30/04/2026
#全新展覽預告
❬❬★ WHITE MEMORY ART SPACE 白色記憶藝術空間 ❭❭ #本週日即將登場
✦ ──張光琪個展─✦
“Microcosm of the Sexagenary Cycle” — Solo Exhibition by Chang Kuang-Chi
2026.05.03 sun.－2026.06.07 sun.
白色記憶藝術空間很榮幸於2026年5月3日至2026年6月7日舉辦藝術家張光琪首次於高雄的個展「干支微觀」（Microcosm of the Sexagenary Cycle），展覽開幕座談將於本週5月3日（星期日）下午3:30–5:00 舉行，由國立臺北教育大學 文化創意產業經營學系 專任助理教授沈裕昌與張光琪的對談展開，深入來探討藝術創作的思維與情感，並且藝術家也將分享作品背後細膩而有趣故事。隨會後茶宴展開，我們誠摯邀請您的蒞臨。
✦展覽開幕暨座談會Opening Talk：
2o26 . 05/03 (日) 下午15:30-5:00
藝術家： #張光琪
與談人： #沈裕昌 教授
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誠摯邀請您的蒞臨
白色記憶藝術空間 ✴︎ 敬邀 ✴︎
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▋關於展覽
(文／張光琪)
以『干支微觀』為這次個展命名，有「像化」不可見的時間性的意圖，而時間性則是我的繪畫長期關注的重點。這個時間性，指的是某種正在發生的事件性，而我試圖以這種「即將發生」的意識，通過圖像，轉化我對周遭事物的感知，並擴延出超越現實性的想像與視覺表現。古代中國以天干地支，簡稱干支，紀錄時序變化，體現的是以周易為主的宇宙觀。天干，指的是天道原理，地支，則涉及現象，二者如同樹木的枝與幹的關係，構成了一種中國古代生生循環的宇宙觀。
我認為這個時間象徵系統，啟發世人的是將某種不可見的原初經驗，以「像」的方式可見化，並體現在生活的細節當中，也更進一步構成了一種有關感受經驗的拓樸想像。正是在這個「像化」的層面，對應到了我通過繪畫探討時間性的意圖。然而，這個對時間性的提問，在此，將以一種更為個人的內與外經驗想像的圖像轉化呈現在繪畫作品中。
這個天地之道的循環時間，與個人經驗的內外辯證時間性的想像，讓我想到《莊子.應帝》篇中一則有關道家的創世寓言，這個故事是這樣的，倏忽二帝常至中土拜訪治理中土的混沌，倏忽苦思回報混沌的方法，當他們看到人類有七孔，而得享感官感受之愉悅時，便想贈予混沌，於是，倏忽日鑿一孔，七日而混沌亡。混沌之亡暗喻的正是世界之生。這裡有兩個穿孔貫通的「像化」想像，首先是混沌象徵的無，轉化為世界及意義，其次是鑿孔貫通的內與外。
這個故事擴延了時間的虛與實的想像向度，對我而言，他鮮活如實體。但是，如果活在當下的我們，面對這些過往古代對世界的闡釋與「像化」，只以一個個靜止的符號或故事，懸置了時間經驗，那麼他們與我們的關係就止於敘事當下。反之，如果我們能通過「像化」的方式，召喚出這些原初過往，在圖像中重新經驗人類的「原初」時間，以藉此和當下高度文明化的時代，進行循環復往的交流，換言之，在這個「像化」的過程中，生成出當下個人與古代互涉想像的某種辯證的時間意識，這便是我的繪畫，通過圖像思辨時間性的主要意圖。這次個展，或許可以說，是在這樣一種前提下的個人生命時間辯證的微觀反思與整理，思辨時間的同時，也在實踐中辯證圖像生成的意義。
▋ About the Exhibition
(Text by Chang Kuang-Chi)
I have titled this solo exhibition “Microcosm of the Sexagenary Cycle” with the intention of rendering the invisibility of temporality into image. Temporality has long been a central concern in my painting practice. Here, temporality refers to a certain sense of eventfulness. It is something in the process of happening. Through awareness of the “imminent,” I attempt to translate my perception of surrounding phenomena into images, extending them into imaginative, visual expressions that transcend reality.
In ancient China, the system of the Heavenly Stems and Earthly Branches, collectively called the Sexagenary Cycle, was used to track the passage of time. It reflects a cosmology grounded in the I-Ching. The Heavenly Stems represent the principles of the celestial order, while the Earthly Branches relate to phenomena. Like the trunk and branches of a tree, these two form a cyclical view of continuous creation in ancient Chinese thought.
I see this symbolic system of time as an inspiration that turns an invisible primal experience into something visible through “image,” embedding it within the details of everyday life. It also creates a topological view of experiential perception. At this level of “image-making,” my exploration of temporality through painting aligns with it. However, this investigation into temporality is expressed as a more personal transformation of inner and outer experiential imagination into visual form.
This cyclical nature of the cosmos, along with the dialectical flow of personal experience, evokes a Daoist creation story from the chapter “Ying Di Wang” in the Zhuangzi. The story goes like this: the emperors Shu and Hu often visited Hundun, the ruler of the central realm. Wishing to return Hundun’s hospitality, they observed that humans have seven orifices through which they enjoy sensory pleasure and decided to give the same to Hundun. Each day, they drilled one hole; after seven days, Hundun died. The death of Hundun symbolically marks the birth of the world. In this story are two connected acts of “image-making”: first, transforming nothingness (Hundun) into the world and meaning; second, the pe*******on of the interior by the exterior through drilling.
This narrative broadens the imaginative scope of the virtual and the real within time. To me, it feels vividly tangible. However, if we, living in the present, see these ancient interpretations and “image-forms” of the world only as static symbols or stories, pausing their temporal flow, then our connection to them stays limited to present-moment narration. Conversely, if we can re-activate these primordial pasts through “image-making,” and re-experience humanity’s “originary” temporality within images, we may create a cyclical dialogue with our highly modernized present. In other words, through this process of “image-making,” a dialectical temporal consciousness appears, one that links the present self with the ancient past. This is the main purpose of my painting: to explore temporality through images.
This exhibition can thus be seen as a small-scale reflective and organizational process of the dialectics of personal lived time under this premise. In examining temporality, I also explore the practical meaning of image formation itself.
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✦ 公眾展出時間Exhibition Date :
2026/05/03（Sun.)-
06/07（Sun.)
✦ 營業時間Open Hours :
週三至週日 12:00pm-6:30pm
（週一至週二 公休）
✦ 主辦單位Organizer :
{ WHITE MEMORY ART SPACE
白色記憶藝術空間}
台灣高雄市三民區
遼寧ㄧ街358號1樓
✦ 聯繫專線Tel :
0939-808843
#白色記憶藝術空間 #張光琪 #高雄個展 #干支微觀 #台灣
