迎接曙光—看見蘇奕榮風景裡的透與亮
--策展論述
藝術家有一雙善於發現美的眼睛，所以可以帶給觀眾不一樣的視野。當1839年達蓋爾(Daguerre，1787-1851)發明了世界上第一台照相機時，畫家感到無比震撼，從此，寫實記錄不再是繪畫的唯一目的，繪畫還有不一樣的意義。
畫家蘇奕榮，1960年生於臺南，他曾師從沈哲哉、黃連登等名師，並遠赴紐約、洛杉磯、德國、法國等地展覽，現任中華文化藝術總院西畫院院長、千鶴美術館館長，歷來致力於油畫創作，積極推廣藝文，曾任南美會顧問、府城人物畫會創會會長。他的創作風格多變，尤其風景作品，獨樹一幟。早期風景作品例如《祀典武廟》、《赤崁樓》等作品，風格師承沈哲哉的外光派色彩和素描基礎，營造出古蹟建築的歷史滄桑感；而後醉心於立體派的分割重組技法，例如2016年《帆》、2018年的《平安歸來》等作品，透過色塊、線條交織出活潑輕快的畫面效果；近年來則走出自己的特色，巧妙融合後印象派、表現主義的筆觸與色彩，例如近年代表巨作《曙光》，運用透明畫法，描繪山巒間奔騰的透亮雲霧，氣勢磅薄，色彩斑斕，有著朝氣蓬勃的氛圍，山、雲、光、彩，層次井然。
蘇奕榮曾在受訪中談到，自己創作的過程中，不喜歡用鉛筆打草稿，而是喜歡讓畫筆、色彩自由馳騁於想像力之中。有時靈感湧現時，可以一連創作數幅。而且他的油畫透明畫法，不同於古典畫法中的罩染法，而是喜歡用來營造光影折射的變化，讓色彩可以堆疊出不同的層次，又同時保留輕盈的筆觸與色彩，吸引觀者注視感受那細膩的質感。
這種對光色變幻的追求，讓人想起了後印象派畫家莫內(Claude Monet，1840-1926)筆下的景致。莫內曾在荷蘭作家畢凡克(Willem G. C. Byvanck，1848-1925)於1892年出版的《印象(Une impression)》一文中談道：「對我來說，風景並不作為風景而存在，因為它的外觀無時無刻都在變化。(Un paysage, pour moi, n’existe point en tant que paysage, puisque l’aspect en change à chaque moment)。」風景迷人之處，也許就在這裡。
當一位畫家眼中只有藝術時，看山不是山，看水不是水，追求的是「外師造化、中得心源」的心境與體會。也期待觀眾可以透過蘇奕榮的畫作，看見不一樣的風景。
策展人 呂松穎
Embracing the Dawn—Discovering Transparency and Radiance in Su I-Jung's Landscapes
--Curator’s Introduction
Artists possess a keen eye for beauty, offering audiences unique perspectives. When Louis Daguerre invented the world's first camera in 1839, painters were profoundly impacted, realizing that realistic documentation was no longer the sole purpose of painting; it held different meanings.
Su I-Jung, born in Tainan in 1960, studied under masters such as Shen Che-Tsai and Huang Lian-Deng. He has exhibited in New York, Los Angeles, Germany, France, and currently serves as the Dean of the Chinese Cultural and Arts Institute's Western Painting Academy and as the Director of the Qianhe Art Museum. He has also been active in promoting arts and culture, serving as an advisor to the Southern American Association and as the founding president of the City Portraits Society. His early landscape works such as "Sacrificial Rites Martial Temple" and " Chikan Tower (Fort Provintia)" inherited Shen Che-Tsai's external light-style colors and sketching foundation. Later, he became enamored with cubist techniques of segmentation and recombination, evident in works like "Sail" in 2016 and "Port" in 2018. His recent masterpiece "Dawn" employs a transparent painting technique to depict the translucent clouds and mist surging between mountains, vibrant with colors and vitality, presenting a harmonious composition of mountains, clouds, light, and hues.
Su I-Jung once mentioned in an interview that he dislikes using pencils for sketches during his creative process; instead, he prefers allowing brushes and colors to freely roam within his imagination. His transparent painting technique, unlike the classical glazing method, is used to create variations in light and shadow refractions, allowing colors to stack into different layers while retaining light and delicate stroke.
This pursuit of the changing hues of light and colors is reminiscent of the landscapes depicted by Impressionist painter Claude Monet. Monet once said, "For me, a landscape does not exist as a landscape, as its appearance changes constantly." The allure of landscapes perhaps lies here.
When an artist sees only art in their eyes, mountains are no longer mountains, and waters are no longer waters. It is hoped that through Su I-Jung's paintings, viewers can see different landscapes.
Curator Lu Song-Ying