ceased to exist as a historical formation, the amateur spirit, making not for likeness or livelihood but for inward necessity, has remained vital to ink. In Yang’s work, ink does not point to “true” mountains and waters, nor to literal clouds and mist. Instead, it moves toward what is ineffable and immeasurable: a presence that cannot be quantified, yet is undeniably felt.
Central to the exhibition is monochrome painting sustained by bodily repetition. Here, time is not narrated; it accumulates through labor, returning insistently to the same gesture and surface. Drawing metaphor from the operations of landscape and nature, Yang slows the act of looking into a heightened state of awareness, inviting the viewer to sense an ink tradition that is distant yet still present, and to re-encounter landscape as an experience rather than an image.
Attending to defocused appearances and indistinct processes, Yang holds fleeting tremors of perpetual change in suspension between heart and brush. The exhibition invites viewers into a quietly projected “garden,” a secluded terrain of reflection in which seeing and feeling converge, and where time is sensed as it moves freely across spatial fields.
︎ YIRI ARTS
在歷史層面上，楊子逸回應文人傳統中「逸筆草草，不求形似，聊以自娛耳。」所指向的精神向度。即使士大夫文人階層已不再作為社會結構而成立，重視性靈抒發與自我涵養的文人 ethos 仍深植於水墨脈絡之中。相較於以圖像再現與市場需求為導向的「職業」繪畫，藝術家更重視水墨作為一種不可名狀、不可測量之物的生成方式：它不指向真山水與真雲霧，而是逼近某種難以言說的存在感。
本次個展中，楊子逸以單色繪畫與身體性的重複勞動作為核心結構，使時間不以敘事推進，而在反覆之中顯影其流逝與停駐的張力。藝術家借由山水自然的運行作為隱喻，將觀看引向一種更緩慢的經驗：進入山林般的感知狀態，讓眼與心在展場中暫停、回返，重新貼近那既遙遠又仍在場的水墨傳統。
作品所捕捉的是失焦的表象與模糊的過程，是持續變動的震動被短暫留置於心與筆墨之間的瞬間。展覽邀請觀者步入藝術家所靜靜投射的一方園林，在近乎無聲的場域裡，使所見與所感相互貼合，並在時間穿行於空間的流動之中，獲得共感與回聲。
In this solo exhibition, Yang Tzu-Y approaches ink not as an image-making tool but as a method of perception. Echoing Ad Reinhardt’s description of ink’s qualities, “timelessness, clarity, tranquility, nobility, and a gentle femininity,” Yang distills these fragments into a restrained visual language. Through repetition and an almost ascetic procedure, the artist probes a contemporary possibility of Eastern philosophical sensibility: the instant suspended between appearance and disappearance, the passage between the tangible and the intangible, and an ontology that persists only as trace.
Yang’s practice also revisits the ethos of the literati tradition, long grounded in the expression of inner nature and self-cultivation. Even after the scholar-official class ceased to exist as a historical formation, the amateur spirit, making not for likeness or livelihood but for inward necessity, has remained vital to ink. In Yang’s work, ink does not point to “true” mountains and waters, nor to literal clouds and mist. Instead, it moves toward what is ineffable and immeasurable: a presence that cannot be quantified, yet is undeniably felt.
Central to the exhibition is monochrome painting sustained by bodily repetition. Here, time is not narrated; it accumulates through labor, returning insistently to the same gesture and surface. Drawing metaphor from the operations of landscape and nature, Yang slows the act of looking into a heightened state of awareness, inviting the viewer to sense an ink tradition that is distant yet still present, and to re-encounter landscape as an experience rather than an image.
Attending to defocused appearances and indistinct processes, Yang holds fleeting tremors of perpetual change in suspension between heart and brush. The exhibition invites viewers into a quietly projected “garden,” a secluded terrain of reflection in which seeing and feeling converge, and where time is sensed as it moves freely across spatial fields.
︎ YIRI ARTS
