《After Them》

▎藝術家 Artist｜黃舜廷 Huang Shun-Ting、彭奕軒 Peng Yi-Hsuan

▎日期 Date｜2026/03/27(Fri.) - 2026/05/16(Sat.)

▎開幕 Opening｜2026/04/03(Fri.)  16:00-19;00

▎時間 Time｜10:00-18:00 週六13:00-18:00  週日公休

▎地點 Venue｜當代一畫廊 A GALLERY

展覽《After Them》由黃舜廷與彭奕軒兩位藝術家共同展出。展題所指涉的「After」不只是單純時間序列中的「之後」，更指向在歷經階段性轉換的過渡中所形成的「轉折」。在經驗、圖像與事件發生之後，創作如何延續？又如何在延續之中回看自身？本展即在此脈絡下展開，透過兩位藝術家不同的方法論與觀看策略，回應延續、複製與消逝等命題，並在「之後」的狀態中回望「之前」與凝視「當下」。

黃舜廷近期的創作轉向，與其博士論文研究完成及其後展開的兩段駐村經驗密切相關。於台東池上與泰國曼谷的駐村過程中，他將「仿擬」（parody）作為實踐方法，刻意調用與重構自身既有作品，使前作成為可被再次啟用的視覺結構。透過模仿、重置與轉譯，原有圖像在異地條件下被拆解與替換，既保留既有語彙，也吸納在地觀察與文化差異，「自我複製」因此不再意味回到原點，而是在重複之中產生偏移，在場域轉換之間生成差異。

相對地，彭奕軒的創作源於家庭結構的變動與生命循環的交會。女兒的誕生與父親的病況，使「家」成為重新凝視的場所。同時，《東西使》畫冊的出版整理了其十年的創作軌跡，而父親年輕時赴日留學時的論文，則構成潛在的歷史參照與世代連結。本次創作因此回到素描這一繪畫的基礎形式，一種最直接、最貼近身體與時間的媒介。家中靜物與日常物件在描繪中顯現其重量，它們既是視覺的再現，也是記憶的顯影，而凝視與緩慢的描繪則成為其理解消逝與死亡的消化方式。

兩位藝術家分別從自我複製的系統性實踐與對家庭物件的凝視出發，一者在差異中延續圖像，一者在靜默中逼近時間。在此意義上，《After Them》指向了某種在圖像被調用之後、在經驗被回望之後、在生命循環顯現之後的創作狀態。

After Them is a two-person exhibition by Huang Shun-Ting and Peng Yi-Hsuan. The word “After” in the title does not merely indicate a chronological sequence, but points to a turning formed through transitional phases. After experiences, images, and events have taken place, how does artistic practice continue? And how does it look back at itself in the process of continuation? The exhibition unfolds within this framework, as the two artists respond—through distinct methodologies and strategies of viewing—to questions of continuity, replication, and disappearance. From within the state of “after,” they revisit the “before” and confront the “present.”

Huang Shun-Ting’s recent shift in practice is closely connected to the completion of his doctoral research and two subsequent residencies. During his time in Chishang, Taitung, and in Bangkok, Thailand, he adopted “parody” as a method of practice, deliberately redeploying and reconfiguring his earlier works so that they became visual structures available for reactivation. Through imitation, repositioning, and translation, existing images were dismantled and substituted under different local conditions. While retaining his established vocabulary, he absorbed local observations and cultural differences. “Self-replication” therefore no longer signifies a return to origin, but generates deviation through repetition and produces difference across shifting contexts.

By contrast, Peng Yi-Hsuan’s practice emerges from transformations within family structure and the intersection of life cycles. The birth of his daughter and his father’s illness have turned “home” into a site of renewed attention. At the same time, the publication of his book Dong-Xi Shi Things, Acts, and Beings consolidated a decade of artistic trajectory, while his father’s thesis—written during his studies in Japan in his youth—forms an implicit historical reference and intergenerational link. This body of work thus returns to drawing as the foundational form of painting: a medium most direct, most proximate to the body and to time. Domestic still life and everyday objects reveal their weight through depiction; they are both visual representations and the development of memory. Sustained gazing and slow drawing become a means of processing disappearance and death.

Departing respectively from a systematic practice of self-replication and from sustained attention to familial objects, one artist extends images through difference, while the other approaches time through stillness. In this sense, After Them refers to a creative condition that emerges after images have been redeployed, after experiences have been revisited, and after the cycles of life have become visible.