2 3 4 內在之庭 萆絍ই The Inner Garden Secrets to be shared
Cynthia Sah
憙ኴ犥क़牧萆絍ইጱ̿獉ࣁԏସ̀
砰／絮㮖娣ূ．֡໒
⋯⋯「這是我的一個秘密，再簡單不過的秘密：一個人只有用心去看才能看見一切。因為真正重要的東西，只用 眼睛是看不見的。」⋯⋯ 「是你為你的玫瑰花所花費的時間使你的玫瑰花變得如此重要。」⋯⋯ 「一般人常常忘了這個道理，但是你千萬不能忘記。你永遠對你所馴養的負責，你對你的玫瑰花有責任⋯⋯」⋯⋯ 摘錄自安東尼．聖艾修伯里著《小王子》
萆絍ই癲覿౯㮉蝱獈甇ጱ「獉ࣁԏସ」，ࣁᮎସ瑼愊ಅ磪ጱ聅অ緡ࢩ甇ᘒਂࣁ；萬蔩疑አ甇ጱ奈፥、甇ጱ߽ ֢ߝ獺֢吚ӥጱ穢ک、甇ጱ胼ᰁ犥现ਂࣁ，獺蝨ԧ蝡Ӟ獥。፡憎甇ጱ֢ߝই種蘂瑿珊匍，౯㮉䕣胼眤ݑ ࣁྯӞ璸褺紝౮犋ݶ֢ߝጱय़ቘᎪӾ，᮷槼聱茐้妿ᆙ犝萬蔩疑螐ࣁल姘（Seravezza）ጱૡ。ێ瑻膏眤礕 侨蔭ᶎ犖螭ኸ茐ᮎ犚ᤩ槓طٌ，碸ᆙ茐㴟螂荕给จ绚ጱ篷碍จ斝、้穹窜ࣁ瓲෭ᆘጱำӾ้、ط֢ਰጱॠ ݄ጱᎪ箒苽ጱ盏瓃。
獉ࣁԏସ」愊ጱྯկ֢ߝ᮷ฎ加Ӟ篷ԫ，֕ݶ碻݈痀ෝݶӞ㮆獺֢Ԇ氂、ྯӞկ֢ߝ᮷ฎਡ薪獺֢ጱӞ蟂」 虏篷肨篷୵ጱ、ێጱ֢ߝဳ獈矸㵕ጱኞڜ獤。加粬ࠔӞ㶴胼ݳᘒ傶Ӟ，蝡䰬悳统㶴݈ፘጱ粬搡傶蝡㮆羬 蘂ԏ聅ℂᘒ珊匍。
ࣁ「獉ࣁԏସ」Ӿ，౯㮉蚎獈ԧ萬蔩疑磧窼䍅ጱ獉ஞӮኴ。ᮎฎ㮆ਁ葄觽犋ٚ᯿ᥝ、ᘒ奈羅ኧ眐姼膏眤Ꭳಅ ᔰಅ䯤缱ᘒ౮ጱӮኴ。磧奰，ࢩ傶萬蔩疑硯ӥزԆ疩ጱಅࣁ，Ӟ㮆萬蔩疑㰆哴ኞӾ妿稲ጱӞ獥聅অ膏ዳ舚傶 ᔰ、蝚螂甇ጱᎣزԧ獥蛪誢涢螂ጱӞ獥，ෝฎ奰胼疥Ӟ獥硯獈֢ߝӾ。ྯӞկ֢ߝ᮷ฎ萬蔩疑螀አ甇ጱ眐眤傶 ᔰ棬榙ᘒ౮，ྯӞկ֢ߝ᮷ฎ萬蔩疑ℂ獉ஞӮኴ玱薟矐疨ᘒ㬵ጱ獺碝覄眤，藗拙継ኞᔴ坌ጱز憽膏Ꭳ胼疥ಅ磪 。౮ᆧ獺֢承䕍ᘒ犥ம䋿誢匍
「獉ࣁԏସ」ฎ㮆虏Ո犥ਞ蛪ጱ皅虁ಅ，অ穉ฎӾӮ夵Ӿಅ藯「膏Ӯᵍ妃ጱସ瑼（hortus conclusus）」： Ո㮉ݢ犥ࣁٌӾ٥మ穹，膏ᛔ૩ጱ覄諃螭磪懿䛂窼蒂ጱ硲Ԫ䌘扖，䌀覌瑿加蒂ᘒ犋ݑଗ硑。篷୵Ӿ，蛪傶薪 。唰ጱ౯㮉膏蝡犚֢ߝୌ缏蚏ᐺੂጱ蝫奾，萞種౯㮉ࣁ֢ߝӾ薪ᆙ憎૩蛪膏覄諃ጱׯ
3 萬蔩疑။梤ጱฬ眻，ᮎฎ萬蔩疑ℂ甇獥蛪ह蝽Ӿ穹俤ᘒ㬵ጱ奾ส，犖ฎ甇አڊ萆絍ইࣁ甇ጱ褺य獺֢Ӿ窕襷 ᪃犥玱碸獉ஞӮኴ䌀覌ጱ୵虡，膏ٌ֢ߝڊ盢膏瓵మಅᥝ蝍穩篷褖ݢ胼ጱ誢匍。妿螂蝡䰬ጱ獺֢稲纷，甇獺蝨 窼穹ᘒமෝ፥౯ጱ粬搡ፘ斝碸。
ࣁᴨฦਞᴨ凟ܑේઊ玟（Apuan Alps）1 愊葏萢茐Ӟ粙窼ईጱ䌌萢，ᮎฎࣁઊ脁ᵇ蚏ኞ౮碻ℂၹ皈窼蒂܋蚏ጱ妃Ӯ 紸䌌。ࣁ蝡粙纀脁Ӿ，ྯӞ璸य़ቘᎪ᮷ฎ加Ӟ篷ԫጱ。萬蔩疑้藯：「獺֢य़ቘᎪ褺磧聅অጱ螂纷疰ฎ咳യྯӞ ӾጱྯӞկڜᔰ。ྋࢩই種，「獉ࣁԏସ」羬ز璸Ꭺጱ粬搡。」蝫ݶᎪጱ犋ਠ聅犖᮷ฎीႲ掘䰬ᨩጱ䌌揫 ᰁ膏萬蔩疑㰆ဳጱ胼ᰁ。萆絍ইጱ櫕ಋٍ猋纼ێ㬵ጱ加粬；ྯӞկ֢ߝ᮷ݶ碻葏珀茐य़ᛔ簁ጱק֢ߝ᮷磪ٌ膏ኞ 搝膏ದ蔩，虏甇胼裾碻樌䌕ဳ瑿ಭ獈褺य獺֢。1989ଙ，珂य़禂้藯：「獉ࣁጱ胼ᰁᥝ犋樌䥁瑿獊ᐟ揢ဳࣁ螂纷 ӾጱྯӞկ֢ߝ᮷妿ڜੲ揢盔ࣁӞ膐Ӟ㵕ԏ樌」，ᘒ蝡ྋฎ獺֢胼ᰁጱ羊ᥝಅࣁ。蝡羬کጱྯӞ㮆㵕֢Ӿ，ℂ毣 ጱێ螂萬蔩疑裾碻樌ጱ褺紝膏繬；ࣁ篷肨ጱ螂纷Ӿ，萬蔩疑疥ٌӞ獥箑ဳࣁ֢ߝ愊，ྯӞկ֢ߝ᮷ฎ碻樌膏ஞ ，膏ዜ玈窞裾盌絑ጱ誢匍。Ӟկ֢ߝ，瞚斉茐萬蔩疑獺֢吚ӥጱጱݶ碻ێ奾ส、羊ᐟ膏蛪誢玈㵕ጱ౮ຎ、誢 ᘒ加粬ጱ橕狌，萬蔩疑ࣁ獺֢ጱ吚ӥ疥ڰ咳మ，萬蔩疑ࣁ獺֢螂纷Ӿ獺֢ᔰୌ缏蚏窼ط犖ฎӥӞկ獺֢ጱ覄 ֢ߝ，ᘒ֢ߝ疥ࣁஃ盅犥犋ݶጱ୵ୗ旉玕౮傶ݚӞ圵癨य़ጱ胼ᰁ㬵რ。萆絍ইአᘔஞ甇裾ڊ旉ಭ獈叨ێ羊ᐟ誢 ෝ裾๗ጱ獺ۑ֢ߝ。甇ጱ櫕ಋԏಅ犥胼羊伛䁆ᤈ獉ஞጱమဩ，ᴻԧ稳ڜଙ獺֢ጱஞ㬵聹聼「獉ࣁԏସ」蝡Ӟ羬 ֢妿涢ᔴ坌，ๅฎࢩ傶甇䌕ဳෝᛔ蛪、䌕ဳෝྯ㮆獺֢ጱ吚ӥ。甇ࣁ獺֢ጱ螂纷Ӿ皃Ԓ૪箑ဳԧᛔ૩ጱӞ蟂犩ࣁ 澕ጱ薪ᘏ。ইوӞկ֢ߝ愊，ෝฎ֢ߝ胼ই種ம䋿竃ศ瑿玱碸甇ጱ߽、甇ጱ承䕍，㪔珅ྯӞ֖膏甇磪ಅྯ 娄Ӿོ搕蝡犚֢ߝ，౯㮉疥篷ဩ眤طӾ聅অጱٌڊຎ犋้አஞ眤ݑ、犋้斕砬螂甇ጱ֢ߝ、犋้ࣁӞ螇᪃犥碸ᆙ ᣅ蒶窕㵕ࣁ绚کஞᐟ、篷ဩ眤ݑێݑ萬蔩疑獺֢吚ӥጱ羊ᐟ制眲、篷ဩ眤ݑ甇አ瞲ࣁ֢ߝӾ獟梤箑ဳጱ碻樌羊 樌Ӿ膏֢ߝӾጱ㵕眲眤。֕獡獺֢盢掘ညᘒ磪㵕ጱ褺य֢ߝ，ਙ㮉胼䄪ࣁ膏Ո憙娄矑藉ጱӞ縣樌膏薪ᘏፗ 矑瑿䌘扖；䷱磪Ո胼䄪篷憙蝡䰬ጱ֢ߝ，֢ߝ蛪疰胼珅薪ᘏ、Օ獈薪憙ԏӾ、㪔Ӭ膏ԏ䌘扖。ݝᥝ憎螂萆絍 ጱ娄礿皃Ԓ胼皤ێෝ胼瑿篷ဩ؊ྊ傶ԏᔱ、紝繬֢ߝጱ୵ୗ膏娄礿，ᮎ媼礖㶴݈磪ڊইጱ褺य，౯㮉皃Ԓ 癲磪䔶篇羊ᐟጱ֢ߝ૪妿᩻᩼ԧ萬蔩ߝጱ䍅稞、䥮苉傶ٍ磪胼ڜ౯㮉ጱ獉ஞ窼蒂、藉现覄諃ጱ໐ஞ。蝡Ӟ羬ک ，ࣁ䌘扖膏㵕Ӿ。طᰁጱᒧ蒈：౯㮉᩼ฎ窼獈矑藉蝡犚֢ߝ，ਙ㮉疥ࢧ䛑౯㮉ๅग़ጱ加粬ᘒ篷ݢݷ制ጱ胼ᰁ膏覄 。蝡犚֢ߝ౮傶౯㮉ኞ誢涢ጱӞ蟂獤，౮傶羊ᐟӤጱ皅虁ಅ、胼ᰁጱ笔笔რဣ。磧奰，蝡犚֢ߝ᮷疥౮傶盱
4 萆絍ইࣁ獺֢Ӿ旉玕ԧ櫞犥藢、ݷ傶「ኞ」ጱ胼ᰁ，Ӟ圵盱ᘒ礬ጱ覍ᇔ搡胼ᰁ；萬蔩疑萞ኧᛔ૩ጱ֢ ，ጱ֢ߝྯӞկ᮷ฎ加粬ጱ，ᘒྯӞկ֢ߝአ羊ᐟ膏盢ஂ種䛑茐ڜᰁጱ懿䛂。蝡Ӟ羬ێߝ傶౯㮉琉蠣ኞ 。Ӟใ蘂ጱԻ段禼ڊԻፘ䛑挻
ڥෝ玖嬝य़֖ 1
5 The Invisible of Cynthia Sah’s Inner Garden
Text / Valentina Fogher
[…] “And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.” […] “It is the time you have wasted for your rose that makes your rose so important.” […] “Men have forgotten this truth,” said the fox. “But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose… “ […]
from The Little Prince by Antoine de Saint-Exupéry
Cynthia Sah leads you in her Inner Garden, where everything you see belongs to her, to her nature, to her philosophy, to her way of being, to her energy. Her works, displayed in a harmonious way, make us live the atmosphere in which they have been created. In the marble, unique for each one of them, has been captured the light of the vast studio in Seravezza where the artist has worked, on them has passed through the night with its vault of millions of stars, has skimmed the Versilia warm summer, has remained imprinted the dust that did not become sculpture.
Every sculpture of the Inner Garden is unique and unrepeatable, but at the same time it is part of a body of works, its “contemporaries”, with which it makes live and pulsate the silent and invisible, but palpable, harmony of a whole.
In the Inner Garden you enter the artist’s deepest intimacy, where words no longer have value, but exist only emotions and feelings. It is like a place inside of the artist where she puts many “ingredients”, many WKLQJVWKDWFRPHIURPWKHH[SHULHQFHLQFOXGLQJVRUURZDQGKDSSLQHVVDQGWKHQȴQDOO\VKHOHWVWKHP go: her works are composed by all of these ingredients, these feelings mixed together, blended by the awareness and by the know-how. It is an inner expression dictated by a constant, very personal research, in creating something always new, but at the same time faithful to the artist’s already mature language.
6 The Inner Garden is also a place where you can take shelter. It is a medieval “hortus conclusus”, where it is possible to meditate peacefully, where we meet and face our souls, from our depths, which we keep recondite and protected, with our story and memories, in serenity, certain that no one will come to disturb us. From this intimate engagement, we find ourselves and our souls reflected in her sculpture.
By means of her sculptures, Cynthia Sah emanates a felt wisdom, the result of a spirit of acquiescence to what surrounds her and an expression of her desires and dreams of possibilities. Through this process, she creates shapes that offer inner tranquility, reflecting the depth and integrity of her work.
As eternal guardians of a potent secret inside of their depths, the Apuan Alps arose powerfully from the marine abyss, bringing with them all the more marvelous they could assume within. For this reason, HYHU\YDULHW\RIPDUEOHLVVRGLHUHQWIURPRQHDQRWKHUDQGDVWKHDUWLVWVD\V Ȋ7KHEHDXW\WRZRUNZLWK WKHPDUEOHLVWRȴQGWKHSHUVRQDOLW\RIHDFKRQHȋZKHUHDOVRWKHGHIHFWVFUHDWHWKHSUHFLRXVQHVVRIWKH diverse. Consequently, every work of the Inner Garden is unique in its own way. Each one of them encloses the power of the naturally generated matter and the energy that the artist has impressed in them with hours of work. Cynthia Sah’s hands had the luck and the skill of dedicating themselves for hours and hours to her sculptures. In 1989, Wu Ta-Yeh said: “Continuity of the internal energy without interruption from movement to movement and moment to moment throughout the entire form:” This generates the essence of the energy. They have modeled and smoothed for very long periods each one of these sculptures, in a silent osmosis of energy and time, of thought and continuous action, of weariness and regenerated energy, of new ideas for other sculptures and afterthoughts for the present one, in a special and strictly personal relationship with the material that offers itself, while the artist WUDQVSRVHVKHUVHOILQLWOLYLQJLWDWDODWHUWLPHLQDUHȵHFWHGZD\DVDQHQRUPRXVVRXUFHRIHQHUJ\
7 In her Inner Garden the artist has cultivated with patience and constancy a know-how of many years of activity, which automatically passes from her heart to her hand, because she is concentrated on herself, on what she is doing, donating to each work a great part of her being, in such a way that every sculpture would reflect then her philosophy, in a clear and limpid language, attractive for everyone who has a similar sensitivity to listen to her. If you do not pay attention to it, if you do not caress one of her works, if you do not look carefully at them with that ray of light that can turn on so much a marble, you won’t perceive her thoughts while she, bent over, was smoothing her sculpture, you won’t feel the time - that became marble itself - passing through the fingers spent in conferring a soul to the sculpture, you won’t understand the sinuosity of the shape, which dynamically inserts itself in the space, thanks to the fluidity which continues to flow inside of it. Sculpture, if powerful and communicative, as in this case, establishes a direct dialogue with whom look at it. It cannot leave unresponsive, but it communicates, attracts and involves. Once seen her sculptures, our mind continues to ponder about them, to revisit the lines of these forms, so delicate and at the same time so present and dynamic, which are able to touch the most interior cords of our being. Cynthia Sah’s sculptures are no longer works of art, but by now they have transformed themselves in talismans, which the more we touch them the more they transmit to us that undefined aura that characterizes them and makes them unique. And they reassure us. They become part of our life, a shelter and a source of energy. They become eternal.
&\QWKLD 6DK WUDQVPLWV WKDW LQGHȴQDEOH YDOXH ZKLFK LV FDOOHG ȋOLIHȋ DQ HWHUQDO OLIH QRW PDWHULDO EXW essential, intimate and fundamental. Cynthia Sah with her sculptures recalls this to us. Each one of them LVGLHUHQWEXWLWUHFODLPVWKHHVVHQFHRIWKHSUHYLRXVRQHIRUPLQJLQWKLVZD\RQO\RQHV\PSKRQ\
8 9 10 11 12 13 14 15 16 ਜਦńń萆絍ইጱ褺य萬蔩کℂ仗င
砰／皰碿
1. ݣ傀疰捝聅㾴䋊໊，ᘒ盅ࣁ聅㾴ਠ౮ԧय़䋊膏کӞ䵇碻ࢧ܈，䵇褰疑Ո螠ᛗ෭م，ኞෝ詂ڊ萆絍ই1952ଙ Ꮈ绗ಅ硽胍。萆絍ই継禂ෝ羴夹ߢ盓融㫎羳螈凟૬盓䋊ᴺ（Bard College Annandale-on-Hudson）ஞቘ羬，1976 聅㾴ᛔኧጱ䋊蔩觓穥کଙ獈珠㮖穉㫎य़䋊萬蔩膏硽胍䋊ᴺᎸ绗ಅ，㪔Ӭෝ1979ଙਠ౮嘛ॊ䋊֖。य़䋊๗樌，ݑ 䋊ڥ段，犖้皞ာ矑藉硢、ᵄ萬、粚向、褺य缛獺֢୵ୗ，ࠔ加䌘Ꭺ褺粬獨茐蝈。1978ଙ，甇้Ꭸ䧙獮ஃ嬝य़ 盓礱璼（Pietrasanta），ℂ種，甇ጱՈኞ袏ஂڥ聜Ꭺ褺盅蜴聅，ኧෝ䌘褺य萬蔩ጱ籆眐，1979ଙٚଶ獮ஃ嬝य़ ल姘（Seravezza）ጱӞ樌य़ࣳૡ֢ਰኞၚڥෝᎪ褺獺֢。甇ፓ獮ࣁ嬝य़ێੜ椆，ಭ獈ಅ磪ஞڥਧࣁ蝡㮆嬝य़ 。膏ૡ֢，蝡樌ૡ֢ਰฎኧӞଷୌ缏ෝ1830ଙդ獮ૡ禂玕碻๗ጱय़ቘᎪ蒂ቘ皜硬ୌᘒ㬵
稨聅ݱ瑿，犖้ग़稞蜴ࢧݣ傀㷢搴、疻薩。1983ଙ12์ڥԏ盅，萆絍ই獺֢咳蔭ጱ䁰ऒ犋褖ෝ嬝य़ڥਧ嬝य़ ݣ玖૱缏聅蔩記౮缏，㪔褢媲蝚螂皃殻դ蔭疻薩ୌ䯤ٌ匍դ萬蔩ྩ璤ጱ稗শ瑿֖，ٌӾ「Ӿ苉࿆㾴褺य碝疻 。磭」ฎ吚碻匍դ褺य疑埈蝛ጱ᯿ᥝ膚ݣ，萆絍ইԽ้ࣁӾ苉࿆㾴ᒫӞ䌵匍դ褺य疻糷Ḓ糫
ጱ萆絍ই๚้Ӿ䥁ࣁݣ傀ጱ獺֢咳蔭，1990ଙդ綍ᛗࣁ向ୁጱവՕԏӥ，้ෝݣ玖ڥଙ㬵，裾๗碟嬝य़܈蜱ࢥ 笠褷敒膐旰ӣ稞㮆疻1，ᛗ犡㶴๚憎朼䌘ٌ獺֢ጱ獊ᶎᎸ绗獺֢ਧ֖ጱ戺䥁。蝡战蟂獤ݢ犥稳ࢩᛔ1990ଙդ 犥盅，ݣ傀ጱᎪ褺獺֢ᶎ屷吚դ獺֢搡獤觊ዅኴᏈᴻጱ撉玊，匍դ玕ጱ藯蝛侅蝐֖，碝Ӟդ獺֢ᘏ羸羸琲手犥 」ጱ薪讨᯿碝藢朰褺यጱኴऒ，綍ᛗ2000ଙԏ盅ࣁ䋊ᴺԏӾ，Ꭺ褺ጱ獺֢Ոݗ蝛侅仂蝐2。蝡犚胙วֵزๅ傶ग़ 褺य」蝡Ӟ獺֢觊ࣳࣁ吚դ萬蔩覿ऒӾಅ糷ጱ懵抷、ࣁݣ傀聅蔩ݥጱ䨗䌃Ӿ，ፘ斃ෝٌ犢蔭匍୵ୗ౮傶Ӟ㮆ፘ䌘 螲翣Ӭ抷蝄犋᪃ጱ覿ऒ。ፓ獮傶ྊ，ࣁݣ傀甿誢ಅᔴ坌ጱ、橕ෝ萆絍ই㮆Ո獺֢ጱ萬戺䌕抷，缰ଏԽፘ吚磪褖。ᘒ ݚӞොᶎ，萆絍ই櫒簁้妿౮裾ෝݣ傀、獺֢咳蔭ෝݣ傀，篷皑ᗝ綡瑿౮傶ݣ傀聅蔩ݥ抷蝄ጱ䌘虡ԏӞ，㶴ࢩ傶ٌ Ԇᥝၚ㵕䁰ऒ犥稨聅傶໐ஞ，萬蔩疑㮆ՈࣁӮኴ萬蔩䁰ऒӾᤩ蜣蘷ጱ蛪獤，犋ฎݣ傀萬蔩疑，ๅग़ฎᤩ犥Ӟ֖苉Ո 萬蔩疑㬵፡盃。
㱑ᓕই種，萆絍ইࣁ1980ଙդݣ傀匍դԆ嬝褺यṛଶ咳疻ጱଙդ，้犥դ蔭ጱ֢ߝ䌃獈ԧݣ傀匍դ聅蔩ጱݥ殷 訏ଙ܈萬蔩ጱ戔ᗝ，ٌ獺֢ጱ᪃撪Խ౮傶ԫوԏӾ，ᘒ1990ଙդӾ๗犥盅，甇毱耆瑿㷢膏ݣ傀ጱᎪ褺獺֢籧、獍 。㰷独覎硛ጱ拙ग़憎挨ԏֺو㬵蟂獤吚դ褺यݻ獍
17 2. Milo）ظ萆絍ইࣁ聅㾴珠㮖穉㫎य़䋊硽胍䋊ᴺ穩䋊碻๗，樄তԧ䌘Ꭺ褺ጱ槑Ꮈ。1975ଙ蚏，甇ࣁ罡၎．ታ姘 羴ک蛪，֕ࣁ羴夹๗樌，甇碻ଉڊLazarevic）槹ӥݑٌ瞲疩，蝡ฎ甇Ḓ稞Ꭺ褺ጱፘ蝽。㱑ᓕ萆絍ই㪔覍萬蔩ᑀ紑 夹匍դ聅蔩記、䌕禂ጱ向ୁ㷢薪疻薩，獅䋿ᛔ૩䌘匍դ萬蔩、吚դ萬蔩ጱ藨蘷。「౯粬獨ݑ๔䓚ᥜ（Constantin 砗凟（Henry Moore）ጱ珸咳，犢㮉．ڥU¤QFXġL）、ᴨ凟ฦ（Jean Arp）、ᩱฦේ（Barbara Hepworth）、Կ% ᰀݗ玄ጱੜࣳ褺य碻，犖窼窼ᤩٌ୵ୗ、聅ጱک౯ᒫӞ稞ࣁ聅蔩記፡。ڰጱ聅䋊䌘୵ୗጱ羊伛ഩൎ，犤౯玢虡窼 承ಅ珅。౯眐犋ᛔ纔瑿మ藉砜ਙ（吚簁ฎ犋胼蝡讕狶），盅㬵౯捝ԧ犢ጱ㯽懿，盅㬵，1980ଙդ犖้磪Ӟ稞 ጱஂ盓礱璼膏犢Ո憎ᶎ，䌘ෝ犢ጱ獺֢胙ว䅕渝ጱ螂纷，狝眤薥獥。」3ڥ秚䨝ࣁ嬝य़
究ஞ蚎Ӥ䌕禂獺֢ԏ᪠。1979ଙ，甇ݻᎪ褺ૡ࣑ԆՈ۱᯾（Silverio Paoli）瞚ᑄ，ڥ嬝य़ک1979ଙ，萆絍ইࢧ ԧӞ㮆ૡ֢绚樌，ࣁ蝡愊，甇樄তԧᎪ褺獺֢ጱ蚏ྍ。蝡ྦྷ傶碻犋ᓒ裾ጱૡ֢妿涢Ӿ，ෝ甇獺֢ኞ႕磧᯿ᥝጱ ，ՈጱᎪ褺ದ蔩现獺֢߽䋊。1981ଙ，甇ࣁ紳ঢૡ࣑（Studio Sem）獺֢㪔ّ肬ᑃ䨗۽段，ࣁෝ薪砗虻窼 蚤褰茐ૡ֢ਰԆՈ、犖ฎ虻窼Ꭺ褺獺֢ᘏ紳ঢ．猈ӟ疴（Sem Ghelardini）䋊聜ದ蔩犥现ૡ࣑ጱᤈ硰ᓕቘૡ Ԫ。萬蔩疑㮉者ฎوय़ቘᎪ纀䁰，ࣁᮎྦྷ碻樌，犖ଉ㾴褬Ꭳݷጱ萬蔩疑ک֢。ࢩ傶ૡ֢襑ᥝ，犢㮉妿ଉӞ蚏 䒍ጱݳ֢螂纷，虏ଙ斕ጱ۽蝡愊，萬蔩疑ૡ࣑虻窼ک疥咳蔭碝֢ጱ秇ࣳ㬵ܨ癲茐य़ࣳ夵盢褺यጱ秇ࣳ，ᘏ 萆絍ই䋊聜母ग़。
Ոݳ֢，ই֜ஂ種传蝢。蝡犚秇ࣳ۽萬蔩疑ই֜膏Ꭺ褺ک蝡獋蒂Ꭺ褺ૡ࣑᮷ฎ磦萬蔩疑ૡ֢ጱ，萆絍ইࣁ蝡愊憎蘷 ᮷胼竃༩ഩൎ萬蔩疑ጱ秇ࣳቘ盢，ᒒ፡㮆Ոጱ妿涢硵衲۽硯य़蕣֢ጱ螂纷᮷襑ᥝ蝚螂藯ก，֕ฎ㪔覍ྯ֖ૡᤩ ڊ֢ߝ胙盅ጱ໐ஞቘ盢。ইຎ萬蔩疑ጱቘ盢篷ဩᤩঅঅ瑿蔭匍ڊኞ，胼㯽螈وݳ֢۽ଶ。萬蔩疑殾ۗቘૡ 。㬵，ᮎ讕蝡կ֢ߝ盄ݢ胼䨝०݄ԧ覄諃，౮傶Ӟկ०硻ԏ֢
ՈጱԆᥝ蛪獤ฎૡ֢ᘏᘒ覍硽胍ᘏ，犢㮉篷ဩ猟䋊ᴺ愊ጱ硽ദ۽ࣁ蝡䰬ጱૡ࣑，ᘒ覍䋊ᴺጱ獺֢絑ह愊，ኧෝ虻窼 䒍ጱ瞲，ࣁ۽虻窼ک凟䨝؍，妔Ԩ憎聜ᘏ᪃䄪ጱ橕ဳ。ࣁ愊ᶎ薪砗䋊聜ጱଙ斕萬蔩疑㮉，ݝ胼Ԇ㵕薪疗㪔㺔 Ջ讕碻狡扗አՋ讕ૡٍ。ࣁ㮆Ո獺֢觓໒ጱ୵यӤ，殾覎ᛔ૩。「౯㮉蝢ଉ䨝狅ᆙᛔ૩ጱ觓໒㬵獺֢，ইຎ䅻蔭
18 碻樌，綍ᛗ犢㮉ጱૡٍ妔䅻ֵአ，ᮎฎ盄य़ጱ禛聱！ࣁڊմ瑽ஞ，犢㮉䨝盄睄眼瑿傶䅻՞ێᛔ૩ጱۘڊ匍 蝡愊，䷱磪䋊໊ᮎ䰬ጱ硽䋊，֕ݢ犥懵抷֢ߝጱ୵ୗ、ᰁ誢、ು虡ጱ穉琔缛。౯㮉殾硵ෝ疗薪ᜋ，ℂ薪疗、犋 「。䥁咳㺔、懵抷ԏӾ䋊聜。簁ᘒ，吚䒍猆㮉䌕ဳෝૡ֢碻，犋ᤩ硑ฎ盄᯿ᥝጱ
ԧ籆کՈ㮉ጱૡ֢߽䋊萉ᵄ。「ࣁ蝡獋㮆瑿ො，౯䋊۽虻窼کଙ斕ጱ萆絍ই椆෭穹窜ෝૡ࣑ԏӾ，ࣁ෭ଉኞၚ愊ݑ 眐瑿ૡ֢，犥现疧᯿碘ጱ羊ᐟ。ྯӞ璸य़ቘᎪ᮷磪ٌ粬，膏ਙ㮉Ӟ蚏ૡ֢，౯㮉犋胼䔶蝁ፘ盃，玽㳷疰䨝ൻ䵼 ԧਙ㮉。吚౯㮉盏ᒞ犥䌘，ਙ㮉犖䨝ই種ࢧ䛑౯㮉。」
3. 㮆Ո玕ጱ蝨୵觓໒，ٌӾ，蟂獤֢ߝ䟖玲獋㮆獤櫝֕ፘ䌘圸ጱ㻌֖奲ڊ1990ଙդ，萆絍ইጱय़ቘᎪ褺य嘦缏 ౮碉誢，猟ฎ〈犋绐ਧጱଘᤍ〉（1991）、〈因螀य़ݶ〉（1993）缛，䯤౮֢ߝ୵ୗ承Ӥጱ礓圵䌘扖。蝡 ฎ萆絍ই֢ߝݻ㬵᯿ᥝጱӞ圵獉ࣁ粬搡，蝚螂蝨୵獉蟂珊纈ጱፘ䌘粬搡，ᘏ֢ߝ蛪膏絑ह薪ᘏಅ୵౮ጱ 「褺यጱ绚樌眤。甇1991ଙ糷玖聅記「Ӿ苉࿆㾴ᒫӞ䌵匍դ褺य疻ڊ㵕橕狌，誢匍褲盏ጱ㵕胼，ݶ碻疻匍 戺疛䎠硵กጱ覇啈，犢藨傶䜛क़֢ߝ犋胼盆ٍ夵盢Ꮷጱ疳ଶ，㶴ࣁ獉୵眲Ӥ绚کݑܨ，〈Ḓ糫ጱ〈篷氂 ጱ夵盢窩膏ᐒ䨝ጱ秚胼篷橕，玱ᘒฎ㬵ᛔ֢ߝ蛪ಅ胍ጱ疳ଶԏय़ੜ」4，疰種Ӟ薪讨ڰ綠虳ԓ；「褺 禅傶掘ᤶጱ绚樌眤」，ٍ誢疻匍ԧ褺ڊ瑿胍ۑᘒ，䎠硵ก妔Ԩ萆絍ই֢ߝ禅ṛ戺㰷，藨傶〈篷氂〉「౮ 夵盢ԏ窩。ᛗෝ獺֢Ӿ疻匍「㫎窓ጱᛔ簁薪膏ਂࣁ薪」5蝡Ӟ讨，犢藨傶萆絍ই֢ߝ「ᇔ誢膏䁰ಅ、ᰁ璸ڰ 蝡ک膏绚樌ጱ橕狌，妿ኧݶӞᔰ（य़ቘᎪ）ጱ獋圵蒂ቘොୗ膏獋圵蟴ᗝොୗ，獅獤咳䠁ԧ蝨୵ጱ蔭匍。፡ ฎ種Ӟ奾ݳ֕！މᰁ璸膏绚樌ጱ橕狌，ฎᥜ၇ጱਂࣁ薪膏䩚၇ጱਂࣁ薪ጱਠ聅奾ݳٌکկ֢ߝ，౯㮉䛑ݢ眤ݑ 萬戺䌘ෝ萆絍ই֢ߝڥ㬵ጱ。」6〈篷氂〉ጱ獺֢覄眤㬵ᛔઊ脁ટ䍅，ᘒ疻薩瑽袅አ嬝य़ڊ妃覍ኧ瑽ୗ珊匍 ጱ戺㰷：「甇ጱ֢ߝ犋㰍ࣁ玢挨磪秚ጱ୵ୗ，ๅࣁ蝍穩Ӟ圵ဳ獈ԧᛔ簁ᥝᔰ羊ᐟమ，甇ጱ֢ߝ౯㮉癲獈 Ӟ㮆碻樌犲Ԓᤩ㲺奾ࣁ篷褖๗盃ԏӾጱਜਦ。」7
ಅ蘎ጱ「ᛔ簁薪」「ਂࣁ薪」，ٌ䋿疰ฎ萬蔩疑ᶎ䌘絑ह膏ᛔ౯橕狌ጱ玱。萆絍ইࣁ獺֢Ӥℂ碘ጱቘ薹、螡 。蝨୵ጱᘍ，ত奰犥ᛔ簁狶傶ࢧ䛑ጱḒᥝ䌘虡，ࣁٌ樌妿籧萬蔩獺֢ݢ胼ጱ碻绚疳ଶک，አ
19 4. 獌ଙԏԋ8。蝡ྦྷ๗樌，萆絍ই㪔๚܈ෝݣ傀ጱ㮆疻犥「獉ࣁԏସ」傶ݷ，膏獮稞㮆疻ԏ樌ፘᵍ磪ڡ萆絍ই2017ଙ 萬蔩，䌘ෝ֢ߝ膏Ո、絑हԏ樌ጱ䌘扖，磪ๅग़ጱቘ薹。簁ᘒو樌䥁獺֢，犖ਠ౮ԧ战ग़य़ࣳጱ甛蜃֢ߝ，۱ೡ獍 。կ碝֢，犥蝡犚य़ቘᎪ褺यࢧ䛑甇ෝኞጱ㰷独薪܈ࢥڊ咳讨，疻ڊ種稞ጱ㮆疻，甇犥㮆Ոጱኞ妿涢稲纷傶 萆絍ইࣁ疻薩ጱᛔ蝄Ӿ螇：「౯ጱ獺֢ࣁෝ蝚螂ݱ圵眤Ꭳ现薪疗ጱ୵ୗ，咳匍ᛔ簁ԏ聅、猻褷㻌奈。」9甇犖 ጱ聅অ、ᛔኧک螇，䌘ෝኞጱ眈ࡅݱ磪眤藉，㱑ᓕ誢䨝匍䋿Ӿ笕ฎ犋ଘ、獖笟，犤Ո眤㰁，֕甇螡䢔疥誢ఉ 。㬵ڊ眢憙傶獺֢ጱ໐ஞ，蝚螂葏ᛔ簁ኞጱᎪ蔭匍
種稞咳蔭ጱ碝֢，碉誢ᘒࣁ蝨୵Ӥ皤媲犥ஃ㮆Ոጱ磪秚，簁ᘒ，1990ଙդ犥㬵֢ߝଉ憎ጱ粙制ใᶎ，犥现ԫ 碝֢ԏӾ，磪战ڜᛗӣ㮆㻌֖奲䯤ᘒ౮ጱ蕕ᗝ奾䯤૪ᤩ㻌Ӟ、㾼侨ጱ缏誢蝨୵ಅ玲դ。2016ଙ萆絍ইਠ౮ጱ羬 〈ग़ࢧ䛑ԧᛔ簁ጱ୵ୗ蚏რ，۱ೡ༙ᇔ㵕ᇔጱ蛪誢虡，獮ᘏֺই〈獉ᆙ〉猟菐觊༙ᇔ膢礖敟䕉ใ，〈茆ጱ虋ॵ 猟ഇ缏碝ኞጱ茆粙，〈掘ፄԏ絫〉ইݶ莸㯩Ӟ膢㾼笅݈磪螘莯ጱ虡；〈ჴ訅〉、〈址〉緡磪罡署胤舄ጱ觼笕蝨 㳷磪茐㵕ᇔ蛪誢誇誓ጱ୵制。ᴻ種ԏक़，ઊ膏ၹጱ〈ط୵，〈㰆肯〉蔭匍臺磴珀舓姥硯ጱ甠眲。〈湂〉、〈窕 虡Խ౮傶碝֢ጱ໐ஞԏӞ，蝡犚硯य़ԧ碻樌疳ଶ胼疗憽虋玕ጱ୵制，ᤩ硩碓ࣁੜࣳጱय़ቘᎪ褺ԏӤ，墋玕ጱ娄礿 。犥虡监ጱಋဩੀ蜃ԧ萬蔩疑䌘ෝ碻樌膏绚樌ጱ誢涢膏眤ݑ
，萆絍ইጱ֢ߝӾ，橕ෝ蛪誢虡ጱ蔭匍，Խय़ᰁ蝚螂Ӿ绚蕈翿ጱ蝨୵㬵㯽螈。皃կ犥㾼皭傶च娄礿ጱ褺य ݢ犥ݑ礓犚Ԫᇔጱ绚樌眤；磪犚㳷ฎ犥耬ݗڊ蒅绚樌ጱᰁ誢，獺蝨ڊᵅጱᏩ制绝蝚ጱ㾼୵䔶藲ډ磪犚犥Ӿ樌 蕈翿ጱ娄Օ獈，Ꮘ㾼傶Ԇ誢ጱਠ碉虡，叨ኞ褞ጱᒧ蒈承。蝡犚ᛔ觼笕ᘒ㾼侨ጱᰁ誢Ӥ蕈樄ጱ绚耬， 」傶绐ਧጱ୵誢癲㬵䌘ᆙጱ㵕眲ิ纈，ฎӞ㮆纸ٍᏈ瓥ጱ虡，犥现虋玕ჴ裾ጱ蚏ত讨。種稞㮆疻Ӿ䛑 ێ誢Ӭ磪ٍڊ獉ࣁԏସ」磧傶ᒧ蒈ጱ〈葦〉，ࣁ磪秚ጱ㾼皭蝨୵ԏ獉，蔭匍ԧইຎ໐Ӟ膢ጱ獉蟂绚樌，珊匍 ᰁጱ蛪誢虡。
5. 匍，Ӟ粙仗င。ݘ膁ᛔ簁߽䋊疑ᴨᮎ萆珠ේ（Anaxagoras）Ԇ皰Ӟ獥Ԫᇔ᮷笴ࣁ螁ڊኞԏ碻，苭ᇔڡਜਦ 」ݱ蒂，Ԫᇔ㬵疰ฎ犥獤薹ጱ制眲ਂࣁ茐。ᘒਜਦ（cosmos）ܻ瞲Ӥ蝄ጱ獤薹ࣁ妿螂翄ݳ盅ጱ制眲，犖ᤩ捌傶
20 茐Ո觊篷哴ጱ獺蝨膏Ꮘ瓥Ի而ጱ螂纷10。萆絍ޱᑉଧ」。仗င疩ਜਦ，ਜਦᄍ虋౮仗င，獋ᘏ犋䥁ፘ֢አ， 蛪誢ኞڊইጱय़ቘᎪ褺獺֢，玱碸ٌ䌘ෝՈኞӮኴጱ፡ဩ，ݻ㬵萬戺疑Խ摁ݶ甇ጱ֢ߝ犥磪秚ጱ୵眲，獺蝨 。٩獖ጱय़ቘᎪ虋౮ԧኞ誢，ਙጱྯӞ㮆ใᶎ᮷犲Ԓ磪ᤅ磪ᙂ，᮷犤Ո蝅脿哼穥」11ֵ」，ጱ虡
」：萬蔩，甇ࣁ我藳Ӿ螇و1995ଙ蚏，萆絍ইॢ町疴ݘ．揔（Nicolas Bertoux）ݳ֢य़ࣳ甛蜃獺֢现獍 ౯㮉磭֢ߝฎٍ磪传蝢ጱ，অ猟ࣁ螩藶Ո㮉膏ਙ㮉䌘扖。战ग़夵盢֢ߝஃஃᤩ搝Ԩ『ᵜ狰』ጱ粬搡，虏Ո㮉 碇綗ᘒ狒瞱蚣櫝，֕౯㮉磭࿆唰憽֢ߝ疰ฎ犢㮉ኞၚጱӞ蟂獤，ݢ犥藉砜、ࣖ屵，ᘏℂਙ㮉ጱӥො妿螂。ਙ 㮆Ոጱ獺֢脁妏，萆絍ই蜱ଙጱ褺य֢ߝ，㳷疥ಅ磪ᛔኞ、ࢧ䛑ኞک䛑扗ฎ珿ጱ，絑हฎ㶧藲ጱ。」12ࢧ 褾，甇手瑽犥覌ਧጱ紝繬玕傶ޔӞॺ痀ෝ甇ጱ߽䋊。篷抷匍䋿ই֜ڊጱᘍ，ٍ匍ࣁು虡ጱ褺य蝨୵ԏ獉，稳羳 。螇ቘ，ٚ螭拙ਜਦ
。萆絍ই獤獨ࣁ1992ଙ、1997ଙෝݣ玖笠褷敒膐旰㮆疻；1999ଙ㳷膏ṛ籭岉犥櫕㮆疻ጱ୵ୗ珊匍獺֢ 1 ，（橕ෝݣ傀吚դᎪ褺咳疻ጱ咳疻脁妏，憎战螐螈，〈ݣ傀吚դᎪ褺萬蔩咳疻ԏ稲ݥᘍ疗（1980-2003）〉，《褺यᎸ绗》，1๗（2008.9 2 殷187-215。 我藳萆絍ই，2016ଙ10์ᛗמಅ蝄橕ෝ萆絍ইࣁᥜ凟姘᯾稨·۱᯾紳ঢ·猈ӟ疴Ԇ瞱ጱ獋蒂Ꭺ褺ૡ࣑ԏ妿稲，㬵ᛔ執ᘏ蝚螂email䨗 3 。戢ےӥಅ磪አ蒂緡ݶ，犋ݚ。11์ 。ᒫࢥ䌵匍դ褺य疻戺疛磪眤〉，硩獈ᎪታՌ 翥，《ӞԜԜӞӾ苉࿆㾴匍դ褺य疻》。ݣ玖：ݣ玖૱缏聅蔩記，1991，殷26ے䎠硵ก，〈㷢 4 。ݶ獮戢，殷27 5 。ݶ獮戢 6 。糫֢ߝ藯ก，憎硩獈ᎪታՌ 翥，《ӞԜԜӞӾ苉࿆㾴匍դ褺य疻》。ݣ玖：ݣ玖૱缏聅蔩記，1991，殷34 7 。裡Ꭺ碝䁰」櫕㮆疻」ڊ萆絍ই、ṛ籭岉1999ଙ12์4෭ᛗ12์26෭ෝݣ玖笠褷敒疻 8 。׀萆絍ই2016ଙ獺֢ᛔ蝄，ො萬ୁ 9 。粚，2013，殷60-61ڊੜՌப，《᩻捌「߽䋊አ承」Ԫَ》，蟞䧳葦̴捌。ݣ玖：變ኦ 10 ઊؕၹ፡Ꭺ褺——蜰矑臺荳Ꭺ褺萬蔩疄〉，硩獈《ӞԜԜ犊臺荳㾴褬Ꭺ褺萬蔩疄「㾴褬Ꭺ褺肥疻」》。臺荳：臺荳翻缏玕Ӿ׳〉，㸎竃ॢ 11 ஞ，殷28。 。我藳萆絍ই，2016ଙ11์3෭מ執ᘏ蝚螂email䨗 12
21 From Chaos to the Universe — On the Sculptures by Cynthia Sah
Text / Chang Ching-Wen
1. Born in 1952 in Hong Kong, Cynthia Sah moved to Japan with her family when she was six. She came back to Taiwan and was enrolled in the Taipei American School at the age of eleven. Then she went to the United States to complete her undergraduate and graduate education. Sah majored in psychology at the Bard College, Annandale-on-Hudson. She was enrolled in the graduate school of Art and Education at Columbia University in 1976 and earned her master’s degree in 1979. Blessed with the free academic atmosphere in the United States as an undergraduate, Sah had reached out to a wide spectrum of art forms such as photography, ceramics, printmaking and sculpture; yet none had ever aroused her passion as much as stone sculpture. She had learned basic skills of stone sculpture in Italy for a short period of time in 1978 and, being unable to contain her enthusiasm for sculpture, she went to Pietrasanta in Italy in 1979. Since then she has anchored her life to this small town and devoted herself to creating stone sculptures. Now she lives and works in a large studio in Seravezza, which was repurposed from a pre-industrial marble factory built in the 1830s.
$OWKRXJKVKHVHWWOHGLQΖWDO\6DKKDVQHYHUFRQȴQHGWKHSUHVHQWDWLRQRIKHUVFXOSWXUDOZRUNVWRΖWDO\RU the Occident. She has taken part in exhibitions and competitions in Taiwan. Take the biennial exhibition New Horizons: Contemporary Trends in Chinese Art as an example. Founded in 1983 as Taiwan’s first modern art museum, the Taipei Fine Arts Museum has established its high credibility in the contemporary art scene with a series of iconic exhibitions during its first decade of operation, among which New Horizons was a major arena of competition for contemporary sculptors. Construed as the cream of the FURS6DKDOVRZRQWKHȴUVWSUL]HRIWKHst R.O.C. contemporary sculpture exhibition.
In the last four decades, Sah has often returned to Taiwan to present her sculptural works, despite her long-term residence in Italy and organized 3 solo exhibitions at the Hanart Taipei Gallery in the 1990s.1
22 However, there is still a distinct lack of comprehensive studies or evaluations on her artworks so IDU7KLVPLJKWEHSDUWO\FDXVHGE\WKHSRVW VWUHQGWKDWGHȴHVWKHFODVVLȴFDWLRQRIFRQWHPSRUDU\ creative materials. Following this trend, the discourse of modernization has gone into gradual decline, replaced by new-generation stone sculptors’ pioneering efforts to re-interpret sculpture from a riotous profusion of perspectives. On top of that, the art community in Taiwan has experienced a gradual decrease in the number of sculptors since 2000.2 All these contextual factors predispose “sculpture” as an art form to little scholarly attention in the field of contemporary art. In other words, sculpture is a marginal territory with a paucity of discussion in comparison with the other art forms in the writing of Taiwanese art history. The quantity of published art criticisms or essays on Sah’s artworks in Taiwan is every bit as limited. The fact of the matter is that Sah is far more active in the Occident than in Taiwan, although she grew up and presented artworks in Taiwan which has made her an integral to Taiwanese art history. As a result, she is identified not so much as a Taiwanese artist but as a Chinese one on the global art stage.
Nevertheless, Sah’s major works have been documented in Taiwan’s contemporary art history, for she had been personally present in the efflorescence of Taiwan’s modernist sculpture in the 1980s. In addition, she has frequently taken part in various stone sculpture workshops and public art commissions around Taiwan since the mid-1990s. Her footprints also bear witness to the tendency that contemporary sculpture has pandered to the public values fostered in recent two decades.
2. Sah has delved into the field of stone sculpture since her enrollment at the Columbia University where she studied under the guidance of artist Milo Lazarevic from 1975. This period marked her first encounter with the mesmerizing world of stone sculpture. Receiving no regular professional
23 training, Sah used to visit the Museum of Modern Art and major galleries during her stay in New York as a way to enhance her knowledge of modern and contemporary art.“ I was particularly inspired by &RQVWDQWLQ%U¤QFXġL-HDQ$US%DUEDUD+HSZRUWKDQG+HQU\0RRUHDQGZDVJHQXLQHO\LPSUHVVHGE\ their aesthetics as well as their skillful manipulation of forms. I was also enchanted with the form and aesthetic appeal of Isamu Noguchi’s miniature sculpture when I first saw it at the museum. I could barely refrain from touching it (which was prohibited, of course). Then I read Noguchi’s biography and relished the chance to meet him in person in Pietrasanta in the 1980s. The background of his creative practice and the course of his long struggle were already familiar enough to me at that time,” Sah said.3
Sah returned to Italy in 1979, deciding to pursue a career as a professional artist. In the same year, she had a studio on a short lease from Silverio Paoli, the owner of a stone sculpture workshop. This place marked the starting point of Sah’s engagement in creating stone sculptures. She gained invaluable experience from observing and emulating the skills and creative philosophies of senior stonemasons in this limited period. In 1981, Sah moved to the Studio Sem where she worked con- currently as a sculptor and a secretary, learning techniques in sculpture and management from the studio owner Sem Ghelardini. This job entailed Sah accompanying Ghelardini to the marble quarries. She used to work with internationally renowned artists during that period of time. Those artists often brought small models to be enlarged for monumental sculptures or to be made in stone for various exhibitions to the workshop. The fruitful collaboration between the artists and the senior stonemasons at the workshop did impart considerable knowledge to Sah.
Both the two workshops were dedicated to assisting artists. There Sah had the chance to know how artists and stonemasons work and communicate with each other. To scale up the models, stonemasons
24 required artists’ instructions, but not every stonemason was able to fully grasp the models and the creative philosophies underpinning them. The level of understanding rested upon their personal experience and technical acumen. Put differently, artists could convey the original ideas behind their artworks only by collaborating closely with stonemasons; otherwise their artworks might be deemed soulless and therefore a failure.
In such kind of workshops rather than academic institutions, the primary role of stonemasons were not so much educators as workers, who were unable to mentor apprentices like professors did. What the inexperienced sculptors in these workshops could do were to attentively observe and ask pertinent questions. They received senior stonemasons’ instructions on an occasional basis, while developing personal carving styles on their own. “We usually work in our own styles. If you demonstrate your hardworking and burning ambition, they tend to generously spend time on instructing you or even give you the rare honor of lending you their carving tools. Here lacks conventional school-teaching, but we can discuss the forms, bulks or abstract metaphors of our works with the senior stonemasons. We need to watch carefully what they are doing and communicating, learning from continual observation, questioning and discussion. Nevertheless, it is very important not to disturb their total concentration on working.”
At her young age, Sah immersed herself in the positive atmosphere of the workshops where she had been nurtured by the senior stonemasons’ work philosophies in her quotidian existence. “At the two places I learned a great deal about what counts as an enthusiastic worker who treats his/her creative materials with utmost respect. Each block of marble is a classic in its own right. We should carve them by conforming to their textures and veins; otherwise we would destroy them. When we treat them nice, they will respond to our expectations in kind.”
25 3. It was not until the 1990s that Sah established her personal style of marble sculpture. Some of her artworks such as Untenable Equilibrium (1991) and Relation (1993) consist of two separated yet symmetrical units communicating with each other in terms of form. This is a characteristic signature of Sah’s sculptural works, that is, the relativity unfolds in their internal plasticity. Put it another way, the interaction between her sculptural works and the viewers or the environment not only brings a subtle sense of motion, but also makes space between the components. Sah’s outstanding work Untitled (1991) that earned her the first prize of the 1st R.O.C. contemporary sculpture exhibition appeared to be favored by the jury member Toshiaki Minemura who argued that the profundity of content and form is key to outdoor sculptures in addition to their monumental scale. “Sculptures’ memorial significance has nothing to do with their social functions. Rather, it lies in the profound implications carried by sculptural works per se.”4 Based on this perspective, Minemura thought very highly of Sah’s entry, holding that Untitled “managed to create a profound and strong sense of space”5 DQGHPERGLHGWKHPHPRULDOVLJQLȴFDQFHRIVFXOSWXUHVΖQWHUPVRIWKH$VLDQSHUVSHFWLYHVRIQDWXUHDQG being, Minemura believed that “the relationships between the object and the venue as well as between WKHEXONDQGWKHH[KLELWLRQVSDFHZHUHHVWDEOLVKHGE\WKHWZRPHWKRGVDQGWZRFRQȴJXUDWLRQVWKDW6DK employed to handle the same material (i.e. marble), giving her entry a powerful expression of plasticity. 2EVHUYLQJWKLVPDVWHUSLHFHFDUHIXOO\ZHPD\ȴQGWKHUHODWLRQVKLSEHWZHHQLWVEXONDQGWKHH[KLELWLRQ space a perfect fusion of the oriental and occidental perspectives of being, and such fusion is by no means manifested through schemata.”6 The work Untitled was based on the image of mountain ranges and rock strata, and the exhibition catalogue included an Italian critic’s description of Sah’s entry that “it not only stands as clear testimony to an organic form, but also pursues the ethos imbued with natural HOHPHQWV7KLVDUWZRUNOHDGVXVWRDXQLYHUVHZKHUHWLPHVHHPVWRVWRSHODSVLQJLQFRQVWDQWO\LQȵDWHG expectations.”7
26 The so-called perspective of nature or perspective of being is little more than artists’ reflection on their relationships with the environment. From the grasp and selection of materials to the plastic arrangement, Sah tends to make sure that her works are able to echo the nature and explore possible temporal and spatial dimensions therein.
4. There is a long lapse of 18 years between Sah’s last solo exhibition in Taiwan8 and the latest one titled The Inner Garden, Secrets to be shared in 2017. Sah has never stopped creating sculptures throughout this period, and also completed many large-scale commissioned works, including public art projects. These experiences gave her a better understanding of the dialogues among the relational trinity of human beings, artworks and the environment. Treating her real-life experiences as the point of departure, Sah’s 2017 solo exhibition in Taiwan features 40 pieces of newly created marble sculptures that embody her spiritual values. “My sculptural works are dedicated to capturing the aesthetic beauty, elegance and simplicity of the nature through various ways of perception and observation,” Sah mentioned in the statement about the exhibition.9 She also held that she tends to express the beauty, freedom and love she has experienced in her life by virtue of marble as in its natural form, although the UHDOLWLHVDUHULIHZLWKLQMXVWLFHDQGLQGLHUHQFHWKDWUHQGHUWKHPVHOYHVGLVFRQVRODWH
To create the new artworks for this exhibition, Sah followed her consistent organic style in terms of plasticity. Nevertheless, the sheets of curved surface and the installation structure based on 2~3 units commonly seen in her previous works since the 1990s have been largely replaced by the single, three-dimensional rounded smoothness. Many of her works created in 2016 reflect the image of flora and fauna. For instance, Turning Inward is as softly curvy as ferns, and Leaf Variation erects like
27 young leaves. Full Petal is every bit as round and sleek as mushroom caps that provide shelters. Nourishment and Grain are as saturated as healthy grains of rice. Listen takes up the posture of flowers in bud. Fish and Changing Time mimic the physical and skeletal structures of animals. On top of that, the image of mountains and seas are treated as a core of this batch of new works. The image of mountains and seas whose variation can be discerned only in a wider temporal dimension, converges on the small-scale marble sculptures. These simplified lines and planes created with symbolic WHFKQLTXHVH[SOLFLWO\DUWLFXODWH6DKȇVH[SHULHQFHVDQGIHHOLQJVRIWKHLQȴQLWHWLPHDQGVSDFH
Sah also extensively applied cavity and crevice to project the human body image. Take the pieces outlined with arcs as examples. Some of them have a bowl-like hollow or a running-through circular hole at the center that not only features the negative spaces but also brings a sense of containing. Others break the roundness of the bulks with a linear breach or crevice, a dynamic implication contrasting with the stable shapes. The breach, or crevice, conveys a somewhat destructive image, a symbol of feminine trait that suggests change or incubation. Of all the sculptures in this solo exhibition, none is so symbolic as Orchid that exactly echoes the exhibition title The Inner Garden. The kernel-like interior space is HPEHGGHGLQWKHRUJDQLFDUFVZKLFKFRQVWLWXWHVDVSHFLȴFERG\LPDJHEULPPLQJZLWKVSLULWXDOVWUHQJWK
5. Chaos reigned supreme at the very beginning of the universe. According to Greek philosopher Anaxagoras, everything lurks in a decomposed state, and the term “cosmos” refers to the unification of these decomposed elements. It is ergo interpreted as “order.” Chaos dictates the universe, and the universe evolves into a chaotic mixture. The two constantly interact with each other, implying the ceaseless alternation of creation and destruction in the human universe.10 Sah’s marble sculptures faithfully reflect her opinions about life and the universe. Art critics have agreed on the description
28 that Sah’s works represent an organic incarnation of human body or life which “animates the originally unapproachable blocks of marble by making each of their curved surfaces laden with flesh and blood wherefrom the spectators may feel great visceral thrills.”11
Sah has collaborated with her husband Nicolas Bertoux in large-scale commissioned works and public art projects since 1995. She stated in the interview that “we expect our sculptures to possess an innate capacity of communication, as if they are engaging the spectators in conversation. Many monumental sculptures exude the desire to dominate and intimidate through their sheer grandeur, thereby inspiring awe and respect among the spectators. In contrast, we seek to make our works part of people’s quotidian existence. They should be touchable, passable, or allowing people to sit or lie on them. In other words, they should be viewer-friendly and exist in perfect harmony with the environment.”12 To conclude the discussion, Sah has encapsulated all her thoughts derived from and in response to life in the abstract sculptures she created in recent years. Over the years she has developed her own personal philosophy. Regardless of the hustle and bustle of the real world, she unflaggingly pursues meditative endeavors to unveil the truth of the universe, and conveys it with her riveting sculptural works.
29 1 Sah staged two solo exhibitions at Hanart Taipei Gallery respectively in 1992 and 1997. She also presented her artworks in the dual exhibition with Gao Can-Xing in 1999. 2 For the development of stone sculpture in Taiwan, see Hsu Yuan-Ta, “The Research of Taiwan Stone Sculptures Development from 1980 to 2003,” The Sculpture Research Semiyearly, no. 1 (Sep. 2008), pp. 187-215. 3 Sah’s experiences at the two workshops run respectively by Silverio Paoli and Sem Ghelardini described in this article were derived from an email interview with Sah conducted by the author between October and November 2016. All the following quotations are from the same provenance. 4 Toshiaki Minemura, “Thoughts on Being on the Jury for the 4th Contemporary Sculpture Exhibition,” in 1991 R.O.C. Contemporary Sculpture Exhibition, ed. Shih Jui-Jen (Taipei: Taipei Fine Arts Museum, 1991), p. 26. 5 Ibid, p. 27. 6 Ibid. 7 “About the Award-winning Entries,” in 1991 R.O.C. Contemporary Sculpture Exhibition, ed. Shih Jui-Jen (Taipei: Taipei Fine Arts Museum, 1991), p. 34. 8 A New Arena for Metal and Stone Sculpture: Dual Exhibition by Cynthia Sah and Gao Can-Xing, Hanart Taipei Gallery, 4-26 December 1999. 9 Artist Statement by Sah in 2016, courtesy of the Double Square Gallery. 10 Hitoshi Ogawa, A Lexicon of Ultra-translated Philosophical Terminology, trans. Zheng Xiao-Lan (Taipei: Rye Field, 2013), pp. 60-61. 11 Lu Ching-Fu, “Admiring Stone Sculptures by Straddling the Mountains and the Sea,” in 1997 Hualien International Stone Sculptural Festival: International Stone Sculpture Exhibition (Hualien: Hualien County Cultural Center), p. 28. 12 Cynthia Sah in an email interview conducted by the author, 3 November 2016.
30 31 自然之聲 Sound of
「ࣁᴨฦਞᴨ凟ܑේઊ玟愊葏萢茐Ӟ粙窼ईጱ䌌萢， “The marble comes from the Apuan Alps which rose powerfully ᮎฎࣁઊ脁ᵇ蚏ኞ౮碻ℂၹ皈窼蒂܋蚏ጱ妃Ӯ紸䌌。」 from the marine abyss as eternal guardians of a potent secret ”.絮㮖娣ূ．֡໒ hidden inside of their depths Valentina Fogher
32 Nature
犐ຎ Three Fruit33 螞盌Ӟ礿覍娄ጱ᪠䕩，ਙ襑ᥝᤩ౯㮉 “Creativity follows a non-rectilinear path, itێ獺蝨」 㪔猟༙ᇔӞ膢瑿ᤩ聹聼，অ犤ٌ needs to be recognized inside of ourselves andڊኧᛔ蛪獉蟂藨 狒瞱ኞ穥緮簁。」 to be cultivated, like a plant, to keep it alive.” 㫎．၎絮न Andrea Rovattiڥਞ趨
34 35
獉ᆙ Turning Inward37 葦 383 Orchid 39 40 补磸茆 Ginko41 Leaf 42 茆ጱ虋ॵ,, Leaf Variation43 II 蝅 44 Spin 45 46 掘ፄԏ絫 Full Petal 47 48 ፗ缏ጱ补磸 Ginko Vertical49 臺ᄑ Spiral50 Flower 51 52 53 蝅 54 Spinning 55 宇宙之象 Patterns of Uni
「ᜋ犋吖绚。绚犋吖ᜋ。」 “Form is no other than emptiness. Emptiness no other than form.” 《ஞ妿》 Heart Sutra
56 verse
57 蝅蜴 58 Inverted 「疰猟ᮎ犚眢眐硲Ԫ，ਙ㮉誢匍ԧ薥ੂ橕狌现眢 “Like stories of love, they embody intimacy ጱ蔭眐，㶴犖傶匍䋿搝膏ԧ᯿ᰁ。」 and expression, yet also the weight of reality.” 㳓萆．ታն Cesar Reyes 59 60 ᨗ༗ Bean Bench61 62 63 64 篷褖 Infinite 65 66 67 68 揔Ӿԏቐ Pearl in the69 Shell 70 რ Navel 71 ઊӯ,, 72 Hills II A Hill Ӟ䁰盽ጱ㶧֢，奰疥ࢩ碻樌蒮虋 “A harmonious collaboration will, in」 傶绐ࢴ䔶䄉ጱ媒奴。」 time, transform into a strong bond.” ਞ盓篇．穉煶 Andrea Bianchi 73 74 ઊӯ, Hills I 75 「Ꭸ䧙縣蝥ጱ୵ୗ୵यԧ౯㮉䌘ᛔ簁ጱ眤 “Ephemeral forms that shape our feelings about ݑ；ଘ笅ጱ蔭ᶎݶ碻ิ纈茐ॠ绚、ၹ၇膏 nature; smoothed surfaces that suggest the contour य़瑿ጱ斪ୄ。」 of sky, ocean and earth simultaneously.” 㳓萆．ታն Cesar Reyes 76 ӯ窚 Hills and Wave77 蝫媲 78Continuous 79 聆聽一瞬 Listen for the
.憙ԏ犋憎ݷ磣२， “Look, it cannot be seen - it is beyond form」 .肯ԏ犋股ݷ磣， Listen, it cannot be heard - it is beyond sound .矸ԏ犋ݷ磣盏。 Grasp, it, it cannot be held - it is intangible ”.種ӣᘏ犋ݢ膌払，硲窾ᘒ凚Ӟ。」 These three are indeȴnable, they are one 《螇盓妿》 Tao Te Ching
80 Moment
膚ᘏ Dancers 81 82 ౯㮉矑ݑੜԏᇔ犖ݢ犥ฎ癨य़ጱ，ᘒమ “We accept that small can be big and the」 Ӟই౯㮉మ猟ಅ胼വ现ጱᮎ膢皞蕄。」 idea is as large as our imagination allows.” Cesar Reyes 㳓萆．ታն 83 84 ์ᶎ Face of the85 Moon 86 Spiralis 87 88 痒㵕 Branch in 89Motion 湂 90 Fish 91 92 ط窕 Changing93 Time 䮼 94 Grain 95 96 㰆肯 Listen 97 䳈絤臺 Zucchini98 Flowers 99 100 101 102 作品 Artworks
103 自然之聲 Sound of Nature
犐ຎ Three Fruit 獉ᆙ Turning Inward ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 48 x 48 x 20 cm 64 x 23 x 30 cm 2016 2016
104 葦 Orchid 补磸茆 Ginko Leaf ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 160 x 90 x 150 cm 80 x 80 x 19 cm 2016 2016
105 自然之聲 Sound of Nature
茆ጱ虋ॵ ,, Leaf Variation II 蝅 Spin ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 17 x 36 x 72 cm 51 x 38 x 25 cm 2016 2016
106 掘ፄԏ絫 Full Petal ⽓䬘䬘涯㣐椚瀖 Carrara white marble 61 x 60 x 20 cm 2016
107 自然之聲 Sound of Nature
ፗ缏ጱ补磸 Ginko Vertical ⽓䬘䬘涯㣐椚瀖 Carrara white marble 60 x 18 x 60 cm 2016
108 臺ᄑ Spiral Flower 蝅 Spinning ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 98 x 38 x 31 cm 56 x 54 x 107 cm 2016 2016
109 自然之聲 Sound of Nature
ჴ訅 Nourishment 茆ጱ虋ॵ , Leaf Variation I ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⚥㕜涯㣐椚瀖 Chinese white marble 29 x 33 x 22 cm 62 x 21 x 10 cm 2016 2014
110 稤௳ԏ絫 Petal Rest ⽓䬘䬘涯㣐椚瀖 Carrara white marble 54 x 42 x 22cm 2017
111 宇宙之象 Patterns of Universe
蝅蜴 Inverted ᨗ༗ Bean Bench ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 52 x 34 x 36 cm 118 x 52 x 47 cm 2016 2016
112 篷褖 Infinite 揔Ӿԏቐ Pearl in the Shell ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 46 x 68 x 55 cm 55 x 47 x 21 cm 2016 2016
113 宇宙之象 Patterns of Universe
რ Navel Ӟଷઊӯ A Hill ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘㣐椚瀖 Carrara marble 60 x 39 x 15 cm 36 x 24 x 21 cm 2016 2016
114 ઊӯ , Hills I ઊӯ ,, Hill II ⽓䬘䬘㣐椚瀖 Carrara marble ⽓䬘䬘㣐椚瀖 Carrara marble 52 x 20 x 25 cm 55 x 22 x 23 cm 2016 2016
115 宇宙之象 Patterns of Universe
ӯ窚 Hills and Wave 珏ᘒ盋ত The Circle of Universe ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 140 x 100 x 47 cm 51 x 33 x 26 cm 2016 2014
116 蝫媲 Continuous 屷ӯ Ascending Hill ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 59 x 51 x 40 cm 55 x 44 x 19 cm 2016 2016
117 傾聽一瞬 Listen for the Moment
膚ᘏ Dancers ์ᶎ Face of the Moon ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖（ꨔ蔅涯）Carrara white marble (Statuario) 29 x 17 x 36 cm 37 x 27 x 35 cm 2016 2014
118 Spiralis 痒㵕 Branch In Motion ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 95 x 63 x 19 cm 51 x 30 x 55 cm 2016 2016
119 傾聽一瞬 Listen for the Moment
Changing Time ط湂 Fish 窕 ⽓䬘䬘涯㣐椚瀖 Carrara white marble 랱跑秙倰鍑瀖 Bardigilio 45 x 16 x 14 cm 60 x 14 x 10 cm 2002 2001
120 䮼 Grain 㰆肯 Listen ⽓䬘䬘涯㣐椚瀖（ꨔ蔅涯）Carrara white marble (Statuario) ⽓䬘䬘涯㣐椚瀖 Carrara white marble 60 x 22 x 22 cm 30 x 24 x 66 cm 2014 2016
121 傾聽一瞬 Listen for the Moment
䳈絤臺 Zucchini Flowers 褰執 , Stroke I ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 76 x 32 x 35 cm 55 x 28 x 12 cm 2016 2005
122 褰執 ,, Stroke II 褰執 ,,, Stroke III ⽓䬘䬘涯㣐椚瀖 Carrara white marble ⽓䬘䬘涯㣐椚瀖 Carrara white marble 39 x 20 x 40 cm 70 x 31 x 13 cm 2005 2005
123 傾聽一瞬 Listen for the Moment
稲ݥԏᏧ , Stele I-Tablet of History 稲ݥԏᏧ ,, Stele II-Tablet of History ⚥㕜涯㣐椚瀖 Chinese white marble ⚥㕜涯㣐椚瀖 Chinese white marble 28 x 15 x 72 cm 22 x 9 x 48.5 cm 2017 2017
124 Ӟຊ蠃綎 Sweet Dream Pillow ⽓䬘䬘涯㣐椚瀖 Carrara white marble 45 x 30 x 12.5 cm 2017
125 萆絍ই
1952̴̴̴ኞෝ詂 ڥ1979ᛗ犡̴֘㪔獺֢ෝ嬝य़
ڥ學歷 2015̴「癩吖ጱ୵ୗ」，者䋠，泷萆，嬝य़ ڥ1979̴珠㮖穉㫎य़䋊硽胍䋊ᴺ萬蔩膏硽胍嘛ॊ，羴夹，聅㾴 「琉諃」，褺य膏ୌ缱聅蔩記，ஂ盓礱璼，嬝य़ 1976̴ߢ盓融㫎羳螈凟૬盓䋊ᴺஞቘ䋊羬䋊ॊ，羴夹，聅㾴 2013̴「箛๙ᰂࢿʒʒ褺यԲᤈԲՈ肥疻」，ն蝢ኞၚ绚 樌，ݣ玖，ݣ傀 ，䌵穇膏褺य」，肜甂ݘේ硽璤，ஂ盓礱璼܈ᒫ」2012̴ ڥ經歷 嬝य़ ，2004̴舣㾴ጳ疑褺य萬蔩䋊䨝䨝㹓，㮖碄，舣㾴 2011̴「舣㾴ጳ疑褺य䋊䨝౮㹓肥疻」，肜甂ݘේ硽璤 ڥݶ獺戔ARKADचᰂ䨝，ल姘， ஂ盓礱璼，嬝य़و2002̴膏疴ݘ．揔 ڥᒫԲ䌵穇膏褺य」，ஂ盓礱璼，嬝य़」2007̴ ڥ嬝य़ ڥ覨疴疴－ ቄቼ膏褺य」，ஂ盓礱璼，嬝य़」2005̴ ڥԏ穇」，泷᯾羳蝀泷萆，嬝य़۽ᵄ」 ，「ጱ穇褺य疑ڥ個展 2004̴「穇ጱࢥ疄，ኞၚ膏ૡ֢ࣁ嬝य़ 獉ࣁԏସ－萆絍ই㮆疻」，ො萬ୁ，ݣ玖，ݣ傀 窓褬蟸ମ訇皣，詂」2017̴ ，萆絍ই㮆疻」，ݣ玖笠褷敒，ݣ玖，ݣ傀 「ARKADचᰂ䨝蕕ᗝ疻」，ARKADचᰂ䨝，ल姘」1999̴ ڥ萆絍ই㮆疻」，疄掘敒萬蔩Ӿஞ，詂 嬝य़」1997̴ 萆絍ই㮆疻」，膍ߝ向ୁ，ݣӾ，ݣ傀 2002̴「臺瑼褺य疻2003」，苟粬ේय़䋊，苟粬ේ，舣㾴」1995̴ ڥARKADचᰂ䨝，ल姘，嬝य़，「܈萆絍ই㮆疻」，笠褷敒TZ，詂 「ጯ獤ԏԲ」 ڥ萆絍ই㮆疻」，ݣ玖笠褷敒，ݣ玖，ݣ傀 2000̴「᮷૱萬蔩」，ේ֫煶㫎，嬝य़」1994̴ 蘊，ታॊے蘊ጱ萬蔩疑」，緶ے㫎緶ڥ萆絍ই㮆疻」，ݣ玖笠褷敒，ݣ玖，ݣ傀 「姘ᥜ」1992̴ ，「櫕㮆疻」，Իฃ皞䁰疻，詂 「蕣֢ෝஂ盓礱璼：褺य疑、䋿涢ਰ、榙蝨皜」 ڥ盓礱璼，嬝य़ஂ ڥ泷ն甂襊，嬝य़ܜ，萆絍ই㮆疻」，葍穉㫎萬ୁ」1991̴ ڥ疻螩疻」，讀᮷，শ疴ේ，嬝य़ڰ樄硯2000褺」 ڥ萆絍ই㮆疻」，䌌໒讀萬ୁ，荠，嬝य़」1988̴ Saibu-Gas聅蔩記㫎窓匍դ褺य疻」，ᐰ䍫，෭」1993̴ ڥ萆絍ই㮆疻」，䌌໒讀萬ୁ，荠，嬝य़」1985̴ 「肥疻」，Tonbek萬蔩Ӿஞ，ᰃઊ，覮㾴 Ӿ㾴ၹक़萬蔩疑疻」，ݣ玖૱缏聅蔩記，ݣ玖，ݣ傀」1983̴ ڥ疻」，ஂ盓礱璼，嬝य़ڰ聯展 1982／83̴「獡ॗ᯾ਞ褺 2015̴「獋毼毣、ࢥ櫇ಋ、Ӟ毼ஞ、肜絮㮖ӟ」，僂౧现ᒫ玡 1981／82̴「吚դ萬蔩疑疻」，य़ጳ䋠，૬讝，ဩ㾴 ڥ羳，嬝य़ܜᇔ記，泷凟罡璬，箓ේ
126 獲獎與典藏 〈य़瑿蝅〉，䧉ୌ戔／䧉碝虡，ݣ玖，ݣ傀 ፘ狅〉，僂箓螸चᰂ䨝，蘡襚，艰葦〉 2006 ڥ萬蔩糫膏َ萢，嬄穉珠，嬝य़و蜢瓺ၹધ獍ڥ2007̴ူ 2006̴僂箓螸चᰂ䨝َ萢，蘡襚，艰葦 2005 〈ፘ狅〉，ᗝ瑿苉䩚ො蟸ମ，詂 笖澆〉，玖ṛ蝧獍᪠／ᎪᏢջ௳ᒊ，ݣ玖翻，ݣ傀ط萬蔩Ḓ糫膏َ萢，ݣ玖翻， 2000 〈碻و2000̴玖ṛ蝧獍᪠ᎪᏢջ௳ᒊ獍 ݣ傀 〈ଘᤍ膏ֵԏଘᤍ〉，य़褢ૡ纷／ၴ簁चᰂ䨝，ݣ玖，ݣ傀 獍瑼，ဩ湗ঢ，Ԅ變ڰ獍瑼َ萢，ဩ湗ঢ，Ԅ變 1999 〈瞁窚〉，㾴褬褺ڰ1999̴㾴褬褺 ݣ傀，ܖᐒ硽記，ݣܖ萬蔩Ḓ糫膏َ萢，碝ᒓ，ݣ傀 1998 〈膚ݣ〉，ݣو1997̴碝ᒓ૱绚敎ӣ獍 臺෪补ᤈ，詂，〈ڜ萬蔩َ萢，间๙翻，෭ 1997 〈葏ኞ羬وਜ᮷䋠૱獍 萬蔩，间๙翻，෭وਜ᮷䋠૱獍，〈ڜḒ糫膏َ萢，ჴ揷翻，෭ 〈葏ኞ羬ڰ1995̴ਞࢿክ㾴褬ว褺 籧Ḓ糫膏َ萢，ṛᵜ，ݣ傀 〈觓ᒓ殱〉，碝ᒓ绚敎ӣ，碝ᒓ，ݣ傀ڰṛᵜ૱缏聅蔩記㾴褬褺 ，搕ڰ1994̴㾴缏ݣ傀聅蔩記َ萢，ݣӾ，ݣ傀 1995 〈羊覄〉，ਞࢿክ玕Ӿஞ／㾴褬ว褺 詂聅蔩記َ萢，詂 ჴ揷翻，෭ 1993̴ୌ䨝磈ݣ玖૱缏聅蔩記Ꭺ褺监կḒ糫膏َ萢，ݣ玖， 〈蝅窚〉，ṛᵜ૱缏聅蔩記，ṛᵜ，ݣ傀 ݣ傀 1993 〈因螀य़ݶ〉，㾴缏ݣ傀聅蔩記，ݣӾ，ݣ傀 ，1991̴ݣ玖૱缏聅蔩記 '91Ӿ苉࿆㾴匍դ褺य疻Ḓ糫膏َ萢 ݣ玖，ݣ傀 薩璨如與尼古拉．貝杜共同創作 ᄪ睲〉，裾ᡭୌ戔／裾ᡭॠ絘，ݣ玖，ݣ傀〉2016̴ 公共藝術與景觀創作 〈禼ઊ禼〉，螈讀ୌ戔／Ӯኴ傀，ݣ玖，ݣ傀 ，㾼膚ใ〉，㾴聅ୌ戔／揔祜磴ॢ，ݣ玖，ݣ傀 〈襇槹ԏ祜／襇ᒒԏ祜〉，螸ୌ戔／ॠ绚䰽，ݣӾ〉 2016 ෭䥮์盱／䌘扖〉，殸ᐸ樄咳／殸ᐸ瑼，ݣ玖，ݣ傀 ݣ傀〉 2015 ԏ苉〉，疻盽ୌ戔／疻盽聅蔩記，ݣ玖，ݣ傀 〈疄℄ԏᶪ〉，盓ୌ戔／ᛗ珿禼ઊ，ݣ玖，ݣ傀์〉 2013 珸茹〉，ॡݘ瑿叨／䎦䩚Ӿஞ，詂 〈य़褲〉，㾴聅ୌ戔／㾴聅य़፥，ݣ玖，ݣ傀〉 2010 补ᤈ／Ӯ揶者蟂，ݣ玖，ݣ傀ܖՈ湂〉，ฦय़䰠ᐺՈ疌螼，羴夹，聅㾴 2014̴〈絑䥮〉，苉〉 ॡݘ瑿叨／瓽蟸ମ，詂 〈肞〉，य़ऌॠ搝ၹ傀，詂，Ӿ㾴，〈ڜ䌘์羬〉 2009 य़䰠，ݣ玖，ݣ傀ܖ觓ጱ加ॵ〉，肥螸絟ઊ／絟ઊ玡ᇔ記，ݣ玖，ݣ傀 〈㶧ॵใ〉，螸Ո䄓／碄〉 2008 憎ઊ〉，盓ୌ戔／ݣ傀ᑀ䋊瑼玟，ݣ玖，ݣ傀〉2013̴ ڥ蜢瓺ၹધ，嬄穉珠，嬝य़ڥူ，〈ၹᐟ〉 2007 褰觓〉，ጳ٢蟸ମ，筏槹 〈旉矃讨〉，獊肥մ禂／ᰂ禂य़䰠者蟂，ݣ玖，ݣ傀〉
127 ԏԻ段〉，य़褢ୌ戔／拹ત，ݣ玖，ݣ傀〉2012̴ 蝅痷〉，य़褢ୌ戔／䱋痷，ݣ玖，ݣ傀〉2011̴ 櫕᯿ॵ／硼Ԫใ〉，ம窊ୌ戔／ம窊Ի段ใ，ݣ玖，ݣ傀〉2008̴ 蚏膚！茆／盏衁〉，肥螸絟ઊ／絟ઊ玡ᇔ記，ݣ玖，ݣ傀〉 肯ᄤ〉，य़瑿叨／搊ݴ螇3蒈，詂〉 2007̴〈湂蛚〉，笇ሴ裿瞆瑿叨樄咳／皔槹ၹ痾उ，ᐰୌ，Ӿ㾴 ݷ犱〉，ம窊ୌ戔／ம窊瑼膚ใ，ݣ玖，ݣ傀〉 〈珸茹〉，讀ܜ凟毉蟸ମ，玖Ղ，Ӿ㾴 睲絇〉，ਡፐୌ戔／ਡፐଂ䌌，ݣ玖，ݣ傀์಼〉2006̴ 2005̴〈螠మ屵蝿〉，ታਞ瑿叨／Ӥၹմ禂碝ॠ瑿，Ӥၹ，Ӿ㾴 〈粙ᗵ〉，笇ሴ裿瞆瑿叨樄咳／炛䎦㾴褬䨝ಅ，౮᮷，Ӿ㾴 2003̴〈ᡭူ〉，盱ᵇ瑿叨／Ԝ谍瑿裡ᒊ，詂 2001̴〈竃荳〉，筏槹碟蝿璼／筏槹䨝疻産禼Ӿஞ，筏槹 褞褯螇〉，玖ṛ蝧獍᪠／ᎪᏢջ௳ᒊ，ݣ玖翻，ݣ傀ط〉2000̴ ᤈࣖই觓〉，༬粬ྛ䋊໊，ṛᵜ，ݣ傀〉1998̴ ᄣ褸ݳୗ֘疌，ṛᵜ，ݣ傀ܖ，〈谍蛚〉1996̴
128 Cynthia Sah
1952̴̴̴ Born in Hong Kong. 1979-present Lives and works in Italy.
Education Group Exhibitions 1979̴M.A. Teachers, Columbia University, New York, USA 2015̴Two Heads, Four Hands, One Heart, for San Valentine, 1976̴B.A. Bard College, Annandale-on-Hudson, New York, USA Ugo Guidi Museum, Forte dei Marmi, Italy The Forms of Difference, Palazzo Ducale, Massa, Italy Evocation, Musa, Pietrassanta, Italy Membership 2013̴Group Show, IT Park, Taipei, Taiwan 2004̴Associate Member of The Royal British Society of 2012̴The 10th edition of Woman and Sculpture, Sculptors, London, UK Sant’Agostino Complex, Pietrasanta, Italy 2002̴Co-founder of Foundation ARKAD with Nicolas Bertoux, 2011̴Royal British Society of Sculptors Members Working in Seravezza, Italy Pietrasanta, Chiostro di Sant’Agostino, Pietrasanta, Italy 2007̴The 5th edition of Woman and Sculpture, Pietrasanta, Italy 2005̴Venini, Glass and Sculpture, Pietrasanta, Italy Solo Exhibitions Daughters of Vasaio, Marina di Massa, Italy 2017̴The Inner Garden—Secrets to be shared Cynthia Sah 2004̴Women of All Seasons, Female Sculptors Living and Working Solo Exhibition, Double Square Gallery, Taipei, Taiwan in Italy, Harbourside, Hong Kong 1999̴Solo Exhibition, Hanart Taipei Gallery, Taipei, Taiwan Scraps as Material Workshop and Exhibition, 1997̴Solo Exhibition, Kwai Fung Hin Art Gallery, Hong Kong Foundation ARKAD, Seravezza, Italy 1995̴Solo Exhibition, Galerie Pierre, Taichung, Taiwan 2002̴Sculpture in the Garden 2003, University of Leicester, Solo Exhibition, Hanart TZ Gallery, Hong Kong Leicester, England 1994̴Solo Exhibition, Hanart Taipei Gallery, Taipei, Taiwan Cinquanta Per Cento (Fifty Percent), Foundation ARKAD, 1992̴Solo Exhibition, Hanart Taipei Gallery, Taipei, Taiwan Seravezza, Italy The Rotonda, Exchange Square, Hong Kong 2000̴Art In The City, La Spezia, Italy 1991̴Solo Exhibition, Subbia Art Studio, Camaiore, Italy Versilia e Lugano Terre di Artisti, Lugano, Switzerland 1988̴Solo Exhibition, Bottega Art Gallery, Voghera, Italy Made in Pietrasanta: Scultori, Laboratori, Fonderie, 1985̴Solo Exhibition, Bottega Art Gallery, Voghera, Italy Pietrasanta, Italy Open 2000, Lido di Venezia, Italy 1993̴Group Show, Saibu-Gas Museum, Fukuoka, Japan Group Show, Tonbek Art Center, Busan, South Korea
129 1983̴Overseas Chinese Artist Exhibition, Taipei Fine Arts prize and collection, Taipei Fine Arts Museum, Taipei, Museum, Taipei, Taiwan Taiwan 1982/83̴Mostra di Scultura alla Versiliana, Pietrasanta, Italy 1981/82̴Grands et Jeunes d'Aujourd'hui, Grand Palais, Paris, Public Arts and Monumental Sculptures France 2016̴Waltz, Bosendorfer Residential Building, Taipei, Taiwan 2015̴Fans / Conversing, Ting Ho Garden Residential Building, Awards and Collections Taipei, Taiwan 2007̴Porto Levante Polesine, public art award and collection, 2013̴Bench Shell, Gallery Residential Building, Taipei, Taiwan Rovigo, Italy 2010̴Enlightenment, Swire Office Building, Hong Kong 2006̴Foundation Utopa, collection, Voorhout, Holland Axolotl, Private Apartment, Trump World Tower, 2000̴Chiang Wei-Shui Memorial Freeway Shiding Service New York, USA Area, public art first prize and collection, Taipei County, 2009̴Grain-Lifted-Face of the Moon, The Upper House, Taiwan Hong Kong 1999̴International Sculpture Park, collection, Farum, Denmark 2008̴Involuted, RSL Museum Residential Building, Taipei, 1997̴Hsinchu Air Force Residence, public art first prize and Taiwan collection, Hsinchu, Taiwan 2007̴Guardiano del Mare, Porto Levante, Polesine, Rovigo, Italy Utsunomiya, public art collection, Tochigi Prefecture, Dancing in the Wind, Crown Hotel, Macao, China Japan Cultivating, Ho Young, Taipei, Taiwan 1995̴Cultural Center Azuchi-cho, first prize and collection, 2006̴A Couple, Foundation Utopa, Voorhout, Holland Shiga Prefecture, Japan 2005̴A Couple, Landmark Mandarin Oriental Hotel, Kaohsiung Museum of Fine Arts, first prize and collection, Hong Kong Kaohsiung, Taiwan 2000̴Moebius, Chiang Wei-Shui Memorial Freeway Shiding 1994̴Taiwan Museum of Fine Arts, collection, Taichung, Taiwan Service Area, Taipei County, Taiwan Hong Kong Museum of Fine Arts, collection, Hong Kong Balance & Counterbalance, Hao Ran Foundation, Taipei, 1993̴Open Competition in Stone Sculpture, first prize and Taiwan collection, Council for Cultural Affairs and Taipei Fine 1999̴Playful Wave, International Sculpture Park, Farum, Arts Museum, Taipei, Taiwan Denmark 1991̴R.O.C. Contemporary Sculpture Exhibition 1991, first 1998̴Stage, Tainan Cultural Center, Tainan, Taiwan
130 1997̴Cultivating, Citibank Plaza, Hong Kong 2008̴Duet / Rhapsody, Symphony Residential Building, Taipei, Cultivating, Utsunomiya public art, Tochigi Prefecture, Taiwan Japan Dancing Leaves / Twisted, RSL Museum Residential Peaceful Breeze, Hsinchu Air Force Residence, Hsinchu, Building, Taipei, Taiwan Taiwan Shells, Plunkett Road Residence, The Peak, Hong Kong 1995̴Water Fairy, Cultural Center Azuchi-cho, Shiga Prefecture, 2007̴Dancing Fish, Hai Xia Cheng Sculpture Park, Xiamen, Japan China Gentle Return, Kaohsiung Museum of Fine Arts, La Diva, Avenue Park Residential Building, Taipei, Taiwan Kaohsiung, Taiwan Enlightenment, Ritz Carlton Hotel, Beijing, China 1993̴Relation, National Taiwan Museum of Fine Arts, 2006̴Moon Benches, Di Bao Residential Building, Taipei, Taiwan Taichung, Taiwan 2005̴Welcoming Repose–Fluid Presence, Corporate Avenue, Xin Tian Di, Shanghai, China
Cynthia Sah & Nicolas Bertoux Cooperative Works Inspiration, Egret Island Residential Building, Chengdu, 2016̴Ring, Imperial Seal Residential Building, Taipei, Taiwan China Water and Hills, Golden Bay Residential Building, Taipei, 2003̴Waves of the Rainbow, Harbourside Residential Building, Taiwan Hong Kong Double / Single, Sky Tree Residential Building, Taichung, 2001̴Lotus, Congress & Entertainment Center, Macao Taiwan 2000̴Tunnel, Chiang Wei-Shui Memorial Freeway Shiding Season, Lo Shang Villa, Taipei, Taiwan Service Area, Taipei County, Taiwan Rice, The Hermit Residential Building, Taipei, Taiwan 1998̴Eole’s Bench, Special Education School, Kaohsiung, Taiwan 2014̴Spiral, Hua Nan Bank Office Building, Taipei, Taiwan 1996̴Dancing Dragon, Nan Tan Residential Building, To Gather, Taipo Residential Building, Hong Kong Kaohsiung, Taiwan Concerto, Fubon Insurance Building, Taipei, Taiwan 2013̴Crossover, Telin Taiwan Science Park Office Building, Taipei, Taiwan Turning Point, Chuan Lien Office Building, Taipei, Taiwan 2012̴Aquarium, Qian Yue Residential Building, Taipei, Taiwan 2011̴Bridge, Peak Residential Building, Taipei, Taiwan
131 扮蘛
ଙ㬵，౯覍ଉଛ螀胼磪战ग़ඪ瞱౯ጱ๏㮉。ٌӾ殾粬獨ӞጱฎӞ᪠褛౯妿稲殼蝖蚏չጱ䡗、ݶ碻܈碍 犖ฎ౯ጱૡ֢फ़֎，ၒ膌聅。甇虏౯ࣁ櫝疑ጱ碻狡，ࣁݣ傀胼磪㮆祠蛪ԏಅ，Ӟ㮆౯胼硯ӥ穹᯿ᤈ瑯膏圵圵揗 甇犖者ฎ狒虁౯螐櫝萬蔩瑹Ӿጱ蒸捍犥现磪碻。ێ艰ጱಅࣁ。膌聅者胼妔Ԩ౯盿ஞጱᆙ䛑，虏౯᯿瞺羊ᐟ膏ၚ 。މጱ「萬蔩ጱ硰လ」。౯మ౯य़禊ฎ甇ݳ֢妿涢Ӿ磧犋ٍᎣݷଶጱӞ֖萬蔩疑ع櫞
甇傶౯㮉狒ኸ哴眐咳䠁：ګࣁ盅㬵ጱ獺֢螂纷Ӿ，疴ݘ（Nicolas Bertoux）1犖ݑణෝ膌聅傶౯ಅ戔ӥጱ狒虁秚 獺ጱ绚樌，ᘒ犥மෝ፥౯，綍ᛗ虏౯㮉胼䄪蜱Ԓ婛瑿獺֢，犋ݑ౮憒膏维ᛚಅ褖。䌘ෝ胼䄪ℂԪᛔ૩ಅ窼眢 苭獤睃ଛ。櫒簁౯Ꭳ螇膌聅ݻ㬵奞ஞ獈盏，֕౯犋嘦کጱ萬蔩獺֢、ࣁ狒磪籆眐ጱݶ碻螭䢐磪䠁箒ጱ绚樌，౯㮉眤 。䌘౯㮉ጱ獺֢癲㬵芛य़ጱ䒻ۗ膏段；䌘ෝ甇ಅ狶ጱӞ獥，౯㮉ኧ蔴瑿眤蘛ێਧ甇ฎ玽Ꭳ螇甇ጱۘ
֢ߝ。蝡ࢧ稲妿疥蜱18ଙٚଶ膐旰ڊஞ，螩藶౯疻מࣁ౯๗ጱ萬蔩稲纷Ӿ，战ग़๏膏萬ୁ䌘౯ጱ֢ߝ಼瞱茐 蘷๖肜碻，犢螭ڡଙ獮܈ݣ玖㬵疻薩。ࣁԫک，㮆疻，蠪衅ጱ碻樌ԏԋ，覍穉疨ଉ。覍ଉṛ岉蝡稞胼䛑๖肜螩藶 ጱ玢虡。ࣁᮎԏ盅，౯ڰฎ֖萬蔩瑹ጱ碝Ո，֕吚碻犢疰犥螂Ոጱ籆眐螭磪缏பࣁ萬蔩ኴ೪ጱ究ஞ虏౯㮉ኸӥ窼 。ጱᒽ疻Ո，ๅ᯿ᥝጱฎ౯㮉౮傶ԧፘἩ玎ඪ瞱ጱᎣԻٍّێӞ᪠憎挨ԧ犢ጱ౮裾、፡犢౮傶Ӟ֖腭蘷膏段
䌘౯ᘒ，Ӟ֖ԧ薹౯ጱ獺֢稲纷膏ኞ妿涢ጱՈݳ֢ฎկٚ᯿ᥝ犋螂ጱԪ：蝡胼虏౯㮉አ痀ෝᛔ૩ጱ㵕 。磧聅অጱ౮ຎڊ承䕍珊匍
碝ڜӞ羬ڊ౯蝡稞ጱ疻薩吚֢ฎӞ稞窼獥ጱ窼珅：珅蝱ԧय़ᰁጱ碝準绚穥，ࣁᛔ૩ጱ誢羬愊獉玕、㪔ݺ羳 ֢膏碝。蝡稞㮆疻ฎ㮆虏౯膏聲फ़֎、碝๏Ӟݶ獤Ձ౯獉ࣁସ瑼笕瑼ፐ硯ጱ瓼秚。౯㮉ࣁ種ईӥ圵ৼ，አ 橕眢ਝ狡，㪔萞種虏「獉ࣁԏସ」犥耆舯ଉ覇。婛ֵ磪碻Ꭳᶪ櫞疨，౯Ֆ禼碀樄ஞ瞍ጱӞ薫，虏य़疑胼磭 。战֦犖胼ࣁٌӾ疨憎痀ෝᛔ૩ጱ臻苌，މว皃战⋯⋯㬵矐ᔱ౯ጱ獉ࣁԏସط憎ٌӾጱ
粬獨眤蘛౯ጱݳ֢फ़֎ ౯మ䌘疴ݘ．揔膌Ӥ窼獥ᘒ獊ᶎጱ眤筕，犢ฎ磧༉ጱՈኞ֎㭏膏ப禂फ़֎，ᴻԧ䌘౯ጱ盿ஞᆙ觎犥现ඪ 。蜱֢ۗፅ臑ग़ڜ瞱，犢ࣁ萬蔩Ӥጱ掘妿涢，䌘౯獺֢蝡羬
132 ：౯మ蝱Ӟྍ䌘蝡犚ṛଶ䌕禂ጱૡ֢फ़֎蔭螈౯抁䡗ጱ蘛
ظ㫎．疄猈ڥ甂葦蝀 姘．ܜ硢： ᓕቘ： 臷揔 ૡ֢ਰ 珏ၴኢس甂ڜے .碲．揔 Artco s.r.l ᥜ茹．姘၎ᮎ 揔萬蔩獍ݪ ݢ凟萆疴疴獍ݪ ԭ罡粬．粬凟荠．㴄 ݥଂ臵蘊．૬၎疴 臵疴ේ泷凟罡獍ݪ ᯾ේ．๔໒ ݣ傀ظ ：ቘۗ ਞ．۱蜢 ֜疍狕ڥ甂ᩱ ڥ憙憽戔懯： 嬝य़ 珂笠猵 ظ㫎．艌ૻ㫎ڥੂ 㫎．穉ٌڥ㫎．၎絮न ਞ盓ڥਞ趨
2016ଙ12์20෭，ෝल姘（Seravezza） 萆絍ই
萬蔩礯կ，֢ߝ憎ෝӤၹ、詂、筏槹、ݣ傀缛وݶ蕣֢ԧ战ग़य़ࣳ獍و疴ݘ．揔（Nicolas Bertoux）傶萆絍ই獺֢Ӥጱफ़֎。獋Ո 1 。（ल姘（Seravezzaڥ瑿。匍膏萆絍ই֘ࣁ嬝य़
133 Acknowledgment
For many years and decades, I have been fortunate enough to be surrounded by so many supportive friends. One person, who stands out and survived with our ups and downs, is my dear friend and accomplice, Joyce Hung. She has given me a home base here in Taiwan when we had to be away from home, where I can completely lay down my heavy bags of feelings and doubts. She refreshes me with care and sincerity and keeps me away from the negative discourse of the art world and sometimes the politics of art. I am probably the least well known artist she ever had to handle in her profession.
This protective net Joyce created for me, and later on also for Nicolas, gave us space to be creative, to be natural, to be reflective as needed and sometimes even self-indulgent and not to have to follow the norm. Together with Nicolas, I am grateful to be doing what we love to do, to have passion and to have creative space. I don’t know if Joyce, in her discreet manner, knows how effective and influential she has been for us in our development; we are forever grateful to her.
In earlier days of my artistic path, many people and galleries graciously put their faith in me and invited me to exhibit. This time, after almost 18 years since my last solo exhibition, it has been a long incubation. I am very pleased to be invited by Sean Hu to exhibit in Taipei. When I first met Sean, more than 20 years ago, he was a relative new comer to this art world. But we were impressed by his passion and will to stay and be active in the art world. Since then, I have seen Sean grow to be a courageous and VLJQLȴFDQWDUWFXUDWRUEXWPRVWRIDOODGHGLFDWHGDQGORYLQJIULHQG
It is important to me that I am working with people who have followed my artistic path, understood our way of life and allowed us to flourish in our own rhythm and persuasion.
134 I see this exhibition as a deep breath, taking in lots of air into the depth of my system and out again with a set of new works and expression. This exhibition is a way to gather old friends and new to share my “inner garden” where there is time for blossom; seeds have been planted and with nurturing, we will keep alive “The Inner Garden”. Sometimes, it is not understood or may be overlooked but I want to keep a small opening so you can take a look inside… discover my inner garden, perhaps you will discover yourself.
Special Thanks to My Collaborators Affectionate and overall gratitude to Nicolas Bertoux best partner in life and in profession for his support, caring and offering his artistic experience to help to me make these latest collection of works.
ΖZRXOGOLNHWRH[WHQGP\VLQFHUHWKDQNVWRWKHVHKLJKO\TXDOLȴHGSURIHVVLRQDOVZKRΖKDGJUHDWSOHDVXUH to work with: Photographers: Administration: Rebecca Orlandi Veljko Zejak Quentin Bertoux Artco s.r.l. F.lli Galeotti Jiefu Zhou Simone Verona B&P Art Co., Ltd. Corsanini & C. s.r.l. Ümit Turgay Durgun Stefano Baroni La Fenice Marmi s.r.l. Assistants: Christian Lange In Taiwan Graphic designer: In Italy Aurélien Boussin Kevin Ho Andrea Rovatti Andrea Bianchi Milija Cpajak Hanru Wu
Seravezza, Dec. 20, 2016 Cynthia Sah
135 獉ࣁԏସ萆絍ই㮆疻 The Inner Garden, Secrets to be shared - Cynthia Sah Solo Exhibition
䌕蜉䁆ᤈ Exhibition Catalogue
者 翥 蜉̴̴ 胪๖肜 Chief Editor Sean C. S. Hu 䁆ᤈ翥蜉̴̴ 翰๏㴤臻犱讙܉紲莞ਨ笰 Executive Editors Coe C.P. Chiang, Vivian Liu, Huang Chien-Yu, Tsai Wan-Chieh 㫎၎絮न Designer Andrea Rovattiڥ戔̴̴懯 ਞ趨 硢̴̴̴̴ 碲揔ᥜ茹姘၎ᮎ Photographers Quentin Bertoux, Simone Verona, Stefano Baroni ݥଂ臵蘊૬၎疴 ٢翨ሴ肜ฬ Translators Ho Guan-Wei, Wang Sheng-Chih֜ ᘉ̴̴捌̴̴ 抁 Publisher Wang Ko-Chenظ咳 ᤈ Ո̴̴ ሴ .咳 ᤈ ಅ̴̴ ො萬ୁ胂犩磪褖獍ݪArtco s.r.l. Publishers Double Square Gallery Co., Ltd., Artco s.r.l ,瑿̴̴࣎ ݣ玖૱Ӿઊ玟玖ਞ᪠ 770 ૭ 28 蒈 Publisher Address No. 28, Lane 770, Beian Road, Zhongshan District, Taipei 104 Taiwan 襎̴̴扖 +886 2 8501 2138 Telephone +886 2 8501 2138 㯽̴̴፥̴ +886 2 8501 2338 Fax +886 2 8501 2338 翕̴̴̴̴̴࣎www.doublesquare.com.tw Website www.doublesquare.com.tw .磪褖獍ݪ Printer Sunrise Art Printing Co., Ltdڬ෭㵕萬蔩玢̴̴̴ڬ玢̴̴ 粚෭๗ 2017 ଙ 2 ์ Published in Febuary, 2017ڊ ,6%1 978-986-91867-9-7 ISBN 978-986-91867-9-7
疻薩䁆ᤈ Exhibition
疻薩ᒽ㴟瞚旰 讙܉紲珂Ӿଘ莞ਨ笰 Exhibition Coordinators Huang Chien-Yu, Michael Wu, Tsai Wan-Chieh 疻率㶧旰 ሴ艓 Assisting Coordinator Pin Pin Wang 憙憽戔懯 㴤膌ਡ Visual Designer Liu Chih-Hung 䨝懯 愊ణ Accountant Lin Li-Hui .揔萬蔩磪褖獍ݪ Coordination B&P Art Co., Ltd ێ㶧 袅 ᥜ茹姘၎ᮎ Video Simone Verona
國家圖書館出版品預行編目 (CIP) 資料
內在之庭 : 薩璨如個展 / 胡朝聖總編輯 . -- 臺北市 : 双方藝廊 , 2017.02 136 面 ; 23 x 23 公分 ISBN 978-986-91867-9-7( 精裝 ) 1. 石雕 2. 作品集
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