- 2016
CHANG CHIA-YING
張嘉穎
1982年出生於台北，畢業國立台南藝術大學造型藝術研究所，擁有精湛深厚的古典繪畫技法藝術家張嘉穎，創作風格獨特鮮明，擅長以童話故事為腳本，運用細膩的筆法譜出天馬行空的想像情節，而她精準的構圖與靈敏的用色，使畫面更引人入勝且極富趣味，拓延了想像的極限。
作品透露出一種“童話短路”的狀態，為何說是童話短路，那是因為在作品中每個符號看似有他的任務，都在做著某件事，也都在演譯著自己的故事，但是都是被切斷的，一個個的故事之間並無準確的順序,相較於卡漫藝術是扁平的，有如一個畫面定格，在畫面的背後並沒有要講述太多的內容，相對於這種符旨(signified)的匱乏，我追求的是符旨(signified)的多義性。
Born in Taipei in 1982, Chia-Ying Chang graduated from the Institute of Plastic Arts, National Tainan University of the Arts. She has exquisite and profound classical painting techniques and a unique and distinctive creative style, being good at using fairy tales as scripts, and using delicate brushwork to compose unimaginable plots. Her precise composition and using of color make the picture more fascinating and interesting as well as extend the limit of imagination.
My works reveal a short circuit situation. Why do I say that is a short circuit situation, that is because every single symbol in a work seems to have its own mission, is doing something, is performing its own story; but the stories are cut, they are not precisely connected, cannot be tagged with chronological order; the stories play according to observers’ thoughts. Cartoon art is flat, like a freeze-frame, there is not much to describe behind the frame, comparing to this lack of significance I pursue a polysemous significance
作品透露出一種“童話短路”的狀態，為何說是童話短路，那是因為在作品中每個符號看似有他的任務，都在做著某件事，也都在演譯著自己的故事，但是都是被切斷的，一個個的故事之間並無準確的順序,相較於卡漫藝術是扁平的，有如一個畫面定格，在畫面的背後並沒有要講述太多的內容，相對於這種符旨(signified)的匱乏，我追求的是符旨(signified)的多義性。
Born in Taipei in 1982, Chia-Ying Chang graduated from the Institute of Plastic Arts, National Tainan University of the Arts. She has exquisite and profound classical painting techniques and a unique and distinctive creative style, being good at using fairy tales as scripts, and using delicate brushwork to compose unimaginable plots. Her precise composition and using of color make the picture more fascinating and interesting as well as extend the limit of imagination.
My works reveal a short circuit situation. Why do I say that is a short circuit situation, that is because every single symbol in a work seems to have its own mission, is doing something, is performing its own story; but the stories are cut, they are not precisely connected, cannot be tagged with chronological order; the stories play according to observers’ thoughts. Cartoon art is flat, like a freeze-frame, there is not much to describe behind the frame, comparing to this lack of significance I pursue a polysemous significance
