展覽主題：「畫裡有歌在婆娑」聽見司空祐
展期：2017年7月29日〜9月24日
展出地點：心晴美術館 台北市大安區安和路一段78巷4號（捷運信義安和站1號出口）
展覽論述
閉著眼睛靜靜地感受，
吹拂在臉上的微風，
耀眼的陽光，
草葉聲在耳邊搔癢著，
這些感覺都呈現在一幅畫上。
1961年出生於韓國慶尚北道的司空祐，在韓國Debec畫廊贊助的「88位新銳畫
家」展覽中嶄露頭角。創作初期，偏重於具象藝術的創作，並於大學期間獲得
大邱市立藝術競賽獎與慶尚北道藝術競賽獎，之後轉而鑽研抽象藝術的呈現方
式。早期的作品藉由鋪蓋在畫布上的散沙，或以擬人化的創作方式來表現人與
自然之間的互動，頗富省思意味。1995年後的藝術創作奠定個人風格，是以「
音樂」帶入作品畫面中，於畫布上描繪著聲音，將音符轉化為人類的喜怒哀樂
，歌奏著生命與自然。
司空祐透過作品結合自然與音律的藝術世界，希冀將傾聽許久的「聲音」以
視覺呈現給觀眾「看」。如此的表現方式，起自於樂譜的形式與象徵帶給了他
啟發，尤其受到貝多芬（Ludwig Von Beethoven, 1770-1827）、莫札特（Wolfgang
Amadeus Mozart, 1756-1791）、與巴赫（Johann Sebastian Bach, 1685-1750）等音樂
大師的影響，一曲曲樂章彷彿訴說與彈奏著「人的生命」，正與藝術家欲闡釋
的理念不謀而合。於是，擷取於自然、轉化自內心的聲音，透過他獨特的表現
手法，將其形象化成為可視的藝術作品。在媒材的使用上，司空祐以傳統韓紙
作為媒材，其特性是可將任何顏色展現至極致，紙質的粗糙質感與曲線紋路，
擴張了無限的空間感，也為作品的造型創造出無窮之變化。韓紙的材質和特性
與藝術家自身的生命經驗產生了共鳴，他試圖透過韓紙來表現韓國傳統色澤之
美，每一幅作品都是數千張韓紙的聚集，迸發著司空祐欲傳達的激烈能量。
「音符」與「光澤」是司空祐在作品中最重要的傳達，藉由將韓紙反覆黏貼
與音符結合的過程，達到思想上的自由與釋放。韓紙的特性使作品隨著光線的
變化恣意變動著，彷彿只要跟隨內心的指引，即能尋至藝術家鋪展紋路的剎那
。本次於心晴美術館的展出為司空祐在台灣的首次曝光，共有「力」、「莫比
烏斯帶」、「造物與毀滅」和「生之頌」等四個經典系列，是藝術家為了尋覓
在心裡流動的沉默之音、人與自然的共鳴之音，最終以層層疊覆、千年不變的
韓紙所展現的生命力和強烈能量。
【Curatorial Statement】
Close your eyes and feel the wind on your face,
the shining sunlight,
and rustling sound of grass and leaves.
These sensations are presented through one painting.
Woo Sagong, an artist born in 1961 North Gyeongsang, Korea, attracted
attention during the “88 Rookie Painters” exhibition sponsored by Debec
Gallery in Korea. At the beginning of his painting career, Woo Sagong
focused on figurative art and was awarded by the Daegu Municipal Art
Competition and Gyeongsangbuk-do Province Art Competition during
university. Later, Woo turned to abstract art. Woo Sagong’s early works were
greatly inspiring and expressed the interaction between humans and nature
through personification or sand spread across canvases. After 1995, Woo
Sagong’s personal style of including musical concepts into paintings was
established. Woo Sagong depicts sounds in his paintings and transforms
music notes into emotions of joy, anger, grief, and pleasure, celebrating life
and nature.
Woo Sagong combines nature and music through his works, presenting
sounds as visual representations for viewers. This expression was inspired by
sheet music, especially the works of composers such as Ludwig Von
Beethoven (1770-1827), Wolfgang Amadeus Mozart (1756-1791), and
Johann Sebastian Bach (1685-1750). Each music piece of these composers
seems to be narrating human life, echoing the concept of Woo Sagong. These
“melodies” of nature or the mind are transformed into visual artworks through
unique methods. As for materials, Woo Sagong applies traditional Korean
Paper, which has the ability to present any color at its fullest. The rough
texture and curved patterns on the paper extend the sensations of space,
providing rich changes to the design of the works. The material and feature of
Korean paper reflect the life experiences of the artist who attempts to present
the beauty of traditional Korean colors through Korean paper. Each work is
created with thousands of Korean papers, articulating the energy that Woo
Sagong wishes to express.
The “music notes” and “sheen” are the most important elements that Woo
Sagong wishes to present in his works. The artist’s thoughts are released and
liberated through layered Korean paper and combined with music notes. The
characteristic of Korean paper allows the works to change with different
lighting, and seem to present a pathway designed by the artist to guide
viewers on a journey of the heart. This exhibition at Wellington Collections is
the first time that the works of Woo Sagong are presented to the public in
Taiwan. The display includes four classic series of Woo Sagong: Power,
Möbius Strip, Creation and Destruction, and Song of Life. In the search for the
flowing sound of silence and the note of resonance between human and
nature, the liveliness and intense energy that the artist wishes to display are
presented through layers of traditional classic Korean paper.