褶皺 FOLDS
洪聖雄個展 HUNG Sheng-Hsiung Solo Exhibition
洪聖雄個展 HUNG Sheng-Hsiung Solo Exhibition
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展期 Dates
2025/09/23(Thu.) -09/27(Mon.) 2025 Made In Taiwan 新人推薦特區 Booth M05 安卓藝術 Mind Set Art Center 地點 Venue 國際台北藝術博覽會 Art Taipri 台北世界貿易中心 展演一館（台北市信義區信義路五段5號） No. 5, Section 5, Xinyi Road, Xinyi District, Taipei City |
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展覽介紹 Exhibition Introduction
《褶皺》
本次展出計畫，洪聖雄以〈砌殼〉系列為核心，呈現個展《褶皺》，作品以日常行為為靈感，探索物質形態與空間的可能性。作品的靈感源自擊碎蛋殼的物理狀態，將「殼」作為主要概念，通過拉扯、扭轉和擠壓的創作手法，呈現出層層疊疊的皮層空間，彷彿引導觀眾深入彎曲的縫隙與錯綜的結構之中。
藝術家以模具翻製技術為基礎，採用逐層堆疊的工法，通過反覆的過程，於材料的軟硬交替中，塑造出多樣的形態、尺度與比例。《砌殼》系列不僅展示了雕塑的形式之美，更邀請觀者思索結構與材質之間的對話，探索空間與物質的無限可能。
對洪聖雄而言，雕塑不僅是單一物件的創造、描摹，而是建構一幅具整體性的景象。景象既建立於現實，同時也存在抽象的感知聯繫。藝術家的介入，將這些聯繫變得可見，透過撿拾線索、拼集碎片化的情境，顯現出時間與空間的層層皮膜，進而呈現了一幅既真實又抽象的風景。
本次展出計畫，洪聖雄以〈砌殼〉系列為核心，呈現個展《褶皺》，作品以日常行為為靈感，探索物質形態與空間的可能性。作品的靈感源自擊碎蛋殼的物理狀態，將「殼」作為主要概念，通過拉扯、扭轉和擠壓的創作手法，呈現出層層疊疊的皮層空間，彷彿引導觀眾深入彎曲的縫隙與錯綜的結構之中。
藝術家以模具翻製技術為基礎，採用逐層堆疊的工法，通過反覆的過程，於材料的軟硬交替中，塑造出多樣的形態、尺度與比例。《砌殼》系列不僅展示了雕塑的形式之美，更邀請觀者思索結構與材質之間的對話，探索空間與物質的無限可能。
對洪聖雄而言，雕塑不僅是單一物件的創造、描摹，而是建構一幅具整體性的景象。景象既建立於現實，同時也存在抽象的感知聯繫。藝術家的介入，將這些聯繫變得可見，透過撿拾線索、拼集碎片化的情境，顯現出時間與空間的層層皮膜，進而呈現了一幅既真實又抽象的風景。
Folds
This exhibition project features Folds, a solo presentation by Sheng-Hsiung Hung, centered on his Stacking Shells series. HUNG’s Stacking Shells series draws inspiration from the physical act of cracking eggshells, transforming this everyday gesture into a profound exploration of materiality and space. Centered around the concept of the "shell," the works stretch, twist, and compress surface layers, creating intricate and winding voids that invite viewers to navigate their fragmented depths.
Employing mold-casting techniques as the foundation of his sculptural process, the artist employs a methodical layering approach, building forms incrementally through repeated application. This iterative process results in an array of shapes, scales, and proportions, sculpted from the interplay of soft and rigid materials. This series not only showcases the aesthetic allure of sculptural forms but also encourages contemplation of the dialogue between structure and material, opening up boundless possibilities within the realm of space and substance.
To Hung Sheng-Hsiung, sculpture is more than the creation and portrayal of a single object. It is a comprehensive landscape that is both grounded in reality while exhibiting abstract sensibilities. The artist demonstrates these qualities in his works. By collecting and assembling fragmented scenarios, Hung unveils many the skin-like layers in space and time and constructs a realistic yet abstract landscape.
This exhibition project features Folds, a solo presentation by Sheng-Hsiung Hung, centered on his Stacking Shells series. HUNG’s Stacking Shells series draws inspiration from the physical act of cracking eggshells, transforming this everyday gesture into a profound exploration of materiality and space. Centered around the concept of the "shell," the works stretch, twist, and compress surface layers, creating intricate and winding voids that invite viewers to navigate their fragmented depths.
Employing mold-casting techniques as the foundation of his sculptural process, the artist employs a methodical layering approach, building forms incrementally through repeated application. This iterative process results in an array of shapes, scales, and proportions, sculpted from the interplay of soft and rigid materials. This series not only showcases the aesthetic allure of sculptural forms but also encourages contemplation of the dialogue between structure and material, opening up boundless possibilities within the realm of space and substance.
To Hung Sheng-Hsiung, sculpture is more than the creation and portrayal of a single object. It is a comprehensive landscape that is both grounded in reality while exhibiting abstract sensibilities. The artist demonstrates these qualities in his works. By collecting and assembling fragmented scenarios, Hung unveils many the skin-like layers in space and time and constructs a realistic yet abstract landscape.
《卵、地景、雕塑》 文/施絜晴
如殼一般硬、薄、脆、挺，如膜一般軟、膨、韌、綿，一切相對立的特質在洪聖雄作品〈砌殼〉系列中，顯得那樣自然且合理地並存，它們是那般脆弱，又那般堅實且肯定。
把蛋握在手中把玩的身體經驗，成了洪聖雄創作〈砌殼〉的起心動念，然而，與真實雞蛋相比大上十倍百倍的蛋型，注定了作品本身不再屬於日常。當「蛋」變得巨大，「蛋」與身體的關係便翻轉了，施加在「蛋」上的力氣也不同了，「蛋」也可能不再是蛋了，它成了全然不同的事物，掛上牆，融入空間之中，成了與空間共存的個體。你會在它上頭看見力道的走向、看見時間的作用、看見凹凸之中還有更細微的起伏、看見仿若地景的幻覺，或可能看出一團膨脹又塌縮的宇宙。
定睛看著〈砌殼〉系列作品看得出神時，會不小心走進作品裡，就好像變成了身高只有拇指那樣長的人，邁入高山深谷中。表面的真石燒結塗料，此刻成了黏附於地表的細碎石塊，像是火山爆炸後沉積的灰，凝結成厚實的硬殼，又像是月球表層的沙土，呈現出一片貧脊、單調、神秘的光景。隨著高低起伏行走，時而能瞧見彷彿被巨大力量揉、擠、推過的地形，時而能覺察因地面生成時的不平等張力，而產生厚薄不一的土地。隆起、下陷、深掘，目光深陷於起起伏伏間，猶如群山包圍。你所見的山、谷都是一體的，是彼此相連、彼此作用的大地。就像某座隆起，也可能會在下一個轉彎處成為低地，而低地又會隨著立足點不同而變成隆起，不斷延展、收縮，不斷紐繞曲折下去。
遙遙凝視〈砌殼〉系列作品時，有時會覺得與真實抽離，就像在凝視牆上的皺摺，或空間裡不規則的浮凸之物。你在離作品幾公尺之外的地方舉起拇指比對，那些蛋型雕塑就只有一個指節那麼大，像是一粒鵪鶉蛋，一捏就碎，有時又像是一顆揉皺的衛生紙團，既挺立又癱軟，既薄又韌。再往後站一些，作品更小了，小得像是失敗的蝴蝶卵，幼蟲沒有孵化，薄膜般的卵殼有多處塌陷，這樣微小且毫不起眼的形狀，是生命之始與生命終結共存的模樣。
再次走入展場內，與作品保持剛剛好的距離，在一個你不會被作品吞沒、也不會抽離作品的位置，〈砌殼〉系列作看起來既像是無機的壞石頭，不渾圓、不完整，又像是有機的、有血有肉的空間皮膜，那些看似因受力而凹陷的缺口，好似下一刻就會呼吸。
有生命的、無生命的、硬的、軟的、大的、小的、輕薄的、厚重的、平滑的、凹凸不平的、靜止的、流動的、同一的、多樣的……這些彼此相對的詞彙都能被包容進〈砌殼〉系列作裡，也許是因為它們純粹，又或許是因為它們不訴諸於任何真確實在的人事物，只是為了單純的藝術觀念而存在、而表態。
即便洪聖雄所意圖的，從來不是致敬、臨摹外在世界的一切，而是轉化他日常生活中的細微感知，去回應雕塑本身的藝術問題，但他的作品仍自主地展現了無需透過藝術家親自說明的魅力，你可以用純藝術的眼光把它看得純粹，也可以用投射的心把它看得充滿隱喻。就像作品名〈砌殼〉或展名《褶皺》一樣，名稱中的蛋殼與地形都不是藝術家創作的目的，卻是引導作品與觀眾溝通的路徑，是與外在世界互動的巧思，你不管在什麼樣的距離觀看、用什麼樣的視角理解，都能在彎繞曲折的空間中，領略只屬於你的所見。
如殼一般硬、薄、脆、挺，如膜一般軟、膨、韌、綿，一切相對立的特質在洪聖雄作品〈砌殼〉系列中，顯得那樣自然且合理地並存，它們是那般脆弱，又那般堅實且肯定。
把蛋握在手中把玩的身體經驗，成了洪聖雄創作〈砌殼〉的起心動念，然而，與真實雞蛋相比大上十倍百倍的蛋型，注定了作品本身不再屬於日常。當「蛋」變得巨大，「蛋」與身體的關係便翻轉了，施加在「蛋」上的力氣也不同了，「蛋」也可能不再是蛋了，它成了全然不同的事物，掛上牆，融入空間之中，成了與空間共存的個體。你會在它上頭看見力道的走向、看見時間的作用、看見凹凸之中還有更細微的起伏、看見仿若地景的幻覺，或可能看出一團膨脹又塌縮的宇宙。
定睛看著〈砌殼〉系列作品看得出神時，會不小心走進作品裡，就好像變成了身高只有拇指那樣長的人，邁入高山深谷中。表面的真石燒結塗料，此刻成了黏附於地表的細碎石塊，像是火山爆炸後沉積的灰，凝結成厚實的硬殼，又像是月球表層的沙土，呈現出一片貧脊、單調、神秘的光景。隨著高低起伏行走，時而能瞧見彷彿被巨大力量揉、擠、推過的地形，時而能覺察因地面生成時的不平等張力，而產生厚薄不一的土地。隆起、下陷、深掘，目光深陷於起起伏伏間，猶如群山包圍。你所見的山、谷都是一體的，是彼此相連、彼此作用的大地。就像某座隆起，也可能會在下一個轉彎處成為低地，而低地又會隨著立足點不同而變成隆起，不斷延展、收縮，不斷紐繞曲折下去。
遙遙凝視〈砌殼〉系列作品時，有時會覺得與真實抽離，就像在凝視牆上的皺摺，或空間裡不規則的浮凸之物。你在離作品幾公尺之外的地方舉起拇指比對，那些蛋型雕塑就只有一個指節那麼大，像是一粒鵪鶉蛋，一捏就碎，有時又像是一顆揉皺的衛生紙團，既挺立又癱軟，既薄又韌。再往後站一些，作品更小了，小得像是失敗的蝴蝶卵，幼蟲沒有孵化，薄膜般的卵殼有多處塌陷，這樣微小且毫不起眼的形狀，是生命之始與生命終結共存的模樣。
再次走入展場內，與作品保持剛剛好的距離，在一個你不會被作品吞沒、也不會抽離作品的位置，〈砌殼〉系列作看起來既像是無機的壞石頭，不渾圓、不完整，又像是有機的、有血有肉的空間皮膜，那些看似因受力而凹陷的缺口，好似下一刻就會呼吸。
有生命的、無生命的、硬的、軟的、大的、小的、輕薄的、厚重的、平滑的、凹凸不平的、靜止的、流動的、同一的、多樣的……這些彼此相對的詞彙都能被包容進〈砌殼〉系列作裡，也許是因為它們純粹，又或許是因為它們不訴諸於任何真確實在的人事物，只是為了單純的藝術觀念而存在、而表態。
即便洪聖雄所意圖的，從來不是致敬、臨摹外在世界的一切，而是轉化他日常生活中的細微感知，去回應雕塑本身的藝術問題，但他的作品仍自主地展現了無需透過藝術家親自說明的魅力，你可以用純藝術的眼光把它看得純粹，也可以用投射的心把它看得充滿隱喻。就像作品名〈砌殼〉或展名《褶皺》一樣，名稱中的蛋殼與地形都不是藝術家創作的目的，卻是引導作品與觀眾溝通的路徑，是與外在世界互動的巧思，你不管在什麼樣的距離觀看、用什麼樣的視角理解，都能在彎繞曲折的空間中，領略只屬於你的所見。
Egg,Landscape,Sculpture by Shih Jie Ching
Hard, thin, brittle, and taut like a shell; soft, swelling, resilient, and pliant like a membrane. The coexistence of these opposing qualities appears both natural and inevitable in Hung Sheng-Hsiung’s Stacking Shells series, fragile yet firm, precarious yet assured.
The bodily experience of holding and playing with an egg became the initial impulse behind Stacking Shells. Yet when enlarged tens or even hundreds of times beyond the scale of a real egg, the form inevitably departs from the realm of the everyday. As the egg grows immense, its relationship with the body is reversed. The force exerted upon it changes, and the egg itself ceases to be an egg. It transforms into something entirely different, suspended on the wall, merging into space, and becoming an entity that coexists with its surroundings. Upon its surface one may glimpse the traces of force, the passage of time, the subtle undulations within each dent and rise, illusions of landscapes, or even a swelling and collapsing cosmos.
Gazing deeply into the works of Stacking Shells, one risks being drawn inside, as if shrunken to the size of a thumb and wandering through towering mountains and deep valleys. The Jikitone paint (true-stone paint) covering the surface becomes, in that moment, tiny stones clinging to the earth’s crust, like volcanic ash hardened into layers, or lunar dust forming a barren, monochrome, and mysterious terrain. Walking across the rises and falls, one sometimes perceives landforms kneaded, pressed, or thrust by immense forces, sometimes senses uneven tensions at the moment of formation, giving rise to ground of varying thickness. Peaks, depressions, cavities—the gaze sinks into these contours as though surrounded by mountains. The mountains and valleys perceived are a single body, each linked and shaping the other. What rises may at the next turn become a hollow, and what sinks may, from another vantage, become an elevation, endlessly expanding, contracting, and twisting in succession.
Seen from afar, the Stacking Shells works sometimes detach from reality, resembling folds in a wall or irregular protrusions in space. Raise a thumb to measure from a few meters away and the egg-shaped sculptures shrink to the size of a knuckle, like quail eggs, fragile with a squeeze, or like crumpled tissue, both upright and slack, thin yet tensile. Step further back and they appear smaller still, like failed butterfly eggs where larvae never hatched, their membrane-like shells collapsed in places—forms both slight and insignificant, embodying at once the beginning and the end of life.
Returning to the exhibition space and standing at just the right distance, not engulfed by the works yet not estranged from them, the Stacking Shells appear like inorganic broken stones, irregular and incomplete, while also like organic membranes of flesh and skin, with hollows that seem poised to draw breath at any moment.
Alive and inert, hard and soft, large and small, light and heavy, smooth and rough, still and flowing, unified and diverse. These opposites all converge within Stacking Shells. Perhaps it is because the works are distilled to such purity, or because they refrain from referring to any specific, concrete subject, existing only to embody and declare an artistic concept.
Even though Hung Sheng-Hsiung does not aim to imitate or pay homage to the external world, but rather transforms the subtleties of daily perception into responses to the questions of sculpture itself, his works autonomously radiate a fascination that requires no explanation. One may regard them with the clarity of pure art, or interpret them through metaphor and projection. Like the title Stacking Shells or the exhibition name Folds, the references to eggshells and terrain are not the artist’s end but pathways guiding communication between the work and the viewer, points of contact with the external world. No matter the distance or the vantage point, one may find within their winding, twisting spaces a vision entirely one’s own.
Hard, thin, brittle, and taut like a shell; soft, swelling, resilient, and pliant like a membrane. The coexistence of these opposing qualities appears both natural and inevitable in Hung Sheng-Hsiung’s Stacking Shells series, fragile yet firm, precarious yet assured.
The bodily experience of holding and playing with an egg became the initial impulse behind Stacking Shells. Yet when enlarged tens or even hundreds of times beyond the scale of a real egg, the form inevitably departs from the realm of the everyday. As the egg grows immense, its relationship with the body is reversed. The force exerted upon it changes, and the egg itself ceases to be an egg. It transforms into something entirely different, suspended on the wall, merging into space, and becoming an entity that coexists with its surroundings. Upon its surface one may glimpse the traces of force, the passage of time, the subtle undulations within each dent and rise, illusions of landscapes, or even a swelling and collapsing cosmos.
Gazing deeply into the works of Stacking Shells, one risks being drawn inside, as if shrunken to the size of a thumb and wandering through towering mountains and deep valleys. The Jikitone paint (true-stone paint) covering the surface becomes, in that moment, tiny stones clinging to the earth’s crust, like volcanic ash hardened into layers, or lunar dust forming a barren, monochrome, and mysterious terrain. Walking across the rises and falls, one sometimes perceives landforms kneaded, pressed, or thrust by immense forces, sometimes senses uneven tensions at the moment of formation, giving rise to ground of varying thickness. Peaks, depressions, cavities—the gaze sinks into these contours as though surrounded by mountains. The mountains and valleys perceived are a single body, each linked and shaping the other. What rises may at the next turn become a hollow, and what sinks may, from another vantage, become an elevation, endlessly expanding, contracting, and twisting in succession.
Seen from afar, the Stacking Shells works sometimes detach from reality, resembling folds in a wall or irregular protrusions in space. Raise a thumb to measure from a few meters away and the egg-shaped sculptures shrink to the size of a knuckle, like quail eggs, fragile with a squeeze, or like crumpled tissue, both upright and slack, thin yet tensile. Step further back and they appear smaller still, like failed butterfly eggs where larvae never hatched, their membrane-like shells collapsed in places—forms both slight and insignificant, embodying at once the beginning and the end of life.
Returning to the exhibition space and standing at just the right distance, not engulfed by the works yet not estranged from them, the Stacking Shells appear like inorganic broken stones, irregular and incomplete, while also like organic membranes of flesh and skin, with hollows that seem poised to draw breath at any moment.
Alive and inert, hard and soft, large and small, light and heavy, smooth and rough, still and flowing, unified and diverse. These opposites all converge within Stacking Shells. Perhaps it is because the works are distilled to such purity, or because they refrain from referring to any specific, concrete subject, existing only to embody and declare an artistic concept.
Even though Hung Sheng-Hsiung does not aim to imitate or pay homage to the external world, but rather transforms the subtleties of daily perception into responses to the questions of sculpture itself, his works autonomously radiate a fascination that requires no explanation. One may regard them with the clarity of pure art, or interpret them through metaphor and projection. Like the title Stacking Shells or the exhibition name Folds, the references to eggshells and terrain are not the artist’s end but pathways guiding communication between the work and the viewer, points of contact with the external world. No matter the distance or the vantage point, one may find within their winding, twisting spaces a vision entirely one’s own.
出版資訊 Publication Information
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《褶皺》Folds
本書為洪聖雄之最新作品專輯《褶皺》FOLDS，由安卓藝術出版，收錄其於2024年至2025年間創作的《砌殼》系列（Stacking Shells series），精選共計27件雕塑作品。除完整作品圖版外，書中亦收錄藝術家創作理念與專文，呈現洪聖雄對於雕塑創作中的最新探索與思辨。
Folds is the latest monograph by artist Sheng-Hsiungh Hung, published by Mind Set Art Center. Featuring 27 works from his Stacking Shells series (2024–2025), the book presents Hung’s recent sculptural explorations, accompanied by artist statements and critical essay. 作者｜洪聖雄
專文作者｜施絜晴 書籍設計｜王昱惟 出版單位｜安卓藝術 贊助單位｜文化部 Author｜Sheng Hsiung Hung Essay Author｜Jie Ching Shih Design ｜Yagi Wang Publisher｜Mind Set Art Center Sponsored by｜Ministry of Culture |
FOLDS
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