自書畫而出的繪畫路徑，臺灣藝術家賴倚翎的創作分析 The Painting Path from calligraphy: An Analytical Study of the Artistic Journey of Taiwanese Artist Yi Ling Lai

Date: 29/ November/ 2023

Critic and Edited by: Jing Hua Lee

Yi Ling Lai is an emerging Taiwanese artist born in Tainan in 1997. Ling's practice conveys a nuanced emotional depth through the interplay of ink, color, and expressive techniques such as outlining, strokes, blending, and the accumulation of ink on various surfaces. Between 2015 and 2019, Ling studied her undergraduate degree in Chinese Calligraphy and Chinese painting at National Taiwan University of Arts. She then completed her Master's degree in Fine Art at Kingston University in the UK in 2021. Currently, she lives and works in London as an independent artist.

臺灣新銳藝術家賴倚翎（Yi Ling Lai）作品擅長以筆墨的勾勒、濃淡，墨水與顏料在紙面上的積留、行筆以及暈染，來表現自身細膩的情感。倚翎1997年出生及成長於臺灣臺南。在2015－2019年期間，她在國立臺灣藝術大學學習書法藝術及傳統國畫，並取得書畫藝術學系之大學學位。之後於2019－2021年間至英國金士頓大學學習，並取得藝術碩士的學位，現於倫敦工作及生活。

Ling’s Studio, London

Ling's practice includes ink painting, printmaking, wall painting, canvas, and various two-dimensional mediums. With a sensual and poetic approach to painting, she often captures complex emotions, narratives, and memories, delving into themes of identity, belonging, and personal experiences.

The recurring presence of the colour "blue" in her body of work holds a profound familial connection for Ling. This specific shade of blue isn't intensely saturated but rather a gentle, densely inclusive color, tinged with a hint of melancholic sentiment. Its first appearance was during the lockdown of the global pandemic, reflecting a sense of helplessness in that challenging time.

As a Taiwanese artist in a foreign land during the pandemic, Yi Ling’s experience of isolating in a room, being separated from companions, and dealing with different time zones with friends and family all evoked profound emotions fluctuating between nostalgia, loneliness, bitterness, and hopelessness. However, by continuously exploring these emotions on paper, Yi Ling has found a way to escape this stagnant solitude, resulting in works that mirror feelings of sadness, slowness, and weightiness during that time.

她的創作實踐通常以繪畫、版畫，在紙張、布面以及牆面等平面媒材探索。感性與詩意的筆觸，描繪細緻的情緒、故事以及記憶。在作品中經常出現的「藍色」，之於倚翎而言，是一種家庭連結的色彩。這種藍色並不具有高飽和的搶眼，反而是溫柔緻密的包容色彩，並且帶有一絲憂鬱的愁緒。這些筆觸起源於在疫情封城時，無法離開的臥房、決然離去的伴侶，還有棲居於另一個時差的家人朋友，無不令她陷入孤單。唯有創作才可以使她逃離凝滯孤獨的現狀，因此作品中可以見到悲傷、緩慢且沉重的情緒。

Isolation, 2021, 55.5cm X 76 cm, Ink and watercolor on paper

Through her artwork "Isolation," exhibited at Swan Studio in 2021, it becomes apparent that the colour "Blue" transforms into a cohesive force, embodying an unbreakable and unwavering essence. Resembling both a soft yarn ball that resists unraveling and a textured, hardened turquoise, the colour takes on dual characteristics. Ling's work elicits conflicting sensations in terms of tactile perception, aligning with her intention to provide viewers with a diverse range of experiences. By relinquishing absolute authorial control in her practice, Ling encourages the audience to actively engage with her body of work. Through the reflection of the artwork, it provides a space to connect people with the unseen, unspeakable emotions and feelings, gradually unfolding.

透過倚翎在倫敦The Swan 空間中展出的作品〈Isolation〉不難察覺，成為團塊的藍色色彩，帶有無法拆解、化開的氣質。既是梳化不開的柔軟藍色毛線球，亦是紋理清晰的堅硬青金石。她的作品同時在觸覺感知上，擁有兩種衝突的雙重感受。正是倚翎想提供給觀者的感知多樣性，她選擇讓渡作者在作品中絕對主導權，促使觀眾在面對作品時，也可以透過作品映照自身的感受與情緒，緩慢舒展開來。

MFA Fine Art Degree Show, the Swan studio, London, 2021

作品於「 2021 金士頓大學藝術碩士群展」倫敦The Swan空間展覽現場。

When delving into Ling's artistic path, we intimately find that it stems from her study of the ancient tradition of calligraphy. While her works may not prominently feature typical ink brushstrokes, ink is frequently utilized, and she consistently explores the relationship between lines and colours on paper. Particularly from a materials perspective, ink in Chinese painting is often mixed with gelatin, unlike other water-based pigments. After drying, it no longer dissolves in water and exhibits a satin-like luster. Only through careful observation of the artwork can one notice the matte quality distinct from watercolours, with the subdued yet slightly luminous black ink quietly proclaiming her artistic identity.

若切入倚翎的繪畫路徑，則不難發現與書畫密不可分的創作結構。儘管在作品中並沒有常見的水墨筆法，但作品中經常使用墨汁，並且不斷探詢線條與色彩在平面中的關係。特別是以材料學的角度來說，水墨用墨汁會混合明膠製作，不同其他水性顏料，在乾燥後不再溶於水，並且會呈現緞面的光澤。只有在細膩的觀察作品時才會發現不同於水彩的啞光，帶有些許光亮的墨色沉靜和緩的宣告她的身分認同。

It is worth noting that in the calligraphy art form, despite the tension and personal aesthetic inherent in brush placement and layout, text ultimately maintains a readable relationship. By shedding its original linguistic qualities, calligraphy can then transform into a form of abstract painting. Ling explores this by delving into the limitations and possibilities of language in traditional calligraphy, particularly in those elements that guide people's interpretation. Ling radicalizes the traditional medium of calligraphy by pushing abstraction and dynamism to the extreme. Through rhythmic lines and gestures, she allows her practice to narrate issues such as a sense of belonging and personal emotions—subjects that remain unexpressed in traditional calligraphy

在書法藝術中，儘管落筆的位置跟佈局，是極具張力且富有個人美感，但是文字終究是帶有可閱讀的關係，若是抽離語言，則書法就會成為某種抽象繪畫。倚翎便是以此探討書寫經驗傳統書法中語言的限制性及可能性，特別是作品中命名引導解讀元素的抽離，她企圖將書法語言中的難以被表達出的思想、系統和經驗一一描繪在她的創作中，讓作品以純粹有機的方式去敘述歸屬感和個人情感等議題。

Words 01, 2021, 28.2 X 19.5 cm (each) , watercolor and ink on paper

Beyond her works on paper and canvas, Ling actively explores other mediums such as printmaking and depicting on transparent plastic sheets. These transitions are noteworthy for a visual artist working in two dimensions, indicating a shift from the practical aspects of manipulating materials to contemplating the philosophical aspects of their characteristics.

This aligns with Greenberg's pursuit of "purity" in art, where Ling, through her practice, explores various possibilities. For example, transitioning from one surface to another in printmaking or layering plastic sheets in her paintings to explore and test the overlap and penetrability of the depicted planes.

Ling notes that she intends to venture into ceramics in the future, expressing a keen interest in making and painting on top of ceramics. Essentially, her artistic endeavors are transitioning from a purely two-dimensional plane to exploring the "surface" of objects. This anticipated development indicates that Ling's visual language is transferring to a new stage, and it is something to look forward to.

除了在紙面與布面的創作之外，倚翎也積極的嘗試其他媒材的創，例如版畫或是描繪在透明的塑膠布上。對於平面繪畫的創作者而言，這些都是值得注意的轉變，詔示著藝術家將目光從操作媒材的實務層面，轉向思考媒材特性的哲學層面。這個正是格林伯格在藝術上所追求的「純粹性」，倚翎以自身的創作實踐繪畫多種可能性，例如：由一個面過渡到另一個面的版畫，或者是嘗試將繪畫的塑膠布疊合起來，探討所繪畫平面的疊合與其穿透性。倚翎指出，她在未來會嘗試往陶藝發展，因為她對於彩繪陶器表面非常感興趣，也就是說，她在繪畫上的企圖從一個純然的平面，將要跨越到物體的「表面」。這是令人期待的發展，顯示倚翎的創作將邁向新的階段。

AMASSA, 2021, 200cmx 140cm, Ink and acrylic on PCV sheets, displayed in AMASSA, St Clar

While working as an independent artist, Ling actively participates in various artist talk projects. In March 2023, she was invited to attend the Diageo International Women's Day luncheon as an international female artist. During the event, she shared insights as an Asian artist in the UK on issues related to identity, belonging, and creative endeavors, also showcasing one of her printmaking artworks. In June of the same year, she collaboratively engaged with British artist Jo Lewis in the "Artiq Artist Peer-to-Peer Mentoring Scheme," discussing the new possibilities arising from the isolated creative process during lockdown and the challenges faced by local and international artists in the UK. The content of this program was featured in the Artiq Summer Newsletter. Following the conclusion of the recent exhibition at The Lab E20 in London in October 2023, Ling continues her partnership with the British Museum, delivering several calligraphy and art workshops to showcase more diverse art forms to the museum's youth collective. Moreover, Ling anticipates participating in a group exhibition at Blackdot Gallery in the UK in 2024, where she plans to bring together other Asian artists, fostering in-depth exchanges and exploration of cultural identity and contemporary issues in the context of creating art in a foreign land.

在藝術家的身份創作之外，倚翎也活躍地參與不同形式的藝術家座談項目。今年（2023年），倚翎以女性藝術家之身分，受邀出席Diageo 國際婦女節午宴。除展示作品外，她也分享了作為在英國的亞洲藝術家，關於身份、歸屬和創作的問題。並於今年六月份和英國藝術家 Jo Lewis共同參與「Artiq藝術家一對一創作研討會」，探討在封鎖期間孤立的創作，其過程中所帶來的新契機，以及身為本土及國際藝術家在英國所面臨到的創作問題。本次研討會內容也被收錄在Artiq 夏日電子刊錄中。倚翎剛於2023年10月份結束在倫敦The Lab E20的群展，並且持續以書法家的身份和大英博物館合作，推動一系列相關書法及藝術工作坊，以展示更加多元的藝術形式。預計在2024年，於英國的Blackdot畫廊參與群展，持續凝聚其他華裔藝術家，一同深入交流和探索在異地創作下的文化認同及當代議題。

Words 02, 2021, 28.2 X 19.5 cm (each) , watercolor and ink on paper

So far, Ling has actively participated in numerous exhibitions, showcasing her work in both galleries and non-commercial spaces across various countries. Notable exhibitions include "London Grads Now. 21" at Saatchi Gallery (London), "Distanced Domestic" at MKII in London, "Circles in Circle" at OPEN Ealing Gallery (London), "Arts Noelle" at Gallery Oui (London), "10 ARTISTES" at Croq’la vie gallery (St Clar), "Heterogeneity" at Yat-sen Gallery (Taipei), "Time" in Bopiliao Historic Block, and the Kingston MFA Fine Art Degree Show at the Swan Studio, among others. Moreover, her exceptional talent has been acknowledged through prestigious awards, such as winning the National Art Exhibition for Ink Painting in Taiwan (2018) and being shortlisted for New Contemporaries in London (2021). In the same year, she secured an artist residency scholarship from Blue Shop Gallery and was recognized as a rising star on Saatchi Art's platform in 2022, standing out as the sole Taiwanese artist among 36 global talents.

倚翎過去曾參與眾多英國及其他國際畫廊和非商業空間的展覽。如：「London Grads Now 21」倫敦薩奇藝廊（Saatchi Gallery）、「Distanced Domestic」倫敦MKII 藝術空間、「Circles in Circle」倫敦 OPEN Ealing 藝廊、「Arts Noelle」倫敦Oui畫廊、「10 ARTISTES」法國Croq’la Vie 藝術空間、「異質書寫」臺灣國父紀念館逸仙藝廊、「時．時」 臺灣剝皮寮歷史街區藝術展間、「金士頓大學藝術碩士群展」 倫敦Swan 空間等等。同時，倚翎也在國內國外獲獎無數，曾於2018年獲得臺灣全國美術展、2021年入選英國 New Contemporaries 2021獎項。同年也受倫敦 Blue Shop Cottage藝廊之邀，前去南法駐地創作並獲得全額獎學金。2022年被美國 Saatchi Art 藝術平台選入為全球36位新興傑出藝術家之一「2022 Saatchi Art Rising Star」，其中值得一題的，倚翎也是獲獎名單中，唯一一位臺灣藝術家。

倚翎的作品被許多不同的海內外收藏家所收藏，在倫敦政經大學馬偕爾大樓 LSE Marshall Building內也永久收藏了一幅倚翎現地製作的大型牆面繪畫。

Critic: Jing Hua Lee

Born in 1997 and currently based in Taipei, Jing is deeply immersed in the dynamic realm of contemporary art. Grounded in visual analysis, art history, aesthetics, and interdisciplinary research, Jing's critique aims to connect art with the public. Previous experience includes a role as a research assistant at the National Academy for Educational Research. Currently, Jing works as a curatorial assistant at Our Museum, National Taiwan University of the Arts.

撰稿：李京樺Jing

1997年生，現生活於台北。關注當代藝術發展與脈動，以圖像閱讀、藝術史與美學與跨學科研究作為評論基礎，嘗試藝術帶給大眾。曾先後任職於國家教育研究院 研究助理、台藝大有章藝術博物館 策展助理。

Artist Webside-Yi Ling Lai: lingsspace.com