胡崴翔
E-Mail：wayne830723@gmail.com
◎作者簡歷
2019 國立清華大學藝術與設計學系創作組，碩士
2016 國立新竹教育大學藝術與設計學系創作組，學士
展覽
2019《胡崴翔油畫創作個展－宮樂途》個展，金車文藝中心南京館，臺北
2018《2018A3國際交流展》聯展，日本
2018《西班牙薩拉曼卡大學繪畫聯展》，西班牙
2018《新竹藝術博覽會》聯展，新竹
獲獎
2016 李澤藩教授美勞教育獎（首獎）
2016新竹美展，佳作
2016國立新竹教育大學2016創作大獎，首獎
典藏
2019 國立清華大學校友優秀作品典藏
◎創作理念
我的作品皆以自身生活經驗做為開端，將日常生活中的規範，不論是環境或空間的限制，比擬成中國古代的宮廷生活。這些規範的片段及事件也成為我藝術再現創作的來源及能量。以「唐朝」，一個各方面發展健全的朝代來作為創作之對象，並以藝術挪用（apprpriation）、戲擬（parody）之創作手法將唐朝人物之圖像融合於自身創作中。從背景古畫看到當時生活在宮廷貴婦日常狀態，雖無從得知宮女臉上為何看似並無太多笑容，但不難想像當時眾人盡興飲酒或是在棋盤上雙人對峙，那輕鬆愉快，同時更沉醉於美妙的音樂和棋戰之中，應當是個樂以忘憂的時刻。也正因沒有太多的笑容，冥冥之中，畫面讓人感受到一股淡淡的落寞哀傷，一種強顏歡笑、自娛自樂的失意之情。我將自身生活比擬成此，以古畫的場景暗喻自己看似恣意享樂的生活卻未曾獲得自由所帶來真正的快樂。
My works are based on my own life experience as an introductory beginning, and the norms in daily life, regardless of the environment or space constraints, compare into the life of the imperial court in ancient China. These normative fragments and events have also become the source and energy of my artistic reproduction creations.
Take the "Tang dynasty", a well-developed dynasty in all aspects as the object of creation, and use the creative methods of appropriation and parody to integrate the images of Tang dynasty characters into one’s creations. From the background of ancient paintings, I understood the daily status of the lady who was living in the imperial court at that time. Although it was impossible to know why the Palace maid’s face does not seem to have too many smiles, it is not difficult to imagine that everyone was drinking or playing chess. The double confrontation, the kind of relaxing and enjoyable, and at the same time more indulging in beautiful music and wargames, should be so joyful that one forgets his sorrow moment. It is also because there is not much smile, so it has long been destined to, draw people feel a faint lonely sadness, a forced smile, self-entertaining and dejected feeling. I compare my life to this, and metaphor myself in the scene of ancient paintings. It seems that a life of willful enjoyment has never been real joy brought by freedom.