「我們在她2005年《遊心》系列中，看到主體化山水奇岩的物性，已然擺脫了既往山水畫的物性定義，而透過主體自身物化臻至一個新的世界。」---文真姬, 2014
“We witness in her Roaming in Heart series in 2005, how this subjectivized materiality of landscapes and rock forms has been liberated from the definition of previous landscape paintings, and has materialized its subjective self to attain a new disclosedness reality.” ---Art critique by Moon Jung-hee, 2014
“We witness in her Roaming in Heart series in 2005, how this subjectivized materiality of landscapes and rock forms has been liberated from the definition of previous landscape paintings, and has materialized its subjective self to attain a new disclosedness reality.” ---Art critique by Moon Jung-hee, 2014
「2005年的《遊心3》，已不是當成界線的封閉性輪廓。它返回到似圖似文的先秦時期，用書寫去獵石頭的形，去捉拿石頭的神。如甲古文、石古文這些象形字，用簡練的線條迅速狩獵日月山河各種對象。而《遊心》就有如用象形文來書寫山石，複雜的形象慢慢擁有共通的偏旁，部首與部首正準備組出一個個漢字。這些拆解中的石文，書法的用筆特別醒目，它像東晉衛夫人的「筆陣圖」，用橫、點、撇、折、豎、捺、勾的七種筆畫，來顯現不同的筆力。袁慧莉在用錐狀筆端緩行於羅文宣，澀滯的紙材讓施力與收力方法變得清晰可見。無意間體現了書畫的美感，有時在超脫文字或形體的辨認之後，更能窮其精妙。」---陳莘, 2014
“Wandering Heart Series seems to use pictographic script to write mountains and boulders, complex forms gradually obtain shared character sections, radicals and radicals poised to form a Chinese character. The calligraphic brush strokes in these stone scripts in mid--‐deconstruction are especially striking. Like Wei Shuo’s (272--‐349) Illustrations of the Brushstrokes they use the seven types of brush strokes of horizontal stroke, dot, pecking, raise, erect, pressing forcefully, and hook to display different brush strengths. Yuan Hui-Li moves the cone‐shaped tip of her brush slowly across the xuan paper. The stagnation and force in her technique is made visible by the grittiness of the paper medium. The aesthetic of calligraphy is inadvertently revealed. The subtleties amaze at times when one moves beyond identification of the text or form.”--- Art critiqued by Chen Hsin, 2014
“Wandering Heart Series seems to use pictographic script to write mountains and boulders, complex forms gradually obtain shared character sections, radicals and radicals poised to form a Chinese character. The calligraphic brush strokes in these stone scripts in mid--‐deconstruction are especially striking. Like Wei Shuo’s (272--‐349) Illustrations of the Brushstrokes they use the seven types of brush strokes of horizontal stroke, dot, pecking, raise, erect, pressing forcefully, and hook to display different brush strengths. Yuan Hui-Li moves the cone‐shaped tip of her brush slowly across the xuan paper. The stagnation and force in her technique is made visible by the grittiness of the paper medium. The aesthetic of calligraphy is inadvertently revealed. The subtleties amaze at times when one moves beyond identification of the text or form.”--- Art critiqued by Chen Hsin, 2014
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2013
日常手札no.4 Daily Poetry no.4 宣紙．水墨設色 color and ink on Chinese handmade paper 28x18cm |
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2013
日常手札no.5 Daily Poetry no.5 宣紙．水墨設色 color and ink on Chinese handmade paper 28x18cm |
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2013
日常手札no.2 Daily Poetry no.2 宣紙．水墨設色 color and ink on Chinese handmade paper 25.8x26cm |
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