31/03/2026
簡翊洪最新個展｜小孤獨，處
即將開幕
Solitude | Jian Yi-Hong
小孤獨，處 | 簡翊洪
展覽時間 : 二零二六年四月十一日至六月二十日
開幕時間 : 二零二六年四月十一日下午三時至六時
谷公館很高興地宣布簡翊洪最新個展《小孤獨，處》，這是藝術家於畫廊舉辦的第四次個展，也是彼此合作的第十年。展覽分成上下兩檔，上檔《小孤獨，處》由十六件全新作品組成，下檔《小孤獨，行》則精選過往各階段的系列作品。
此次展覽涵蓋風景、靜物與人物。藝術家喜愛描繪水的景至：花蓮的七星潭、台北的淡水、基隆的外木山、綠島的海邊。海水既流動又包覆，在看海的時間裡，也彷彿能看見自己。旅行蘇州時則帶來另一種觀看方式：《小孤獨》、《蘇半邊》、《划槳》取材於園林中的造景，啟發藝術家對空間的結構安排。
部分作品來自藝術家過往散落的草圖與回憶。在池上駐村時完成的《落大雨》草稿，描繪颱風天門外的螞蟻試圖進入屋內，從最初的抗拒，到逐漸接受，讓生靈們都能一同避難。在泰國駐村期間完成的《落花》草圖，午後大雨過後的草地上散落的雞蛋花，生命在盛開與衰敗之間同時存在。這些畫面沒有明確的敘事，卻保留了感受，構成《小孤獨，處》的日常質地。
此次，藝術家試著從顏色出發，不同過往墨線勾勒略施淡彩的繪畫方式，新系列逐漸加入較為濃重的色彩。《人生若海》是在陪伴父親時所浮現的畫面，反覆堆疊的藍色波浪，既像當下情緒的流動，也像對生命持續變化的感受；《有香蕉的靜物》來自於日常，在工作時對抗飢餓的同時，觀看到香蕉逐漸氧化變黑，彷彿繪畫顏料裡藤黃與墨點散發的細微趣味。對於材料的嘗試，使畫面開始別於形體輪廓，更有塊面的色彩承載了感受的投射。
《小孤獨，處》這個名字，源於2021年藝術家於泰國駐村期間的體驗。城鄉之間，日裡的訊號斷斷續續，夜裡常夢見找不到回家的路。獨處的孤獨，也有機會看見自己。因此，「處」成為這次展覽的核心狀態：與畫紙相處，與顏料相處，與時間相處，也與那些難以言說的情緒相處。在一個強調即時連結與持續表達的時代裡，能安靜下來做一件事，成為一種珍貴的能力。
作品保留最真實的狀態，有些筆觸尚帶著一絲猶豫，有些顏色仍未確定是否最好。然而那些不完美的痕跡，走向創作最初想表達的氣韻。簡翊洪說：「小孤獨」並不宏大。它微小、日常，甚至帶著脆弱。但也正是在這樣的狀態裡，我得以更靠近自己，並在之後，重新理解與他人相遇的意義。
www.michaelkugallery.com
Michael Ku Gallery is pleased to present Jian Yi-Hong’s latest solo exhibition Solitude. This marks the artist’s fourth solo exhibition with the gallery and the tenth year of their collaboration. The exhibition is presented in two parts: the first, Solitude, features sixteen new works; the second, Solitude II, brings together selected works from different stages of the artist’s career.
The exhibition encompasses landscapes, still lifes, and figures. The artist has a particular affinity for depicting waterscapes, including Qixingtan in Hualien, Tamsui in Taipei, Waimushan in Keelung, and the coastline of Green Island. The sea is both fluid and enveloping; in the act of gazing at it, one seems also to encounter oneself. A trip to Suzhou introduced another mode of seeing: works such as Tender Solitude, Half-Side of Suzhou, and Rowing draw from the constructed scenery of classical gardens, inspiring the artist’s approach to spatial composition.
Some works originate from scattered sketches and memories accumulated over time. A draft of Rainfall, made during an artist residency in Chishang, depicts ants outside the door during a typhoon attempting to enter the house—moving from initial resistance to gradual acceptance, allowing all living beings to take shelter together. A draft of Fallen Blossoms, completed during a residency in Thailand, captures frangipani flowers scattered across the grass after an afternoon downpour, where life exists simultaneously in states of blooming and decay. These images do not form explicit narratives but retain a sense of feeling, shaping the everyday texture of Solitude.
In this exhibition, the artist begins from color, marking a shift from earlier works characterized by ink outlines with light washes. The new series gradually incorporates richer and denser hues. Life, Like the Sea emerged while accompanying the artist’s father: layers of blue waves accumulate, resembling both the flow of present emotions and an awareness of life’s continual transformation. Still Life with Bananas stems from a quotidian moment—while working and staving off hunger, the artist observed bananas slowly oxidizing and darkening, akin to the subtle interplay between gamboge yellow and ink within the painted surface. Through experimentation with materials, the paintings move beyond contour, allowing planes of color to carry emotional projection.
The title Solitude originates from the artist’s experience during a 2021 residency in Thailand. Between city and countryside, signals were intermittent during the day, while at night the artist often dreamed of being unable to find the way home. Solitude in isolation becomes an opportunity to see oneself. “Solitude” thus becomes the core condition of the exhibition: dwelling with the canvas, with paint, with time, and with inexpressible emotions. In an era that emphasizes constant connectivity and continuous expression, the ability to quietly devote oneself to a single act becomes something rare and precious.
The works preserve the most authentic state of their making: some brushstrokes still carry a trace of hesitation, and some colors remain unresolved. Yet these imperfections lead back to the original spirit of creation. As the artist notes, “solitude” is not grand—it is modest, everyday, even fragile. It is precisely within this state that one comes closer to oneself, and, in time, reconsiders the meaning of encountering others.
www.michaelkugallery.com
