Name: 「綻放的圖層」周楷倫個展 | 開幕酒會
Start: 2026-05-30T15:30:00+08:00
Location: 瑞光路548巷15號5F 、 Taipei, Taiwan 114

$\u300c\u7dbb\u653e\u7684\u5716\u5c64\u300d\u5468\u6977\u502b\u500b\u5c55 | \u958b\u5e55\u9152\u6703$

安卓藝術將於今年初夏推出代理藝術家周楷倫的畫廊第二場個展「綻放的圖層」，並呈現周楷倫近年在生活與藝術上的轉變與最新探索。在這場以圖層概念對繪畫進行思索的展覽中，藝術家帶來30幅左右繪於2024至2026年的新作，以涵蓋繪畫、素描與速寫的不同表現組合此次個展。展覽從2026年5月30日至7月3日之間舉行，並於5月30日周六下午三點半舉辦開幕酒會，我們誠摯邀請歡您的蒞臨。

日常的深度凝視
周楷倫在邁入而立之年的個展「綻放的圖層」中，大量選擇原來不是主角的畫面進行描繪：「我覺得將那些非主角的事物、畫面成為這次個展的主角的狀態就是一場發現的過程，透過緩慢的生活以及不停留在單一出發中，可以不斷發掘出生活的蓬勃之處。」藉由這種觀點與視角的轉換，藝術家嘗試將觀者帶入一場他個人在畫中展開的漫步，並以一種更歡快與積極的心情，純粹透過顏色與筆觸的拓展，表達其作為畫家、藝術家的個性。
展覽中二件具有明確人物形象的畫作《沉思者》與《樹下的兩人》。《沉思者》的原始影像來自霍克尼(David Hockney)在1982年接受採訪的錄像，而《樹下的兩人》則是藝術家在公園所拍攝到的底片。這兩件作品，包含著周楷倫對於繪畫的理解與嚮往：「在訪談中講者與霍克尼溫柔靜靜的談論不同階段的生活以及不同階段的創作，我覺得那是一種很好的狀態，在人的相處上以及靠近藝術的過程上都是。那段影片令我著迷的點便是他們交流的語速、音頻、肢體，搭配上簡單的背景及椅子給了我一種沒有距離、穿透回到那個當下的感受。霍克尼曾在另一段訪談提到過好的畫家可以表現任何微不足道的的事物，這也是我開始描繪各種有別於過去描繪人物的契機，在構圖上、在視覺語言上、在用筆上，我都希望能挑戰自己做出突破。」《沉思者》的畫面與人物描繪明顯鬆動了周楷倫過往作品中的人物形象和輪廓，更為進入到藝術家強調的一種筆觸和顏色的交會與拓展。

綻放，是不斷堆疊與交織的感官與精神體驗
「綻放」在周楷倫的筆下，不單是花卉或色彩的視覺張力，而是一種多重層次的滲透與指向。他認為，繪畫是色彩圖層的綻放，亦是情感深度的體驗。透過顏料的堆疊與筆觸的游移，周楷倫將日常生活中那些微小、甚至平庸的瞬間，放大成為畫面的主角，交融出一片自然與精神的樂園。「綻放的圖層」一展的核心意念在於「交織」，藝術家嘗試在混亂失序的世界中，透過繪畫捕捉和詮釋那些使人重新獲得信心的支點——那些日常陪伴我們身邊的人事物，以及生命中真正被觸動的瞬間。「我相信繪畫承載著生活在當代的我們需要的一種更安靜、更流長穿透的力量，在一次次反覆遊走、觀看的過程中，總能帶給我們新的體會以及不快速下定論的習慣。」

從「人」的消失，看見「人」的存在
周楷倫近年創作經歷了顯著的轉向。過去他專注於人物造型的描摹和影像語言的轉譯，但此次個展，「人」的身影逐漸淡出，取而代之的是與人相關的環境與風景。藝術家希望透過這種抽離人物形象的畫面，展現出另一種人的生活與那些曾經存在的痕跡，凸顯一種「看得見與看不見」的並存狀態，讓觀者從沒有人物的畫面中更深地感受到那些生活中一直存在的呼吸和溫度。一如藝術家所提：「我希望透過描繪更多的風景、花卉去製造一種喘息遊走的空間，這個展覽在綻放的感受之下也像是一個閉環，與人交流、與自己獨處、與周遭的自然環境相處、漫無目的的遊走、發現新的事物，體會自己新的感受。」
Mind Set Art Center is pleased to present Layers in Bloom, the second solo exhibition at the gallery by represented artist CHOU Kai-Lun, opening in early summer this year. The exhibition brings into focus the artist’s recent transformations in both life and practice, offering insight into his latest explorations. Structured around the concept of “layers” as a means of rethinking painting, the exhibition features approximately thirty new works created between 2024 and 2026. These works span painting, drawing, and sketch, unfolding as a constellation of varied yet interrelated expressions. Layers in Bloom will be on view from May 30 to July 3, 2026. An opening reception will be held on Saturday, May 30 at 3:30 PM. We warmly invite you to join us on this occasion.

A Deep Gaze into the Everyday
In Layers in Bloom, presented as he enters his thirties, CHOU Kai-Lun turns his attention to subjects that were once peripheral, bringing them into focus as central protagonists. As the artist reflects, “I see this exhibition as a process of discovery, allowing those once non central elements to become the main subject. Through a slower rhythm of living, and by not remaining fixed at a single point of departure, one can continually uncover the vitality embedded in everyday life.”
Through this shift in perspective, CHOU invites viewers into a quiet, meandering journey within his paintings, one that unfolds as a personal promenade. With a more buoyant and affirmative sensibility, he extends color and brushwork as primary means of expression, articulating a painterly language that reflects both his temperament and his evolving identity as an artist.
Two works in the exhibition feature distinct human figures: The Thinker and Two Beneath the Tree. The primary reference for The Thinker is a 1982 video interview of David Hockney, while Two Beneath the Tree originated from a 35mm film photograph the artist captured in a park. These two pieces encapsulate CHOU Kai-Lun’s fundamental understanding of and aspirations for the medium of painting.
As Chou reflects: "In that interview, the speakers and Hockney converse with a gentle, quiet poise about the various stages of life and artistic creation. To me, that represents an ideal state—both in human connection and in the process of approaching art. I was captivated by the rhythm of their speech, the cadence of their voices, and their physical gestures; set against a minimalist backdrop and simple chairs, it evoked a profound sense of immediacy, as if time and distance had collapsed, transporting me into that very moment. Hockney once remarked in another interview that a truly great painter can render even the most trivial subjects meaningful. This insight became the catalyst for me to look beyond the human figure. In composition, visual language, and brushwork, I sought to challenge myself and achieve a breakthrough." In The Thinker, both the pictorial space and the rendering of the figure reveal a noticeable loosening of the rigid forms seen in Chou’s earlier work. The silhouette and contours of the figure begin to dissolve, yielding to what the artist emphasizes as a vibrant interplay and expansion of brushstroke and color.

Blooming: A Continuous Accumulation and Interweaving of the Sensory and the Spiritual
In the hands of CHOU Kai-Lun, “blooming” transcends the mere visual tension of floral forms or vibrant hues; it is a multi-layered process of permeation and intent. For the artist, painting represents the efflorescence of chromatic layers as much as it is an exploration of emotional depth. Through the tactile accumulation of pigment and the fluid movement of his brushwork, Chou magnifies the minute, seemingly mundane fragments of daily life, elevating them to the forefront of the canvas. Here, they coalesce into a sanctuary where the natural world and the human spirit converge.
At the heart of the exhibition, Layers in Bloom, lies the concept of “interweaving.” Amidst a world fractured by disorder, the artist uses the act of painting to capture and articulate those vital points of anchorage that restore our conviction. These are the quiet companions of our everyday existence—the people, objects, and fleeting encounters that stir the soul.
As Chou reflects: “I believe painting carries a quieter, more enduring, and more penetrating force—one that is essential for those of us navigating the contemporary moment. Through the rhythmic cycle of wandering and observing, art offers us fresh perspectives and, crucially, the patience to resist reaching hasty conclusions.”

From the Disappearance of the Human Form to the Presence of the Human Spirit
CHOU Kai-Lun’s recent body of work marks a profound evolution in his artistic trajectory. While his previous practice centered on the meticulous depiction of human figures and the translation of cinematic language, this solo exhibition sees the "figure" gradually recede. In its place, Chou introduces environments and landscapes deeply intertwined with human existence.
By deliberately abstracting the human image, the artist seeks to unveil the hidden dimensions of our lives and the lingering traces of our presence. He highlights a duality of the “seen and the unseen,” inviting viewers to look upon an unpeopled frame and feel, with heightened intensity, the breath and warmth that permeate our everyday existence. As the artist reflects: "By painting more landscapes and florals, I aim to create a space for respite and wandering. While it evokes a sense of blooming, this exhibition also functions as a closed loop—an interplay of engaging with others, seeking solitude, harmonizing with nature, and wandering aimlessly to discover new things and internalize new sensations."