没顶画廊荣幸宣布艺术家苏予昕（1991，花莲）将于橙县美术馆呈现其首次美国个人展览 “Searching the Sky for Gold”。本次展览展示了苏予昕为展览创作的新作品，艺术家在画作中探索了各种大气和地质现象，深入研究了色彩的物质性。她将自然和合成材料转化为颜料，并将这些色彩物质作为画作的媒介和她研究的重点。
展览 “Searching the Sky for Gold” 探讨了那些无定形的、似乎看不见的但却具有有形基础的物质：沿加利福尼亚海岸线的盐气、日本温泉中的热水、犹他地下矿火、中华山脉中的雾霾、太平洋上空的火山灰以及新墨西哥的核气体。苏予昕作品中的大气并非虚无，而是一种由烟雾、硫化物、挥发物和易燃物质组成的气体混合物，既引发惊叹又带来风险。
Su Yu-Xin, The Birth of an Island ( Niijima, South of Iwo Jima), 2024. Malachite, Japanese gofun, pink coral (tubipora musica), cochineal dye, California soil and ochre, black volcanic rock, iron dioxide green, zinc powder, plastic and other hand-made pigments on flax stretched over wooden frames and wooden stands, 94 1/2 x 63 x 2 3/16 in (240 x 160 x 5.5 cm). Courtesy the artist
Su Yu-Xin, All That Is Solid Melts into Air, 2024. Hematite, pink coral (tubipora musica), Indigofera tinctoria lake pigment, white crystal, basalt, plant extracted ink, soil and other hand-made pigments on hand-shaped reclaimed wood, 7 1/2 x 4 5/8 x 1 5/8 in (19 x 12.3 x 4.1 cm). Courtesy the artist
Su Yu-Xin, Heart of Darkness (Underground Burning, Utah), 2024. Realgar, orpiment, sulphur, cinnabarite, soot, china fir charcoal, purple shale, black tourmaline, red agate, organ pipe coral (tubipora musica), soil, hematite, lapis lazuli, amazonite, red garnet, dupont titanium dioxide and other hand-made pigments on flax stretched over wooden frame and wooden stands, 63 x 94 1/2 x 2 3/16 in (160 x 240 x 5.6 cm). Courtesy the artistSu Yu-Xin, A detonation, and the Time It Spent with the World (Atomic Bomb Test, New Mexico), 2024. Cinnabarite, synthetic cinnabarite, realgar, orpiment, sulphur, soot, gofun, coal cinder, clay and other hand-made pigments on flax stretched over wooden frame and wooden stands, 93 11/16 x 59 1/16 x 2 3/16 in (238 x 150 x 5.6 cm). Courtesy the artist本次展览由OCMA助理策展人Ziying Duan策划。
关于苏予昕
苏予昕（1991年生，花莲）拥有伦敦大学学院斯莱德艺术学院（Slade School of Fine Art）硕士学位，以及国立台北艺术大学国画学士学位。她最近的个人展览包括：Albion Jeune画廊，英国伦敦，2024；Longlati Foundation，上海，2023；关渡美术馆，中国台北，2019。苏予昕还参与了许多国际群展，包括：White Cube画廊，香港，2023；Gagosian画廊，香港；Blum画廊，日本东京；Perrotin画廊，中国上海；北京双年展，北京，2022；UCCA Dune，中国北戴河，2021-2022；UCCA，北京，2020；国立台湾美术馆，台中，2018。她目前在美国加利福尼亚州洛杉矶生活和工作。
‘Those who are blocked off from my messages, or do not like them, think I am a fool, or hate me.’ Reading these words of Ivor Cutler’s (1923–2006) – written in a non-cursive, naïf hand, in a small exercise book that’s displayed in a vitrine at Goldsmiths Centre for Contemporary Arts in London – I’m reminded of parties back in Glasgow at the home of an overzealous Cutlerite friend. Pretty regularly, at a certain point in the evening, she’ll interrupt the regular flow of dance tunes to broadcast Mr. Cutler (as he insisted always on being called), pronouncing, in his thick Scots brogue – spoken deadpan, or else sung in a barrelling, music-hall baritone and set to a wheezing harmonium – his nonsensical aperçus and instructions. ‘Peel your mother from off the ceiling’. ‘My hat beats a warning to the flies’. ‘You cannot erase a love-letter with a nipple, no matter how rubbery’. More often than not, the room quickly clears. – “那些被我的信息封锁的人，或者不喜欢我的人，都认为我是个傻瓜，或者恨我。”读一下Ivor Cutler（1923-2006）的这些话，这些话是用非草书、天真的手写的，写在一本小练习本上，这本小练习本在戈德史密斯当代艺术中心的玻璃瓶里展出。伦敦-我想起了在格拉斯哥的派对，在一个过分热情的克丽丽特朋友的家里。经常地，在晚上的某个时候，她会打断舞蹈曲调的正常流动，播放卡特勒先生（正如他一直坚持要被称呼的那样），用他浓重的苏格兰方言发音，或者用桶唱，用音乐厅里的男中音演唱，然后开始喘息。口琴——他那毫无意义的表和指示。“把你妈妈从天花板上剥下来。”“我的帽子敲打苍蝇的警告。”你不能用乳头擦掉一封情书，不管它有多橡皮。通常情况下，房间很快就会打扫干净。
