展覽預告｜賴九岑《溫室》

Lin & Lin Gallery is pleased to present the solo exhibition of Lai Chiu-Chen, "Greenhouse," in February. The artist chose "Greenhouse" as the theme of this exhibition, which not simply refers to a literal physical space but also carries a deeper, metaphorical significance. In this controlled, isolated, and protected artificial environment, various plants that do not conform to the seasons or the local climate are cultivated. Similarly, the digital world we experience today is like a vast greenhouse, where disparate fragments of information and images from different times and places are available for access and generation. Algorithms provide individuals with information they might or should need, transforming this space into a controlled “idealized space.”

聆聽繁花盛開的夢 Listen to the Dream of Blossom, 2023

壓克力顏料．畫布 Acrylic on canvas, 124x102 cm

數位世界提供給我們過量、片段與不斷重複的信息，以及在反射性地轉發轉存過程中漸次失溫的情感，這些自我複製、生成的符號與圖像，逐漸地弱化消除真實與虛擬的界線。而賴九岑從自身的經驗與需求為出發點，以一種對「感覺」的捕捉與創造，大量去揀取網路圖像或各種觸目所及的日常之物，試圖去產生新的感覺、思維與存在方式。而畫面圖像那一些扁平的圖層，是經由藝術家在作品構思過程不斷嘗試交相疊加，所呈現出屬於這個時代及文化的另一種扁平壓縮的存在樣態。

Overload of fragmented and repetitive information was provided from the digital world, along with emotions that gradually lose warmth through the reflective processes of forwarding and storing. These self-replicating, generative symbols and images weaken and eliminate the boundaries between the real and the virtual. Starting from Lai’s personal experiences and needs, he captures and creates “feelings” by extensively selecting images from the internet or everyday objects. Through this, he attempts to generate new sensations, thoughts, and modes of existence. The flat layers within the images are the result of the artist's repeated endeavor to overlap them during the conceptualization of his works, presenting a flattened, compressed mode of existence characteristic of this era and culture.

鯊魚口中的華麗誕生 Glorious Birth in the Shark's Mouth, 2023

在賴九岑此次展出的作品中，無論是充氣的鯊魚、織品圖樣、搪瓷玩偶、時尚與商業型錄等等元素，大多摻雜點稚趣、帶著復古、又有些超現實的意像，既虛幻又具某種現實性，且有意無意夾帶了許多象徵語意。只是他一直以來習慣性地將這些意圖，隱晦地藏在人鳥花草之間、覆蓋在層層顏料之下，而作品表面那層潔癖光亮的凡尼斯，也像是阻隔觀者些許的情感窺探，或許這就是藝術家選擇面對自己與觀者的最佳距離與方式也未可知。

In Lai Chiu-Chen's works featured in this exhibition, elements such as inflatable sharks, textile patterns, enamel dolls, fashion and commercial catalogs, and more, are often mixed with a touch of innocence, sense of retro, and somewhat surreal imagery. These elements are both illusory and grounded in a certain reality, and intentionally or unintentionally, they carry various symbolic meanings. However, the artist habitually hides these intentions subtly among birds, flowers, and plants or under layers of paint. The pristine, glossy varnish on the surface of the works seems to prevent the viewer from fully probing the emotions beneath. Perhaps this is the artist's way of choosing the best distance and approach in facing both themselves and the viewers.

風揚落英藍色玻璃花房 Breeze and Fallen Petals Blue Glasshouse, 2022

壓克力顏料．畫布 Acrylic on canvas, 105x78 cm

現今，隨著指尖的滑動，每每一閃即逝的圖像就如與眼球震顫同步一般，刺激著藝術家思考並觸動其連結的可能。在賴九岑的作品中真正重要的不是從中取用或複製什麼，而是在每次的再現中生成新的意義與感知方式。這些被再置與再製的圖像，已不完全依附於原始實體或來源，像是一個斷裂的符號卻自成一體，形成了一種差異化的生成方式，如同被移植到溫室裡那些來自不同地域的植株，在其受控但有點脆弱的空間中，重新與合宜的載體產生鏈結並逐漸生長自成生態。

Nowadays, as we swipe across our screens, fleeting images seem to tremble in sync with nystagmus, stimulating the artist's thoughts and activating the potential for connection. What is truly important in Lai Chiu-Chen's works is not what is used or copied, but how new meanings and perceptions are generated in each re-presentation. These recontextualized and remade images no longer entirely depend on their original entities or sources. Just like they became fragmented symbols that form a new whole, creating a differentiated mode of generation, much like plants originating from different regions that have been transplanted into a greenhouse. In such controlled but somewhat fragile space, the regional plants reconnect with suitable carriers and gradually grow into their own ecosystem.

賴九岑，1970年生於臺灣九份，國立臺北藝術大學美術創作碩士。作品深獲國際關注與收藏支持，並獲多所重要美術機構典藏，如龍美術館、臺北市立美術館、國立臺灣美術館等。有多次獲獎紀錄，囊括臺北美術獎首獎、何鴻燊博士基金會藝術獎、郭柏川美術創作獎首獎、東華扶輪美術獎首獎、巴黎大獎競賽獎首獎等，並曾獲國家文化藝術基金會2004年「透明之光」與1997年「殖入?健康計畫」創作補助。其重要展覽包括2025，【溫室】，大未來林舍畫廊，臺北，臺灣；2024，【一片。小日子】，中央大學藝文中心，桃園，臺灣；2022，【走光的紙月亮】，大未來林舍畫廊，臺北，臺灣；2020，【禽獸不如—2020台灣美術雙年展】，國立臺灣美術館，臺中，臺灣；2013，【轉動藝臺灣】首爾市立美術館，首爾，韓國；2007，【食飽未？──2007亞洲藝術雙年展】，國立臺灣美術館，臺中，臺灣；2006，【當代風景】，台北當代藝術館，臺北，臺灣；2004，【臺灣當代繪畫的迴旋曲式──愛之維谷】，光州美術館，光州，韓國；2003，【零．零．種．種—賴九岑個展】臺北市立美術館，臺北，臺灣；2000，【非常廟展】，臺北市立美術館，臺北，臺灣；1997，【1997末世漫遊】，非常廟，三芝，臺灣等。