Art Fair
KIAF 2026
Wu Kuan-Te 吳冠德
Carsten Goering
Kuo Cheng-San 郭正參
Grace Wu 吳德馨
HSU Chun-Yu 徐均育
Duration
2026.9.2 -9.6
Mizuiro Gallery returns to KIAF SEOUL 2026, presenting recent works by five contemporary artists from Taiwan and Germany: WU Kuan-Te, Carsten GOERING, KUO Cheng-Tsan, WU Te-Hsin, and HSU Chun-Yu.
Centered on the translation of material presence and spatial dialogues with visual perspective, the presentation spans contemporary painting, refined polishing processes, and metal wire sculptures. The five artists engage with natural elements, screen-viewing optics, intimate contemplations of life, localized cultural motifs, and spatial projections of shadow and line, articulating the dynamic intersection between the pictorial plane and dimensional space.
水色藝術 再度參展 2026 韓國國際藝術博覽會（KIAF SEOUL 2026），呈獻台德五位當代藝術家新作——吳冠德、Carsten Goering、郭正參、吳德馨與徐均育。
本次展覽以「媒材物質性的轉譯」與「觀看視角的空間對話」為策展核心，作品橫跨當代繪畫、精細打磨工序與立體金屬線雕塑。五位藝術家分別從自然採集、數位光學反思、生命靜默凝視，到在地文化符號與空間虛實投影，展現平面繪畫與立體維度交會的多元樣貌。
吳冠德 WU Kuan-Te
吳冠德捨棄傳統油畫筆刷，拾取自然中的枯枝與石塊直接於畫布上刻畫。他以「減法」手法在未乾油彩中刮除、刻鑿出交錯的枝幹與光痕，將身體力道與自然物質的質地轉化為具張力的視覺空間，使作品擺脫傳統風景描摹，直接記錄人與自然共振的痕跡。
Discarding traditional brushes, Wu Kuan-Te gathers fallen branches and stones directly from nature to carve into the canvas. Working through a subtractive process of scraping into wet oil paint, he carves out intertwined branches and luminous marks. His works bypass conventional landscape depiction to directly document the visceral friction and resonance between the human body and the natural environment.
Carsten Goering
德國藝術家 Carsten Goering 專注探討顏料物質性與光學動態。他在底層圖像上覆以厚重油彩，再透過刮除技法刻劃出精密紋理；藉由油彩的起伏厚度形成遮蔽與顯露的層次。當觀者在作品前移步換位，色彩與光痕隨視角推移而浮動閃爍，以傳統繪畫媒材精準回應當代螢幕的視覺經驗。
German artist Carsten Goering investigates the materiality of paint and optical dynamics. Layering thick oil paint over a base image, he uses a scraping technique to carve precise structural grooves; the varying thickness of the paint creates alternating layers of concealment and revelation. As viewers move before the canvas, colors and light shimmer with shifting perspectives, offering a tactile response to contemporary screen-viewing habits.
郭正參 KUO Cheng-San
本次展出郭正參最具代表性的「瓶花系列」。藝術家將花卉的盛開與凋零視為對應生命枯榮的鏡像；捨棄繁複裝飾，在濃烈厚實的色塊堆疊與粗獷刮抹間建立雕塑般的肌理。畫面底層透出經時間沉澱的溫潤奶油光感，以克制而深沉的筆勢實踐「感而繪物，留一瞬之真」。
Featuring Kuo Cheng-San’s signature Vase Flowers series, this presentation frames the blooming and withering of flowers as a quiet mirror to the cycles of life. Stripping away decorative elements, Kuo builds sculptural impasto textures through bold color fields and expressive scraping. Beneath the surface lies a warm, cream-toned radiance matured over time, capturing the truth of a fleeting moment through restrained, contemplative brushwork.
吳德馨 Grace Wu
吳德馨延續東亞花鳥畫與吉祥圖式的文化脈絡，融入臺灣原生蝴蝶蘭與城市家燕等在地生活符號。她將傳統花鳥寄託的祝願轉化為「已然在場」的進行式；工序上經由反覆的顏料覆蓋、磨除與拋光，使鏡面般平滑的表面在清晰與碎散間浮現花鳥姿態，隨光線角度展現細緻的視覺層次。
Grace Wu expands upon the East Asian bird-and-flower tradition by incorporating localized motifs such as native Taiwanese Phalaenopsis orchids and urban swallows. She reframes traditional auspicious wishes not as distant aspirations, but as an active, living presence within the canvas. Through iterative layering, sanding, and polishing to a smooth, reflective surface, delicate figures emerge between clarity and fragmentation, shifting subtly with light and viewing angles.
徐均育 HSU Chun-Yu
徐均育以紅銅線與鐵線為媒介，透過火燒、敲擊與反覆彎折的手工工序，將紙本動態速寫轉化為立體線條雕塑。作品保留了繪畫筆觸的流動感與雕塑的通透性；當光線穿透金屬結構，映照於牆面的虛擬陰影與實體線條相互交織，精準凝結城市人物的日常姿態與情感連結。
Working with copper and iron wire, Hsu Chun-Yu employs heating, hammering, and manual bending to translate dynamic observational sketches into three-dimensional linear sculptures. Her works retain the fluid gesture of drawing while embracing spatial transparency. As light passes through the open metal structures, cast shadows interplay with physical lines, capturing the quiet postures and emotional resonance of everyday urban life.