Curator/ Bo-Chen SHENG
Focusing on artist Yuan Hui-Li's artistic strategy of engaging in response and challenging the traditions of ink painting from its foundations, the curatorial project " Essence Ablution: Inks, Brushes and Embodiment of Yuan Hui-Li’s Shanshui Painting " seeks to showcase the multifaceted aspects of the creator's reconstruction of the ink painting system. Additionally, it aims to demonstrate how the artist's "feminine writing" effectively reorients viewers to once again contemplate the response of "women's painting and calligraphy" to traditional artistic contemplation and contemporary aesthetic postures.
The exhibition title theme "元漱"( Essences Ablution:) draws from both the artist Yuan Hui-Li's pen name and aims to spotlight the artist's artistic consciousness and aesthetic strategies in ink wash painting. It signifies the artist's conscious return, from a female perspective, to the foundational aesthetics of ink wash painting, engaging in a creative process of dialogue and reflection.
Looking back at Yuan Hui-Li's artistic journey, starting with the concept of the "body," one of the most notable aspects is her " Manual of Yuan's Texturizing Strokes” s（袁氏皴譜）series, which explores the foundational elements of ink painting. These "Cun technique（皴法）" patterns, ranging from "curled hair" and "silken threads" to "turbulent emotions" and "tearful points," diverge from traditional patterns like "hemp scroll" and "raindrop," which are named after external visual phenomena. Instead, Yuan's patterns draw inspiration from bodily and emotional experiences. The shifting of naming reflects a broader transformation in ink painting consciousness, moving from the external world to an exploration of the internal realm. Through her innovative" Manual of Yuan's Texturizing Strokes”, Yuan Hui-Li expands the scope of women's painting and calligraphy, bridging the gap between inner emotions and outward expression.
In her "Fiery Ink (Fire Ink)" series, she addresses the contemporary ecological crises of raging wildfires and dense haze prevalent in natural landscapes. Here, the misty dampness that traditionally characterizes ink painting, drawn from the wilderness, forests, and water's edge, transitions into the lingering ashes of a wildfire. Through her " Fiery Ink (Fire Ink)" series, which juxtaposes fire with water, the artist conveys not only her bodily sensations in response to natural disasters like forest fires and haze but also her reflective phenomenological stance toward contemporary landscapes.
In the new series " Intrinsic Potential Landscape," the essence of "images" embodies the artist's perception and contemplation of the contemporary society inundated with images, be they natural or cultural. What unites these different series is the artist's sensuous understanding formed by the body and perception. It's an exploration that begins with the perception of the "vivid reality of the present moment" as the basis for studying ink painting. Through "bodily perception," Yuan Hui-Li returns to the essence of things, summoning the primal consciousness that exists within the strokes, thus evoking a presence in ink that reflects the true essence of existence.
Being as a deeply versed in classical and traditional art forms contemporary artist Yuan Hui-Li's relevant artistic practices represent a distinct challenge to the male-dominated history of ink painting. Through a sensuous phenomenological approach, she paints the enchanting silhouette of "female ink art."
沈伯丞/策展論述
著眼於藝術家袁慧莉從基礎處進行與水墨傳統的對話與挑戰的藝術策略，策展計畫《元漱＿袁慧莉的身・筆・墨》，嘗試展現出創作者對於水墨系統重構的各個面向，以及藝術家的「陰性書寫」如何有效地的重新引領觀者再一次凝視「女子書畫」對於傳統藝術凝思與當代美學身姿的回應。
以「元漱」為展覽名稱主題，一方面取自與藝術家袁慧莉的「別名」（袁澍、袁漱），另一方面則是藉此來凸顯，袁慧莉其水墨書畫創作的藝術意識與美學策略；亦即藝術家自覺地以「女性」的姿態，重新回到水墨書畫美學的基礎，進行對話與思辨的創作歷程。
從「身體」為起點回望袁慧莉的創作，那麼最為鮮明的莫過於《袁氏皴譜》系列中對於構成水墨繪畫整體的基本單元：「皴法」，從諸如：捲髮皴、理絲皴、紊心皴、亂煩皴乃至於淚點皴、密繡皴…等命名，相較於傳統以外在世界、事物的視覺型態為「皴法」命名的披麻皴、雨點皴、捲雲皴、解索皴、牛毛皴、大斧劈皴、小斧劈皴，藝術家的《袁氏皴譜》確然是從身體及心理徵候作為命名的基礎。恰是在這樣的基礎上，自謝赫六法以來，水墨自此從「外在世界」走入「內在世界」的意識方向產生了翻轉，藝術家從自創的《袁氏皴譜》將女性書畫的意識從身體與心緒向外展延至外在的世界。
藝術家的《火墨》系列，恰恰是回應了自然山林那熾焰中火氣氤氳且霧霾深重的當代生態災難，於是自古以來山野、林間、水岸那煙雲朦朧的濕潤感而構成水墨繪畫獨有的絪縕，轉而成為了那燎原之火殘餘的煨燼，《火墨》以火對水，與此同時也蘊含著藝術家對於森林大火等自然災害及霧霾的身體感，以及其對於這個當代景觀的感性現象學反思態度。
而新系列《勢山水》中所存在的「影像」氣質，更是創作者對於當代這個充斥著影像（自然或人文）社會的感知與反芻。而存在於這些不同的系列作品中，共同的乃是創作者以身體與知覺所構成的感性認識，那是以「當下活生生的現實」中的知覺作為研究的基礎出發，去探討水墨繪畫的可能。通過「身體知覺」，袁慧莉回到事物本身其真值形構的片刻，在筆墨中召喚出存在的原生意識。
袁慧莉身為一位「當代」的創作者，在高度熟稔「古典」、「傳統」的藝術形式中，藝術家所進行的相關藝術實踐的再省思鮮明地挑戰了「男性」的水墨繪畫歷史，通過感性的「身體現象學」式實踐，譜出了「女性水墨」的旖旎身影。
The exhibition title theme "元漱"( Essences Ablution:) draws from both the artist Yuan Hui-Li's pen name and aims to spotlight the artist's artistic consciousness and aesthetic strategies in ink wash painting. It signifies the artist's conscious return, from a female perspective, to the foundational aesthetics of ink wash painting, engaging in a creative process of dialogue and reflection.
Looking back at Yuan Hui-Li's artistic journey, starting with the concept of the "body," one of the most notable aspects is her " Manual of Yuan's Texturizing Strokes” s（袁氏皴譜）series, which explores the foundational elements of ink painting. These "Cun technique（皴法）" patterns, ranging from "curled hair" and "silken threads" to "turbulent emotions" and "tearful points," diverge from traditional patterns like "hemp scroll" and "raindrop," which are named after external visual phenomena. Instead, Yuan's patterns draw inspiration from bodily and emotional experiences. The shifting of naming reflects a broader transformation in ink painting consciousness, moving from the external world to an exploration of the internal realm. Through her innovative" Manual of Yuan's Texturizing Strokes”, Yuan Hui-Li expands the scope of women's painting and calligraphy, bridging the gap between inner emotions and outward expression.
In her "Fiery Ink (Fire Ink)" series, she addresses the contemporary ecological crises of raging wildfires and dense haze prevalent in natural landscapes. Here, the misty dampness that traditionally characterizes ink painting, drawn from the wilderness, forests, and water's edge, transitions into the lingering ashes of a wildfire. Through her " Fiery Ink (Fire Ink)" series, which juxtaposes fire with water, the artist conveys not only her bodily sensations in response to natural disasters like forest fires and haze but also her reflective phenomenological stance toward contemporary landscapes.
In the new series " Intrinsic Potential Landscape," the essence of "images" embodies the artist's perception and contemplation of the contemporary society inundated with images, be they natural or cultural. What unites these different series is the artist's sensuous understanding formed by the body and perception. It's an exploration that begins with the perception of the "vivid reality of the present moment" as the basis for studying ink painting. Through "bodily perception," Yuan Hui-Li returns to the essence of things, summoning the primal consciousness that exists within the strokes, thus evoking a presence in ink that reflects the true essence of existence.
Being as a deeply versed in classical and traditional art forms contemporary artist Yuan Hui-Li's relevant artistic practices represent a distinct challenge to the male-dominated history of ink painting. Through a sensuous phenomenological approach, she paints the enchanting silhouette of "female ink art."
沈伯丞/策展論述
著眼於藝術家袁慧莉從基礎處進行與水墨傳統的對話與挑戰的藝術策略，策展計畫《元漱＿袁慧莉的身・筆・墨》，嘗試展現出創作者對於水墨系統重構的各個面向，以及藝術家的「陰性書寫」如何有效地的重新引領觀者再一次凝視「女子書畫」對於傳統藝術凝思與當代美學身姿的回應。
以「元漱」為展覽名稱主題，一方面取自與藝術家袁慧莉的「別名」（袁澍、袁漱），另一方面則是藉此來凸顯，袁慧莉其水墨書畫創作的藝術意識與美學策略；亦即藝術家自覺地以「女性」的姿態，重新回到水墨書畫美學的基礎，進行對話與思辨的創作歷程。
從「身體」為起點回望袁慧莉的創作，那麼最為鮮明的莫過於《袁氏皴譜》系列中對於構成水墨繪畫整體的基本單元：「皴法」，從諸如：捲髮皴、理絲皴、紊心皴、亂煩皴乃至於淚點皴、密繡皴…等命名，相較於傳統以外在世界、事物的視覺型態為「皴法」命名的披麻皴、雨點皴、捲雲皴、解索皴、牛毛皴、大斧劈皴、小斧劈皴，藝術家的《袁氏皴譜》確然是從身體及心理徵候作為命名的基礎。恰是在這樣的基礎上，自謝赫六法以來，水墨自此從「外在世界」走入「內在世界」的意識方向產生了翻轉，藝術家從自創的《袁氏皴譜》將女性書畫的意識從身體與心緒向外展延至外在的世界。
藝術家的《火墨》系列，恰恰是回應了自然山林那熾焰中火氣氤氳且霧霾深重的當代生態災難，於是自古以來山野、林間、水岸那煙雲朦朧的濕潤感而構成水墨繪畫獨有的絪縕，轉而成為了那燎原之火殘餘的煨燼，《火墨》以火對水，與此同時也蘊含著藝術家對於森林大火等自然災害及霧霾的身體感，以及其對於這個當代景觀的感性現象學反思態度。
而新系列《勢山水》中所存在的「影像」氣質，更是創作者對於當代這個充斥著影像（自然或人文）社會的感知與反芻。而存在於這些不同的系列作品中，共同的乃是創作者以身體與知覺所構成的感性認識，那是以「當下活生生的現實」中的知覺作為研究的基礎出發，去探討水墨繪畫的可能。通過「身體知覺」，袁慧莉回到事物本身其真值形構的片刻，在筆墨中召喚出存在的原生意識。
袁慧莉身為一位「當代」的創作者，在高度熟稔「古典」、「傳統」的藝術形式中，藝術家所進行的相關藝術實踐的再省思鮮明地挑戰了「男性」的水墨繪畫歷史，通過感性的「身體現象學」式實踐，譜出了「女性水墨」的旖旎身影。
