Presented by Su Meng-Hung’s Painting Factory, the open studio invites visitors into his workspace to encounter his collection of craft objects and trace his creative process since 2018. Viewed through the lens of “collected objects,” the exhibition shows how he merges the aesthetics of traditional artifacts and craftsmanship with the visual language of contemporary art.
Featuring Qing imperial artifacts, Japanese crafts, and Taiwanese folk sculptures, it considers how objects, once shifted from functional use to aesthetic appreciation, redefine the relationship between people and material culture, becoming catalysts of cultural taste and aesthetic experience. The exhibition also examines the repositioning of Asian craftsmanship within global art history, proposing new possibilities for rewriting the aesthetics of contemporary art and material culture.
Featuring Qing imperial artifacts, Japanese crafts, and Taiwanese folk sculptures, it considers how objects, once shifted from functional use to aesthetic appreciation, redefine the relationship between people and material culture, becoming catalysts of cultural taste and aesthetic experience. The exhibition also examines the repositioning of Asian craftsmanship within global art history, proposing new possibilities for rewriting the aesthetics of contemporary art and material culture.
藏物」一展中的「藏」，指涉收藏、私人審美喜好與內化的過程；「物」則代表藝術家個人的審美物件。在蘇孟鴻的創作中，物件不僅承繼工藝的製作傳統，更是啟發創作的靈感來源——從清宮的日常器物、日本藝品、到台灣民間工藝雕塑——當物件由「實用」轉向「審美」，再進入「收藏」與圍繞「物」所展開的生活美學體系，這一轉換背後，不只是功能的變化，更是人與器物關係的再定義：器物成為文化品味的指標、審美經驗的觸發點，從器物美學出發，並藉由陳列場域的氛圍與情境，開啟觀者的感官體驗與情感共鳴。
本次展覽於蘇孟鴻工作室「製圖廠」舉辦，觀者得以親臨創作現場，欣賞其珍藏的工藝器物，並從「物」的角度切入其藝術實踐，回顧藝術家自2018年以來的創作變化。製作現場與陳列物件相互映照，引領觀者進入其創作思維，理解他如何將傳統物件與工藝的審美結合當代藝術的視覺經驗，轉化為色彩鮮明的圖像與立體作品。在這裡，屏風不再只是隔斷視線的裝飾性家具，而成為空間的引導者與歷史圖像的載體；香具與燭台亦不再只是生活的陪襯物，而被重新賦予文化意涵與觀看節奏的節點。
「藏物」不僅是對個人創作語境的探問，亦同時關注亞洲物質文化在全球藝術史敘事中位置的再定位，那些未被主流藝術史記錄的器具與手工，如何被有意識地納入當代藝術語彙之中？而這樣的並置，又是否開啟了一條重新書寫當代藝術美學與物質文化的可能路徑？
本次展覽於蘇孟鴻工作室「製圖廠」舉辦，觀者得以親臨創作現場，欣賞其珍藏的工藝器物，並從「物」的角度切入其藝術實踐，回顧藝術家自2018年以來的創作變化。製作現場與陳列物件相互映照，引領觀者進入其創作思維，理解他如何將傳統物件與工藝的審美結合當代藝術的視覺經驗，轉化為色彩鮮明的圖像與立體作品。在這裡，屏風不再只是隔斷視線的裝飾性家具，而成為空間的引導者與歷史圖像的載體；香具與燭台亦不再只是生活的陪襯物，而被重新賦予文化意涵與觀看節奏的節點。
「藏物」不僅是對個人創作語境的探問，亦同時關注亞洲物質文化在全球藝術史敘事中位置的再定位，那些未被主流藝術史記錄的器具與手工，如何被有意識地納入當代藝術語彙之中？而這樣的並置，又是否開啟了一條重新書寫當代藝術美學與物質文化的可能路徑？
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