19/10/2026
王雅慧：旅行者
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《海》創作於2020年，是一件結合攝影、物件與動力裝置的靜物畫。對王雅慧來說，影像是事物的另一個形體，就如同山色的倒影與山共同構成風景。在這件作品中，她不只觀看攝影中的海，也關注攝影作為物件的存在：相紙裱褙於鋁板，再放置於染色木板上，與層板、水杯及杯中的水共同構成作品。
影像與物件各自具有材質、重量與位置，也在彼此的關係之間形成一個新的空間。圓形海景隨著機械裝置緩慢轉動，使「海」不斷往返於深遠的影像空間與平面的相紙之間，攝影凝結的瞬間，也與秒針運轉的真實時間同時存在。海平面與圓形畫面的切分，則進一步顯現大海作為影像的抽象性。 王雅慧將這件作品看作一幅靜物畫，影像在這裡不只是再現某個景象，也與相紙、鋁板、木頭、水和機械一樣，成為具有物質性的存在，這些性質不同的事物，皆各自帶著自己的質地、重量與節奏。
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Created in 2020, “Sea” is a still life that brings together photography, objects, and kinetic elements. For Wang Yahui, an image is another form of a thing, much like the reflection of a mountain and the mountain itself together forming a landscape. In this work, she looks not only at the sea depicted in the photograph, but also at the photograph as an object in its own right.
The images and objects each possess their own material qualities, weight, and position, while their relationships give rise to a new space. The circular seascape rotates slowly through a mechanical device, causing the “sea” to move continuously between the depth of the image space and the flat surface of the photographic paper. The moment frozen in the photograph thus coexists with the actual passage of time marked by the moving second hand. The division of the sea’s horizon by the circular frame further reveals the abstract nature of the ocean as an image.
Wang Yahui regarded this work as a still life. Here, the image does not merely represent a scene; like the photographic paper, aluminum panel, wood, water, and mechanism, it becomes a material presence in its own right. Each of these elements, distinct in nature, carries its own texture, weight, and rhythm.
王雅慧，《海》，2020，噴墨輸出、半光面相紙、實木層板、玻璃杯、水、時鐘機芯，112x86.3x20cm，高雄市立美術館典藏。
Wang Yahui, Sea, 2020, Inkjet print on semi-gloss photo paper, wood panel, glass, water and two clock movements, 112x86.3x20cm, Collection of Kaohsiung Museum of Fine Arts .
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王雅慧：旅行者Wang Yahui: Voyager
2026.09.12 – 2027.01.03
北美館2A、2B展覽室
https://www.tfam.museum/01VOYAGER
