翻譯：
黃冠鈞 Kuan-Chun HUANG
1988 年生於台灣，畢業於臺北藝術大學雕塑碩士，並於2020年取得日本京都藝術大學博士學位，目前居住及創作於彰化。
黃冠鈞擅長於繪畫、雕塑、纖維染織與平面設計等多種領域，創作以壓克力顏料為主要媒材，從實際製作的角度出發，跳脫藝術史與學院體系的形式脈絡，探討繪畫的本質。他將繪畫區分為三種型態：滲透、附著與繪畫體，重新思索繪畫的可能樣貌。
黃冠鈞的作品有別於傳統繪畫常見的形態，顏料不再依附於紙張、畫布等平面，而是脫離平面成為一種可獨立存在的形體——「繪畫體」。當顏料自身成為主體，所呈現的不僅是某物體所釋出的色彩，也可能是特定視角下的景象，甚至僅僅是顏料本身的顯現。
在每一次展覽中，藝術家集結於不同時期、環境與心境中所記錄的色彩，透過披掛、吊掛、折疊等方式，建構出具有當下性與空間感的繪畫場域。觀眾可依自身步調自由移動，調整與作品之間的距離與視角，與作品展開個人化的對話。透過不同色彩之間的關係，黃冠鈞進一步探問繪畫體在現實空間中的特殊位置與表現可能。
Kuan-Chun HUANG holds an MFA in Sculpture from Taipei National University of the Arts and earned his PhD in Art from Kyoto University of the Arts in 2020. His multidisciplinary practice spans painting, sculpture, fiber art, and graphic design. Working primarily with acrylic paint, Huang proposes a reclassification of painting into penetration, adhesion, and painting ontology. Through this framework, he explores the potential of painting as an autonomous structure, moving beyond the traditional notion of paint confined to surfaces.
In his works, paint becomes the subject itself—no longer tied to representation, but responding to space, perspective, and perception. Through techniques such as draping, suspending, and folding, Huang constructs painterly environments that invite viewers to navigate, linger, and engage in a personal dialogue with the works. His painting is not a not merely an object to behold, but a phenomenon to dwell in.
徐徐映色 ― INFRAMINCE 作為繪畫之所感
本次展出作品蘊含了黃冠鈞作品的特質：緩慢、柔光、層疊、滲透，以及色彩與空間之間微妙的互映關係，呼應藝術家長期對「滲透、附著、繪畫體」的繪畫象限跨界的探索。
黃冠鈞的作品中，畫布做為圖像承載的基底被鬆動 — 顏料從依附的表面中被釋放，轉化為懸浮於空間、具有穿透性與光學反應的「繪畫物質」。這樣的形式轉化不只是技術性的變化，更標誌著觀念與實踐上的根本轉向。
早期黃冠鈞受馬賽爾・杜象（Marcel Duchamp）所提出的「inframince」概念吸引 — 一種「比薄還要更薄」的存在狀態。杜象曾說，這個概念無法明確定義，只能透過舉例來接近其意涵；在他的筆記中，也記錄了諸如剛脫下衣物殘留的溫度、煙霧在嘴唇間的殘味、光影掠過玻璃的瞬間等日常觀察。在這些近乎無感的縫隙中，卻藏著極為豐富的感知經驗。
也正是因為「inframince」的啟發，藝術家開始反思現代生活的快速節奏，如何讓我們不知不覺中忽略了許多細膩而值得體會的日常。我們是否還能在一件極其簡單的事物上，專注且真切地感受到喜悅？這看似尋常，卻已成為今日生活中一項艱鉅的課題。
創作過程中，黃冠鈞不斷於畫面中層層疊加色彩，反覆琢磨與推敲，試圖將色彩安排於「薄、再薄、更薄」的間隙之中。透過光的穿透、反射與折射，使「inframince」不僅作為觀念存在，更成為一種可被視覺閱讀的經驗。希望觀者能在每一次觀看的當下，透過不同空間配置與環境光線的變化，感受到畫面中某種輕盈而不可言喻的存在。
Shimmering in Between — Inframince in Painting
This exhibition embraces the qualities of Huang’s works: slowness, lambency, layers, permeation, and the subtle interweaving of color and space. It reflects his long-term exploration of the expanded dimension of painting—what he defines as penetration, adhesion, and painting ontology.
In Huang’s work, the canvas — as the traditional bearer of images — is fundamentally challenged. Paint is no longer confined to a flat surface; it is liberated and transformed into a translucent, light-responsive material that hovers within space. This transformation is not merely a technical shift, but a profound reimagining of the structural and conceptual foundations of painting itself.
One of Huang’s longstanding inspirations comes from Marcel Duchamp’s notion of “inframince”—the state of being “thinner than thin,” something that exists in the barely perceptible intervals between presence and absence. Duchamp once noted that “inframince” cannot be defined, only illustrated — the warmth lingering on clothes just removed, the faint trace of smoke between lips, or the fleeting shimmer of light as it passes through glass. These moments, often too subtle to be noticed, are nonetheless imbued with an abundant sensory resonance.
Inspired by this concept, Huang reflects on the rapid pace of modern life, and how we have unconsciously become desensitized to the subtle pleasures and nuances of daily experience. Can we still find joy in something simple and small? This seemingly modest question has become a difficult one in our times.
Throughout the creation of this exhibition, Huang carefully layered and reworked his paintings, positioning color within intervals of “thin, thinner, much thinner.” Through light’s transmission, reflection, and refraction, the notion of “inframince” exists and is translated into a visual experience. It can be perceived not just through sight, but through space, timing, and atmosphere. The works respond to each environment's layout and lighting conditions, offering a visual elasticity that shifts with time, encouraging viewers to encounter a sensation of “something soft and light” — a presence beyond words.
作品 Artworks
波 4 / Waves – IV
黃冠鈞 Huang Kuan-Chun｜壓克力顏料、壓克力墨水與壓克力媒介劑 acrylic, acrylic ink, acrylic mediums｜23 x 41.5 x 5 cm｜2025
〈波〉系列作品是以水紋為構想的作品，而是重構光線與水面交會的閃動痕跡，筆跡在透明材質上游移，不直接描繪水的流動。當光線投射其上，水紋化為影子，在牆面生成新的層次。這些閃現與消失的線條，正如在杜象所言的「inframince」：是介於實體與映像、物質與感知之間的極微縫隙，繪畫於是化為空間節奏的一部分，使觀看不再止於視覺，而是拓展為一場感官的微觀經驗。
The Wave series is conceived from the imagery of rippling water, yet it does not seek to directly depict its flow. Instead, it reconstructs the fleeting traces where light and water meet. Brushstrokes drift across translucent surfaces, and when illuminated, the water patterns transform into shadows, generating new layers upon the wall. These lines that flicker into being and vanish embody what Duchamp described as inframince: the infinitesimal interval between the physical and the reflected, between matter and perception. In this way, painting becomes part of a spatial rhythm, extending beyond vision alone into a subtle, multisensory experience.
晚霞繽紛樂 / Brilliant Sunset
黃冠鈞 Kuan-Chun Huang｜壓克力墨水與壓克力媒介劑 acrylic ink, acrylic mediums｜ 80x60x6 cm｜2025
黃冠鈞以顏料的層層堆疊、光線的穿透與材質的輕盈性，捕捉他所處環境中的地緣關係與時間感。他的作品如同一則由色彩、身體經驗與環境觀察交織而成，不再指涉具體場景，而是召喚出一種「幾近無」的 inframince 狀態 — 一種難以被言說的色光記憶。
〈晚霞繽紛樂〉即是一場關於黃昏的追憶。作品試圖擷取晚霞即將消逝前的燦爛與變幻，讓絢爛色彩如音樂般於空間中流轉、在視覺與情感上留下殘響。那些在天色漸暗時閃現的暖色痕跡，被層層堆疊、溶解與再現，在顏料與光的交織中，轉化為記憶中一段快樂片刻的回聲。
Through layered pigments, the translucency of light, and the softness of material, Huang Kuan-Chun captures the sense of place and passing time in his surroundings. His works are like visual diaries woven from color, bodily perception, and environmental observation. Rather than depicting specific scenes, they evoke a state of inframince—a fleeting, almost imperceptible memory made of color and light.
〈Brilliant Sunset〉 is a recollection of dusk. The work attempts to grasp the moment just before sunset fades, when colors bloom and dissolve like music drifting through space. The warm traces that briefly glow as daylight dims are layered, blurred, and brought back to life. In the interplay between pigment and light, these traces become echoes of a joyful, passing moment.
餘暉下的雨漥 3 / Puddles after the Rain –III
黃冠鈞 Kuan-Chun HUANG｜壓克力墨水與壓克力媒介劑 acrylic ink, acrylic mediums｜16.2x16.2x5 cm｜2025
對黃冠鈞而言，雨後天晴的午後是一種難以言喻的片刻 — 濕潤泥土的氣息、閃爍水珠與斜照陽光交織，空氣中像是覆上一層微光濾鏡，不炫目，卻靜謐動人。藝術家以杜象提出的 inframince（ 比「薄」更薄 ）為概念基礎，試圖捕捉那介於感知與消逝之間的細縫時刻。
〈餘暉下的雨漥〉以未經調和的藍與黃色顏料，任其在透明結構中隨機交錯、緩慢滲透。顏色與留白之間的對比，營造出輕盈而透亮的視覺感，彷彿陽光灑落於積水間，映照出自然本色的柔和與純淨。這件作品並不再現特定場景，而是召喚一段近乎無形的光與感官記憶 — 雨停之後、光線剛好灑下之際，那剎那的安靜與閃耀。
For Huang Kuan-Chun, the moment after a rainstorm—when the sun begins to shine again—is quiet and subtle. The scent of wet soil lingers, water droplets sparkle on the ground, and sunlight spreads like a soft, glowing filter. It’s not a dazzling beauty, but something calm and deeply felt.Inspired by Marcel Duchamp’s concept of inframince—a state “thinner than thin,” like the warmth left on clothing or the fading trace of smoke—this work captures a fleeting space between presence and disappearance.
In〈Puddles after the Rain〉, unmixed blue and yellow pigments gently overlap and dissolve within a clear, solid structure. The contrast between color and empty space creates a light, airy feeling, much like sunlight reflecting off a puddle on a clear day. Rather than showing a specific scene, the piece evokes a subtle sensation—a quiet moment filled with light, memory, and emotion.
在與不在場的空間 2 / Space of Presence and Absence - II
黃冠鈞 Kuan-Chun HUANG｜壓克力墨水與壓克力媒介劑 acrylic ink, acrylic mediums｜60.4 x 80.3 x 6 cm｜2025
黃冠鈞的〈在與不在場的空間〉系列，以光影為題、以顏料為媒，構築出一種介於現實與虛構之間的視覺詩學。使顏料具有透明、流動、層疊的特質，並於特殊材質上作畫，呈現出如光線斜灑般的層層筆痕。畫面中的色彩並非直接描繪具象物，而是化為空氣與光的幽微載體，宛如建築之間偶然映現的陰影。隨著光線的流動，顏料的色體在牆面與地面投射出全新的外部影像，使原屬畫面的內在層次滲入現實空間之中。
這些斜向的光帶如同記憶的軌跡，捕捉某個曾經「在場」卻已不在的片刻。黃冠鈞藉由這種半透明、可穿透的繪畫結構，使顏料、空間與光影之間產生交織流動，挑戰繪畫作為靜態圖像的限制，轉化為一種在觀看中被重新生成的詩意空間經驗。
Huang Kuan-Chun’s 〈Space of Presence and Absence〉 series uses light and shadow as its subject and pigment as its medium to create a visual poetics that hovers between reality and imagination. He mixes pigments to produce transparent, fluid, and layered qualities, applying them onto specially chosen materials. The resulting surface resembles streaks of light slanting through space. Rather than depicting any concrete object, the colors become subtle carriers of air and light—like the passing shadows cast between buildings.
As light changes throughout the day, the painted surface reflects and projects new external images onto the walls and floor, allowing what is inside the painting to spill into real space. The diagonal light bands in the work resemble traces of memory—moments that were once present but are now gone. Through this semi-transparent and permeable structure, Huang allows pigments, space, and shadow to intertwine and shift. His work challenges the idea of painting as a fixed image, transforming it into a poetic experience that continually regenerates through viewing.
無經緯的平織－金 / Plain Weave without Warp and Weft –Gold
黃冠鈞 Huang Kuan-Chun｜壓克力顏料與壓克力媒介劑 acrylic, acrylic mediums｜87 x 112 x 6 cm｜2024
在黃冠鈞的創作中，傳統繪畫的畫布不再只是圖像的承載與支撐，而是被鬆動與解構的對象。顏料脫離了畫布表面的依附關係，轉化為懸浮、可折疊，並具光學反應的繪畫物質，使平面成為可延展的空間體。這樣的變化不僅是材料運用上的革新，更是觀看與創作思維的根本轉向。
〈無經緯的平織－金〉以壓克力顏料的厚度作為構成單元，將金色線條 一 交織，如同紡織工藝中的經緯結構，建構出一張有起伏感的繪畫面。這件作品介於平面與立體之間，展現出色彩、紋理與光澤所共同構築的層次感，也回應了藝術家對於「繪畫是否必須依附於基底」這一根本問題的長期提問。
In Huang Kuan-Chun’s work, the traditional idea of the canvas—as both a support and a boundary for painting—is reimagined. Here, paint is no longer confined to the surface of a canvas. Instead, it is released, suspended in space as a flexible, light-responsive material. This shift is not just technical, but conceptual—it questions the very foundation of how we define painting.
Plain Weave of Without Warp and Weft – Gold uses thick layers of acrylic paint to weave golden lines in a crisscross pattern, much like threads in textile making. The result is a shimmering surface with gentle undulations, blurring the boundary between two-dimensional image and three-dimensional object. Through this work, Huang explores how painting can become both a visual and physical experience—free from the limits of a fixed base.
日空 Sky
黃冠鈞 Kuan-Chun HUANG｜壓克力墨水與壓克力媒介劑 acrylic ink, acrylic mediums｜ 37.8x17.5x5 cm, 10 pieces｜2025
〈日空〉作品以相同的普魯士藍為基調，創作出十幅由深至淺的漸層畫面，並以無下擺的方式垂掛，使每一層色彩彷彿懸浮於空氣之中。光線穿透顏料表面，在牆上投下柔和陰影，使畫作與其影子共同構成一種輕盈的立體量體，像是一座通往天空的透明階梯。
這件作品不再將顏料視為再現物象的工具，而是作為一種空間與時間的感知節奏，與環境、光線與觀者的身體位置同時並置，彼此互動。觀者在移動與停留的過程中，與作品產生共時的關係，進入一種不需語言的感官對話。色彩在此成為思想的媒介，也是一種流動的空間建築，回應黃冠鈞對於繪畫邊界與觀看經驗的持續探問。
The work uses a single shade of blue as its base, creating ten gradient panels that transition from dark to light. Each piece is hung without a bottom hem, allowing the layers of color to appear as if they are floating in the air. As light passes through the painted surfaces, soft shadows are cast onto the wall, and the paintings and their shadows together form a light, sculptural volume—like a transparent staircase leading into the sky.
In this work, pigment is no longer used to depict objects, but instead becomes a way to express rhythms of space and time. The painting exists in dialogue with its surroundings: light, air, and the viewer’s position. As the viewer moves around the piece, their experience shifts in real time, creating a shared, silent moment with the work. Here, color becomes a medium for thought—an ephemeral architecture that reflects Huang Kuan-Chun’s ongoing exploration of painting’s limits and the act of seeing.
作品包裝安裝 Packaging & installation
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