2026/06/11 2026 婆娑花-陳思婷個展

婆娑花-陳思婷個展
Udumbara - Chen Si-Ting  Solo Exhibition

展期Exhibition︱2026.7.21~ 8.21
藝術家親自出席開幕茶會 
開幕 Opening︱2026.7.25 (Sat) 3:00pm 

(週一公休)  13:00-20:00
電話 Tel︱886-2-23579900
網址Web︱//www.inriver.com.tw/
臉書Facebook︱//www.facebook.com/InRiverGallery

      「婆娑」一詞，最早見於《詩經》，意指生命搖曳舞動的姿態；在佛教語境中，它指向娑婆世界的苦與渡化；而在《紅樓夢》中，《虛花悟》裡賈惜春的感慨，則將這個意象推向繁華盡滅的虛無之境。陳思婷以此為核心展題，以畫筆構築出她自己的婆娑世界，將繪畫置於可視與不可視的虛實中。
 

 陳思婷 Chen Si Ting｜婆娑花6 Udumbara 6, 絹本 ink on silk, 145x94 cm, 2026

　　陳思婷常以山水植物為題材的創作，引導觀者在觀察的第一眼思考，何為物體，一朵花，一塊石頭，是貝殼的切面，還是某種正在蛻變的生命形體？在她的創作語彙中，花凋之際反而是生命最誠實的時刻，生命褪去盛放的裝飾，露出如石頭般的真實輪廓，展現堅韌而蜷曲的形體。陳思婷進一步將這種哲學符號帶入自然萬物的花石之中，象徵形象本身的無常。這種「藉物喻意」的創作方法，根植於她長年研究的物色觀，使作品儼然形成一個介於虛實、隱現之間的場域。
 

 陳思婷 Chen Si Ting｜向生2  Inclining to Life2, 2017, 絹本設色 color on silk, 98x60 cm
 

　　陳思婷以柔軟弧線與纖細植物經脈，乾澀線條勾勒輪廓，濃淡墨韻層層暈染空間，以及介於虛實之間的形體，加上絹布半透光影的特性，使觀者欣賞墨色時既覆蓋又透光，視線遊走在「顯」與「隱」之間。那些輪廓清晰、用色對比強烈的畫面讓人隱約聯想到薩爾瓦多．達利的超現實氣質，同樣以銳利輪廓線與強烈明暗對比構築畫面，同樣讓不可能的符號並置於同一空間。達利從夢的深層挖掘潛意識，陳思婷卻從六朝詩學的物色觀出發，將東方的「睹物興情」轉化為一種當代的視覺超現實。
 

陳思婷 Chen Si Ting｜共生Symbiosis, 2015, 絹本設色 color on silk, 127x90 cm

The term pó suō (婆娑) first appears in the Book of Songs (詩經), where it evokes the swaying, dancing vitality of life. In Buddhist cosmology, it points toward the suffering and salvation of the Sahā world; in Dream of the Red Chamber (紅樓夢), Jia Inchun’s lament in “Awakening to Illusory Flowers” carries the image further into a void where all splendor dissolves. Chen Si-ting takes this concept as the thematic core of Whirling Flower, building her own pó suō world through paint — situating the act of painting between the visible and the invisible, the real and the illusory.

Working primarily with landscapes, plants, and organic forms, Chen guides the viewer to pause at first glance and ask: what is the object? A flower, a stone, a cross-section of shell, or some life form caught in the middle of transformation? In her visual lexicon, the moment of a flower’s withering is precisely when life becomes most honest, stripped of its blooming adornments, its true contour emerges — stone-like, hard, resilient, and curled inward. Chen extends this philosophical register into the natural world of flowers and rocks, making the image itself a symbol of impermanence. This method of indicating meaning through objects is rooted in her long engagement with the classical concept of “wùsè (物色)” (the way the colors and textures of the natural world stir emotion) and her work coheres into a field suspended between presence and absence, revelation and concealment.

Chen constructs her paintings through soft arcs and delicate botanical veins, dry brushwork tracing contours, and ink washes of varying density that layer depth into space. The semi-translucent quality of silk further complicates the viewing experience. Ink simultaneously covers and admits light, so the eye moves fluidly between what is shown and what is withheld. Moreover, the sharp outlines and high-contrast passages in certain works carry a subtle resonance with the Surrealist sensibility of Salvador Dalí — both employ precise contour lines and dramatic chiaroscuro, both place impossible signs side by side within the same pictorial space. Yet where Dalí excavates the unconscious through the logic of dreams, Chen departs from the wùsè poetics of the Six Dynasties, translating the classical Eastern principle of “dǔ wù xīng qíng” (the evoke of certain emotion through encounter with things) into a distinctly contemporary visual Surrealism.