袁慧莉 YUAN Hui-Li (b. 1963, Taipei, Taiwan; currently lives and works in New Taipei City)
YUAN Hui-Li received her B.F.A. and M.F.A. in Ink Painting from the first graduating class of the National Taipei University of the Arts (formerly National Institute of the Arts). She later earned her Ph.D. in Art Theory from Tainan National University of the Arts.
YUAN Hui-Li is a dedicated professional artist who has journeyed from traditional Chinese painting and calligraphy towards contemporary ink art and interdisciplinary media. She is a creator with a historical perspective. Since her university days, she has contemplated fundamental questions such as "How is ink painting possible?" and "How can landscape(Shanshui) painting break through its limitations?" This inquiry initiated over forty years of experimentation and adventurous exploration. Her works transcend traditional painting and calligraphy, extending into diverse media and video art. Through varied approaches, she deeply cultivates and expands her practice, seeking "unfulfilled spaces of history" for contemporary ink art expression. She blends Eastern landscape painting with Western aesthetics, harmonizing classical and contemporary perspectives to create her unique "Inner Movement Transformation Methodology of Form and Meaning."
From her in-depth research into traditional brushwork and painting theory aesthetics, she has developed essential inquiries: "What is landscape painting?" "How does cun (texture stroke) technique undergo variation?" "What constitutes the material properties of ink?" "What are the historical voids?" "How can female discourse intervene in the male-dominated realm of landscape painting?"... Throughout her journey, she has continuously explored the essence of issues related to ink painting and landscape through persistent questioning. This intellectual pursuit has led to the development of unique and powerfully distinctive series, including Discrete Islands, THEY Shanshui, Manual of Yuan's Texturizing Strokes, Ink Strokes of Time, Fiery Ink, Ice Ink, among others, establishing her own creative methodology and theoretical framework.
She believes that appropriating and re-inverting traditional history, opening up the unfulfilled formal and conceptual spaces within classical Chinese landscape painting, and subsequently recontextualizing and re-interpreting them in a contemporary light, constitutes a re-extension of the cultural and philosophical boundaries for an Eastern artist. Therefore, her artistic language not only clearly points to an essential dialectic of Eastern painting but also implicitly incorporates contemporary contexts of politics, philosophy, and bodily perception, thereby manifesting resonance and empathy for contemporary life situations.
Her works are held in collections by public and private institutions, including UBS (Union Bank of Switzerland), the National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Taiwan Ministry of Culture Art Bank, and the InterContinental Hong Kong. She is currently represented by Tina Keng Gallery in Asia.
She have been featured in numerous solo exhibitions, including those at the Kaohsiung Museum of Fine Arts and Tina Keng Gallery. She has also participated in many group exhibitions at various museums, such as the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Hualien Museum of Art, Hengshan Calligraphy Art Center, Kuandu Museum of Fine Arts, Jeonnam Museum of Art in Korea, as well as other public and private institutions and organizations.
袁慧莉(1963-，生於台灣台北，現工作居住於新北市)，畢業於國立台北藝術大學第一屆美術系水墨組，碩士畢業於同校，博士畢業於台南藝術大學藝術理論博士班。
袁慧莉是一位具有歷史觀的創作者，她自傳統書畫走來，積極向當代水墨與跨域媒材開拓，她選擇東方繪畫核心的山水畫為主軸，自大學即開始思索「水墨如何可能？」「山水畫如何突破? 」的問題，由此開展了其逾四十年的實驗與冒險，作品從傳統書畫跨越到多元媒材與錄像媒體，透過不同方式深耕拓展，尋求於「歷史未盡之處」進行當代水墨的創作表現。她融合東方山水畫與西方美學，進行古典與當代視野的調和，自創"內動轉化形意方法論"。
她從傳統筆墨與畫論美學研展出各種本質提問：「什麼是山水畫？」、「皴法如何變異？」、「何謂水墨物性？」、「歷史的空缺為何？」、「女性話語如何介入男性主宰的山水畫領域？」……，一路以來，透過不斷地提問對水墨或者山水畫相關議題進行本質探索。並因此發展出各個系列作品，包含《孤山水》、《類山水》、《袁氏皴譜》、《時間之漬》、《火墨》、《冰墨》等等獨創風格強烈的作品，並建立自己的創作方法論與理論體系。
她認為針對傳統歷史進行挪用反轉，打開中國傳統山水畫形式與意涵未盡之處，並加以當代重構與賦予新的詮釋，是身為東方藝術家在文化思維疆域上的再擴延，因此其藝術語言不僅清晰地指向東方繪畫的本質辯證，同時也迂迴地置入政治、哲學與身體感知的當代語境，藉此彰顯當代生命情境的共鳴共情。
她的作品被公私機構收藏，其中包含瑞士銀行、國立台灣美術館、高雄市立美術館、台灣文化部藝術銀行、香港洲際酒店等，目前為台灣耿畫廊亞洲區經紀代理藝術家。作品已舉辦多次個展，如高雄市立美術館、耿畫廊，也在多個美術館聯展，如台北市立美術館、國立台灣美術館、高雄市立美術館、韓國全南道立美術館、花蓮美術館、橫山書法美術館、關渡美術館及其他公私單位機構。
YUAN Hui-Li received her B.F.A. and M.F.A. in Ink Painting from the first graduating class of the National Taipei University of the Arts (formerly National Institute of the Arts). She later earned her Ph.D. in Art Theory from Tainan National University of the Arts.
YUAN Hui-Li is a dedicated professional artist who has journeyed from traditional Chinese painting and calligraphy towards contemporary ink art and interdisciplinary media. She is a creator with a historical perspective. Since her university days, she has contemplated fundamental questions such as "How is ink painting possible?" and "How can landscape(Shanshui) painting break through its limitations?" This inquiry initiated over forty years of experimentation and adventurous exploration. Her works transcend traditional painting and calligraphy, extending into diverse media and video art. Through varied approaches, she deeply cultivates and expands her practice, seeking "unfulfilled spaces of history" for contemporary ink art expression. She blends Eastern landscape painting with Western aesthetics, harmonizing classical and contemporary perspectives to create her unique "Inner Movement Transformation Methodology of Form and Meaning."
From her in-depth research into traditional brushwork and painting theory aesthetics, she has developed essential inquiries: "What is landscape painting?" "How does cun (texture stroke) technique undergo variation?" "What constitutes the material properties of ink?" "What are the historical voids?" "How can female discourse intervene in the male-dominated realm of landscape painting?"... Throughout her journey, she has continuously explored the essence of issues related to ink painting and landscape through persistent questioning. This intellectual pursuit has led to the development of unique and powerfully distinctive series, including Discrete Islands, THEY Shanshui, Manual of Yuan's Texturizing Strokes, Ink Strokes of Time, Fiery Ink, Ice Ink, among others, establishing her own creative methodology and theoretical framework.
She believes that appropriating and re-inverting traditional history, opening up the unfulfilled formal and conceptual spaces within classical Chinese landscape painting, and subsequently recontextualizing and re-interpreting them in a contemporary light, constitutes a re-extension of the cultural and philosophical boundaries for an Eastern artist. Therefore, her artistic language not only clearly points to an essential dialectic of Eastern painting but also implicitly incorporates contemporary contexts of politics, philosophy, and bodily perception, thereby manifesting resonance and empathy for contemporary life situations.
Her works are held in collections by public and private institutions, including UBS (Union Bank of Switzerland), the National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Taiwan Ministry of Culture Art Bank, and the InterContinental Hong Kong. She is currently represented by Tina Keng Gallery in Asia.
She have been featured in numerous solo exhibitions, including those at the Kaohsiung Museum of Fine Arts and Tina Keng Gallery. She has also participated in many group exhibitions at various museums, such as the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Hualien Museum of Art, Hengshan Calligraphy Art Center, Kuandu Museum of Fine Arts, Jeonnam Museum of Art in Korea, as well as other public and private institutions and organizations.
袁慧莉(1963-，生於台灣台北，現工作居住於新北市)，畢業於國立台北藝術大學第一屆美術系水墨組，碩士畢業於同校，博士畢業於台南藝術大學藝術理論博士班。
袁慧莉是一位具有歷史觀的創作者，她自傳統書畫走來，積極向當代水墨與跨域媒材開拓，她選擇東方繪畫核心的山水畫為主軸，自大學即開始思索「水墨如何可能？」「山水畫如何突破? 」的問題，由此開展了其逾四十年的實驗與冒險，作品從傳統書畫跨越到多元媒材與錄像媒體，透過不同方式深耕拓展，尋求於「歷史未盡之處」進行當代水墨的創作表現。她融合東方山水畫與西方美學，進行古典與當代視野的調和，自創"內動轉化形意方法論"。
她從傳統筆墨與畫論美學研展出各種本質提問：「什麼是山水畫？」、「皴法如何變異？」、「何謂水墨物性？」、「歷史的空缺為何？」、「女性話語如何介入男性主宰的山水畫領域？」……，一路以來，透過不斷地提問對水墨或者山水畫相關議題進行本質探索。並因此發展出各個系列作品，包含《孤山水》、《類山水》、《袁氏皴譜》、《時間之漬》、《火墨》、《冰墨》等等獨創風格強烈的作品，並建立自己的創作方法論與理論體系。
她認為針對傳統歷史進行挪用反轉，打開中國傳統山水畫形式與意涵未盡之處，並加以當代重構與賦予新的詮釋，是身為東方藝術家在文化思維疆域上的再擴延，因此其藝術語言不僅清晰地指向東方繪畫的本質辯證，同時也迂迴地置入政治、哲學與身體感知的當代語境，藉此彰顯當代生命情境的共鳴共情。
她的作品被公私機構收藏，其中包含瑞士銀行、國立台灣美術館、高雄市立美術館、台灣文化部藝術銀行、香港洲際酒店等，目前為台灣耿畫廊亞洲區經紀代理藝術家。作品已舉辦多次個展，如高雄市立美術館、耿畫廊，也在多個美術館聯展，如台北市立美術館、國立台灣美術館、高雄市立美術館、韓國全南道立美術館、花蓮美術館、橫山書法美術館、關渡美術館及其他公私單位機構。