台北國際藝術博覽會 ART TAIPEI 2025

崔永嬿以創作作為內在遷徙的書寫。其《登月計畫》系列是她作為母親與藝術家身份交錯下的視覺告白，展現從焦慮、逃逸到自我整合的心靈歷程。展覽空間也將被設計為一段情緒與意識的階段性轉換旅程，觀者得以經歷一場非戲劇性卻深刻的內在轉變。

Yung-Yen TSUI uses art as a form of internal migration. Her “To The Moon Project” is a visual confession that navigates thetension between her identities as a mother and an artist. It charts a psychic journey from anxiety andescape to self-integration. The exhibition space is conceived as a passage through stages of emotion andconsciousness, offering the viewer a quietly transformative inner experience.

薩拉·霍斯羅瓦尼將跨文化經驗化作創作語彙。她的作品融合波斯傳統、東亞美學與西方當代視覺，讓圖像成為文化遷徙的容器。她筆下人物棲居於「此地／他方」之間，映現游離身份中的詩性記憶，並拋出對歸屬、根源與身分的流動式思考。

Sara Khosrovani transformscross-cultural experience into a visual language. Her work merges Persian tradition, East Asian aesthetics,and Western contemporary imagery, making the image itself a vessel of cultural migration. The figuresshe paints dwell in the liminal space between "here/elsewhere," reflecting poetic memories shaped bydiasporic identity while raising open-ended questions about belonging, origin, and the fluidity ofselfhood.

黃品玲的作品多以非具象的風景為創作主題 ，將旅居法國、日本與台灣之間的經驗內化為「心象風景」。在看似靜止的畫面中，光影流動訴說著情感與身分的飄泊，她的作品反映出內外雙重遷徙中對「安身之所」的探問，邀請觀者思索真正的居所是否存在於每一次心境的轉變之中。

Pin-Ling HUANG approaches landscape as an embodiment of emotional terrain, internalizingher experiences living in France, Japan, and Taiwan into what she calls "mindscapes." Within herseemingly still scenes, shifting light and shadow reveal the restlessness of emotion and identity. Herworks echo the dual migrations—internal and external—in search of “a place to belong,” invitingviewers to contemplate whether true dwelling lies within each shift of the heart.

黃冠鈞的創作將「遷徙」視為一種繪畫存在方式的轉變。他將顏料從畫布上刮起，使其成為可折疊、懸浮的物質，挑戰圖像與支撐物的傳統結構。他的作品展現出顏料本身 從附著狀態遷徙至自主形體的過程，重新界定觀看與物質的關係。

Kuan-Chun HUANG views “migration” as a transformation in the mode of painting itself. He scrapes pigment from the canvas,allowing it to become foldable and suspended—liberating it from its traditional support. His work stagesa migration of paint from an adherent surface to an autonomous material form, redefining therelationship between image and matter.

彭思錡以東方意象為脈絡，從構樹與血桐落葉的消逝中思索萬物生滅與再生。她以紙纖與瓷漿包覆葉片，燒製後焚化成細緻紋理與孔洞，轉化為陶瓷肌理。作品疊加釉彩、金屬質感與生漆覆蓋，展現沉靜內斂的精神性，凝結陶瓷與生命的脆弱，並成為觀者與自然、物象及心靈感知對話的媒介，映照順應自然、共生的哲思。

Si-Qi  PENG ’s work reflects Eastern imagery, capturing cycles of decay and renewal through mulberry and tung leaves. Wrapped in paper fiber and porcelain slip, the leaves burn away in firing, leaving delicate textures that become ceramic skin. Layered with glaze, metallic sheen, and lacquer, the pieces embody quiet spirituality, crystallizing the fragility of both life and ceramics, while offering a medium for dialogue between nature, objects, and inner perception.