漂移：
Keep Playing, Keep Going
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2025 葉怡利個展
Yeh Yi-Li Solo Exhibition
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▍Date｜2025.11.15 (Sat.)  - 2026.1.3 (Sat.)
▍Opening｜2025.11.15 (Sat.)  15:00

▍Inart Space 加力畫廊｜TUE. - SAT. 11:30-19:00
​700 台南市中西區友愛街315號

ARTISTS 藝術家

葉怡利/ b. 1973 
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葉怡利經常從大眾文化與生存環境擷取養分，以生活體驗為創作動機，其作品大量探討人與人、人與自然之間的關係；她以身體作為穿梭於空間與時間的媒介，本著孩子般嬉戲的本能，透過現場行為的藝術形式，裝扮成有魔力的怪獸、仙子、惡女等角色，遊走於文明的城市或是悠然的大自然中；「遊戲中」就像藝術之於「創作中」，過程是藝術創作中最重要的部份。 「景．物」系列的立體作品中，葉怡利企圖在古老的陶瓷媒材上加入時代語言，她以雕塑堆疊的技法，加入現成物並截取其既有形體，順理成作品有趣造型。

Yi-Li Yeh b. 1973 
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Yeh often captures nutrition from the popular culture and living environment, and adopts life experiences as her creative motivation. Her artworks explore the interpersonal relationship and the relationship between people and nature; she chooses the physical body as the medium to shuttle between space and time. With the child-like playful instinct, through the form of on-site action art, Yeh dresses up as magical monsters, fairies, villains and other characters, and walks in civilized cities or leisurely nature; "In the game" is just like "in the process of creating" in art, which is the most important part of artistic creation.  For the three-dimensional artworks in the “Scene. Object” series, Yeh intends to incorporate vocabularies of the times with porcelain and ceramics, the ancient medium. She applies the stacking technique of sculpture and adds ready-made objects by intercepting their existing shapes to make the interesting form of the artworks.

關於我的雕塑
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我因現成的物造景，在現成的景裡造物，透過造景與造物，試圖重組記憶中的景象，是樹林裡的禪意，河裡的石頭，高山荒野的動物，或是巨大冰山「A23a」崩解消逝的瞬間，這些曾經存在於記憶中的美好景物，如碎片般漂流、逐漸消散。我試著將時間凝結的景物重組，形成一種時空錯置的風景，「景物何在？」企圖捕捉自然、物與人之間流逝的虛幻時光。

我以陶瓷雕塑的「堆疊加法」為主要的材質和造形，企圖在這古老材質中注入時代的語言，並將現成的塑膠玩具或積木納入創作，它們象徵著工業生產與大眾文化的「傻瓜雕塑」，透過如同遊戲般的堆疊過程，就能產生具體的造型，塑膠粒積木的堆疊是種人人都可以是雕塑家的概念。

藝術創作往往是一個需要長時間淬鍊的過程，而將塑膠積木與陶瓷雕塑並置，藝術品的獨特性似乎被削弱，但大眾確對塑膠積木有著集體性的認知共鳴，在此藝術家提出一個問題：「當『快』文化的無差別性逐漸侵蝕傳統文化的差異性時，個別文明的特質是否正在消逝？」，或許在不久的將來，當 AI 全面佔據人類世界之時，我們將進入一個單一、無差異的文明，沒有喜怒哀樂，而無痛無感的生活，會不會反而成為人類的另一種救贖？

I create sceneries from found objects and craft new objects within found sceneries.
Through this dual act of constructing landscapes and objects, I attempt to reassemble fragments of remembered imagery—the Zen-like stillness of forests, the pebbles lying in rivers, the wild creatures wandering across mountain wildernesses, or the fleeting moment when the immense iceberg “A23a” collapses and disappears. These once-beautiful scenes drift like fragments, gradually dissolving into distance. By reconfiguring these frozen moments in time, I form landscapes of temporal dislocation, asking: Where does the scenery truly exist? Through this question, I seek to capture the ephemeral passage between nature, matter, and humanity.

In terms of material practice, I employ an ‘additive stacking’ technics in ceramic sculpture, attempt to infuse this ancient medium with a contemporary language.
To do so, I incorporate ready-made plastic toys and building blocks into my work - symbols of industrial production and mass culture, what I call “fool’s sculptures.” For me, stacking plastic blocks is like a playful form of sculpting: Through a process of stacking that feels like play, tangible three-dimensional shapes emerge. The act of stacking plastic blocks carries a simple idea: anyone can be a sculptor.
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Art creation is a process that demands time and refinement. Yet when plastic blocks and ceramic sculpture are placed side by side, the uniqueness of art seems to blur. Still, plastic blocks evoke a collective resonance within popular culture. Here, the artist raises a question: When the indiscriminate speed of “fast culture” gradually erodes the distinctions of traditional culture, are the unique qualities of individual civilizations fading away? Perhaps, in the near future- when AI fully occupies the human world—we may enter a single, undifferentiated civilization: one without joy or sorrow, pain or emotion. And maybe, in that emotionless state, we might find another kind of salvation.

關於我的錄像
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我以錄像為媒介，嘗試讓身體物件與雕塑物件融入環境場域，使彼此成為相互風景中的「景．物」。延續「景．物」系列的創作脈絡，我將身體視為理性的物件，結合雕塑與現成物，隨機置入環境之中，讓偶然與秩序共存。這其中的「遊戲性」，是一種持續推動我創作的本能反應，也是一種對現實世界的即興回應。
在創作過程中，我將所感知當下的人文風景，與記憶中的斷片殘景、重組與再現。身體、物件與場域的關係在其中不斷被拆解與建構，使「景．物」的風景不依附劇本或草圖，在時間的流動與日常的再現中相應呈現。
我經常思考：何「物」能被我拾留？何「景」又是能被記憶的片斷？這灰朦的凝視，是我對現實的逃逸術，也是生活軌跡的投射。透過如遊戲般的行為，在虛實間，建構出遊走於現實與幻象間的「景．物」風景。

Using video as my medium, I attempt to merge the physical body with sculptural objects within specific environments, allowing each to become part of the other’s landscape — “Scene·Object”. Continuing the creative thread of the “Scene·Object” series, I regard the body as a rational object, combining it with sculpture and ready-mades, placing them into the environment by chance, where accident and order coexist. This element of playfulness is both an instinctive drive that sustains my creative process and an improvisational response to the realities of the world.

Throughout creation, I reconstruct and re-present fragments of memory alongside the cultural landscapes I perceive in the moment. The relationships among body, object, and scenery are constantly deconstructed and reassembled, allowing the “Scene·Object” landscape to unfold without dependence on a script or sketch — revealing itself through the flow of time and the repetition of the everyday. I often wonder: what ‘object’ can I truly keep? What ‘scene’ remains within the fragments of memory? This hazy gaze becomes my way of escaping reality, yet also a reflection of my life’s trajectory. Through acts that resemble play, I construct landscapes of Scene·Object — wandering between reality and illusion, presence and absence. ncorporating human bodies as objects and sculptural objects into an environment. With such an approach, those elements interchangeably become landscape/scenes for each other under the context of “Scene‧Object.” Further extending the stylistic context of “Scene‧Object” series, I regard human bodies as non-organic and rational things and randomly juxtapose them in an environment with sculptural objects and ready-mades. The quality of playfulness from such an artistic creational process is an instinctive reaction that I continuously seek for in my own art. Finally, I mix those humanity sceneries perceived at that moment with fragments in my memories and make new presentation through re-permutating those elements.
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    There are no scripts or drafts for the re-permutation of human bodies as objects, sculptural objects and environment as creational site. Moreover, in daily life that time is always eclipsing, what kind of “object” can be kept or preserved by me and which “scenes” will become fragments of memory? The somber and aloof disregarding can be seen as my escapology from the reality, trace of my life, my relic-like behavior, and the false-mingled-with-truth “Scene‧Object” landscapes of my life.