策展人論述-江苡歆

張甄晏的創作處於「微觀生態」與「情緒體」之間，是一種既具生物學感、又帶有詩性形體的視覺書寫。她使用的油性色鉛筆屬於高階藝術媒材，可透過細密層疊、局部透明、光膜式亮度，形成近似絲綢纖維的肌理。這使她得以在平面上創造「具生命感的截面」。

從形式語彙觀察，她的作品具有以下三項典型特徵：

（1）纖維式生長（Fibrous Growth）線條不只是描繪，而是以仿生學方式延展，宛如菌絲、鰓片、海中軟體生物般緩慢擴張。

（2）情緒性的色層（Emotional Chromatic Layering）色彩非外在光影，而是來自內在的「色層溫度」。粉色的柔軟、淡藍的呼吸、黃色的流動，形成情緒的等高線。

（3）內生型形態（Endogenous Morphology）其形體不是來自寫生，而是像情緒的細胞繁殖般，自內部湧現。因此具有生命的陌生感（uncanny vitality）。

「奇幻生長」不是童話，而是一種關於生命韌性與心靈結構的視覺隱喻。她筆下的形體像在尋找光、尋找出口，也尋找觀看者的凝視。本展呈現的，是張甄晏在技法成熟後所抵達的第一個「完整語彙階段」，亦是她首次將作品從個人體驗，帶向更具普世象徵性的生命敘事。

  「我想帶觀眾看見『色鉛筆也能長成光』。」

策展人江苡歆談張甄晏個展：《微觀的溫度》

「張甄晏的作品第一次被我看到時，我就知道：她的色鉛筆不是畫，而是『生長』。」策展人 江苡歆（Rony Chiang） 如此形容這位她深耕多年、親自策劃個展的藝術家。

曾任職尊彩藝術中心 11 年、累積 140+ 檔展覽經驗的江苡歆，對媒材敏銳度極高。她指出，張甄晏最迷人的地方，不只是技巧，而是她讓色鉛筆呈現出如精品工藝般的光澤與生命感。「這是一種很女性
、很耐心、也很誠實的媒材。她用慢速堆疊，把情緒慢慢建構出形體。」

我回憶與藝術家工作室的多次訪談：
「她說每一下筆都是祈禱、是信仰。這句話改變我看她作品的方式。」
在我眼中，張甄晏筆下的花朵不是植物，而是情緒的容器；動物不是肖像，而是靈魂的回望；而那一個個奇幻的微生物、水母、蘑菇，都，像藝術家內在能量的具象化。

江苡歆此次將作品重組為三大敘事群：
幻想生長系列、花精靈及甜點系列、動物與招財貓系列。
這三個場域共同指向張甄晏作品中最重要的核心——「溫度」。

她補充：「我們生活在很快速的城市裡，但甄晏的作品讓你不得不慢下來。你會想靠近、想看更細、想呼吸。」因此，本展亦由江苡歆邀請專業學術撰文Tammy、邀卡設計哲冶設計、作品燈光設計師何仲昌、dtl音樂YT頻道選曲、展覽香氛設計王亦斐共同參與，打造一個「能讓觀眾慢慢走入藝術家世界」的沉浸式展場。

「這個展覽，不只是展作品，而是展出一種生命生長進行式的狀態。」

Curatorial Statement – Rony Chiang

for
The Warmth Within the Microcosm: Fantastical Growth in Colored Pencil – Chang, Chen-Yen Solo Exhibition

Chang Chen-Yen’s practice resides between micro-ecological structures and emotional organisms—a form of visual writing that carries both biological sensibility and poetic morphology. Working exclusively with high-grade oil-based colored pencils, she employs dense layering, selective translucency, and luminous surface modulation to produce textures reminiscent of silk fibers. Through this process, she generates what might be called “cross-sections of living sensation” on a two-dimensional plane.

From a formal perspective, her works demonstrate three defining characteristics:

1. Fibrous Growth
Her lines do more than depict; they extend with a biomimetic logic, slowly expanding like mycelium, gill structures, or soft-bodied marine organisms.

2. Emotional Chromatic Layering
Color in her work does not imitate external light but arises from an internal “temperature of chromatic strata.” Soft pinks breathe, pale blues exhale, and yellows flow—forming emotional topographies.

3. Endogenous Morphology
Her forms do not originate from observation but emerge as if emotional cells were proliferating from within, giving the works an uncanny vitality.

“Fantastical growth” is not whimsical fantasy; it is a visual metaphor for resilience and the architecture of the inner self. The forms in Chang’s works seem to search—for light, for an exit, for the gaze of the viewer. This exhibition presents the first fully consolidated phase of her artistic vocabulary, marking a moment where her technique matures into a more universal narrative of life.

“I want to show viewers that colored pencil can grow into light.”

Curator Rony Chiang on Chang Chen-Yen’s solo exhibition

“The first time I saw her drawings, I knew instantly: her colored pencil doesn’t just depict—it grows.”
This is how curator Rony Chiang describes the artist she has accompanied for years and now presents in her first independent curatorial project.

With over 11 years at Soka Art Center and experience across more than 140 exhibitions, Chiang possesses an acute sensitivity to materials. What fascinates her most about Chang’s work is not merely the technique but the way she renders colored pencil with the luminosity and vitality of fine craftsmanship.
“It is a deeply feminine, patient, and honest medium. She builds emotion slowly, letting it crystallize into form.”

Chiang recalls one conversation in the studio:
“She told me every stroke is a prayer, a belief. That sentence changed the way I looked at her art.”

To her, Chang’s flowers are not botanicals but vessels for emotion; the animals are not portraits but soul-like reflections; and the fantastical microorganisms, jellies, and mushrooms are embodiments of the artist’s internal energies.

For this exhibition, Chiang reorganized the works into three narrative constellations:
Fantastical Growth, Emotional Florals & Desserts, and Soul-Bound Animals.
Together, they gesture toward the central axis of Chang’s practice—temperature.

“In a city that moves too fast, her works force you to slow down,” Chiang explains.
“You want to lean closer, to read the details, to breathe with the drawings.”

This exhibition is enriched by multiple collaborators invited by Chiang: academic essayist Tammy, graphic designer CHEYE Design, lighting designer Ho Chung-Chang, music selection by dtl YouTube channel, and scent artist Wang I Fei—together forming an immersive environment that leads viewers gently into the artist’s world.

“This exhibition is not merely a display of works; it is the presentation of a life-form in the process of becoming.”