光色合一｜借一抹餘溫
Unification of Light and Color ｜Borrowing the Afterglow
黃敏俊個展
HUANG MING-CHUN Solo Exhibition
回首過往，或許有過喧囂，或許有過沉寂，但正如我畫筆下捕捉的那些光影，所有的經歷最終都會化作最純粹的色彩，留在靈魂的畫布上。
兩年一度的個展，對我而言不僅是創作階段性的總結，更是一場關於「光」與「生命」的深度對話。
本次呈現的作品，延續了多年來對「光色合一」理論的實踐，試圖在畫布上捕捉那抹稍縱即逝、卻又足以慰藉心靈的「餘溫」。
2026 年到來，這不僅僅是年份的更迭，更是一個全新的視野。這一次，我想邀請你來到「秋刀魚藝術中心」，走進我的個展——《借一抹餘溫》。
讓我們在流動的光影與色彩間，借那一抹來自大地的餘溫，溫暖彼此的心房，並在嶄新的一年裡，看見更多生命中未曾察覺的斑斕。
—黃敏俊
Looking back, there may have been moments of clamor, and others of quiet stillness. Yet, like the light and shadow captured beneath my brush, every experience ultimately transforms into its purest hues, remaining on the canvas of the soul.
For me, creation is a long and meditative practice centered on light. In my exploration of Light and Color in Unity, I seek to break away from traditional frameworks by interweaving the three primary colors—magenta, yellow, and cyan-green—to reconstruct the most authentic and transparent sensations found in nature.
As 2026 arrives, it marks more than a simple change of year; it opens a new way of seeing. This time, I invite you to Fish Art Center to enter my solo exhibition, Light and Color in Unity | Borrowing a Trace of Residual Warmth.
Amid the flowing interplay of light and color, let us borrow a gentle warmth drawn from the earth—one that softens our hearts and allows us, in the new year, to perceive the unnoticed brilliance within life.
—HUANG MING-CHUN
藝術家黃敏俊在作品中呈現出最純粹、乾淨；如同眼前所見的真實的光。透過獨特的色彩與光學理論去描述光的顏色，並以其為基礎創作出各種屬於「光」的系列創作。
多年來研究光與色彩的關係，自提出「新光色論」和獨創的「光色合一」三原色後，以「光色」創作許多主題，透過獨有的色彩捕捉靈光，以當代的手法與技巧去翻轉經典，兼具抽象與具象的創作思維，帶來彼此迥異卻又相互契合的作品們
Artist Huang Min-Jun presents a vision of purity and clarity in his works—light as it appears before our eyes, truthful and unadorned. Through a distinctive approach grounded in color and optical theory, he explores and articulates the colors of light, forming the foundation of a wide-ranging body of work devoted to this theme.
Over years of research into the relationship between light and color, Huang has proposed the concept of New Light-Color Theory and developed his original three-primary system of Light and Color in Unity. Using “light color” as a core language, he creates diverse thematic series, capturing fleeting moments of illumination through a unique chromatic sensibility. By employing contemporary methods and techniques to reinterpret classical ideas, his practice moves fluidly between abstraction and figuration, resulting in works that are distinct in character yet deeply resonant with one another.
最新力作
向光而行 Toward the Light
240 x 175 cm / 油彩畫布 Oil on canvas / 2025
光：萬物的起始與歸宿
在我的繪畫語彙中，光並非單純的物理照明，而是賦予色彩靈魂的媒介。透過色彩層次的堆疊與對比，我追求的不僅是視覺上的明亮度，而是光線在空氣中流動的質感。如本次展覽的主視覺所示，當天光在雲層與大地之間交織，那種游移於現實與幻境之間的氛圍，正是我想要傳達的——一種存在於瞬間的永恆感。
Light: The Origin and the Return of All Things
In my pictorial language, light is not simply a physical source of illumination; it is the medium that endows color with a soul. Through the layering and contrast of color, my pursuit extends beyond visual brightness toward the sensation of light flowing through the air itself.
As suggested by the exhibition’s key visual, when daylight weaves between clouds and land, it creates an atmosphere suspended between reality and illusion. This is precisely what I aim to convey—a sense of eternity contained within a single moment.
破曉 Dawnward
90.5 x 60 cm / 油彩畫布 Oil on canvas / 2025
對話 1 Dialogue 1
81 x 145 cm / 油彩畫布 Oil on canvas / 2025
色：情感的溫度計
「借一抹餘溫」不僅是感官的體現，更是情感的寄託。在這個快速變遷的時代，我們穿梭於2025與2026的交界，時間的推移往往讓人感到焦慮。然而，當我們停下腳步，觀察夕陽落在原野上的殘紅，或是晨曦穿透薄霧的微光，那種色彩帶來的暖意，便是生命中最堅韌的力量。我試圖將這些溫暖「借」過來，揉雜進顏料中，轉化為觀眾可以感知的視覺溫度。
Color: A Thermometer of Emotion
Borrowing a Trace of Residual Warmth is not only a sensory experience, but also an emotional gesture.In an era of rapid change, standing at the threshold between 2025 and 2026, the passage of time often evokes anxiety. Yet when we pause to observe the lingering reds of sunset across an open field, or the soft glow of dawn filtering through mist, the warmth carried by color reveals itself as one of life’s most resilient forces.
I attempt to “borrow” this warmth, blending it into pigment and transforming it into a visual temperature that viewers can feel.
對話 2 Dialogue 2
81 x 145 cm 油彩畫布 Oil on canvas / 2025
虹5 Rainbow 5
41 x 53 cm / 油彩畫布 Oil on canvas / 2025
▍藝術家創作自述
【核心論述：光色合一的本質重構】
在傳統繪畫中，光往往被視為照亮物體的外部光源，色彩則是物體的附屬屬性。然而，我的「光色合一」理論試圖打破這種主客體的二元對立。對我而言，光即是色，色即是光。
這種特別性在於：我不再單純描繪「受光後的色彩」，而是追求一種「色彩本身即具備發光性」的境界。透過對色譜規律的精密掌握與對調色的解構，我在畫布上建立了一套內在的發光系統。這種技法讓畫面的色彩不再是被動地反射環境光，而是從纖維與顏料的層次中，自發性地透射出一種精神性的明度。
在《光色合一》的作品中，色彩的疊加並非為了製造厚重感，而是為了創造透明的深度。觀者會發現，即使在最幽暗的陰影處，色彩依然是流動且通透的；而在最強烈的光亮處，色彩依然保持著豐富的飽和度。這種「光與色的絕對交融」，讓視覺不再停留於物象的輪廓，而是引領靈魂進入一種色感與光感交織而成的、純粹的知覺空間。這正是我兩年來持續探索的藝術邊界：讓色彩擺脫物理的束縛，昇華為光影最直接的生命表現。
合一的境界
「光色合一」是我不斷追求的藝術造境。當光不再是客體，色彩不再是妝點，兩者在畫布上融為一體時，繪畫便超越了表象的描摹。誠摯邀請各位步入秋刀魚藝術中心，在光影與色彩的交疊中，尋找那份屬於自己的、平靜而純粹的餘溫。
－黃敏俊
▍Artist’s Statement
Core Discourse: Reconstructing the Essence of the Unity of Light and Color
In traditional painting, light is often treated as an external source that illuminates objects, while color is considered a secondary attribute of form. My theory of “the unity of light and color” seeks to dismantle this binary opposition between subject and object.To me, light is color, and color is light.
What distinguishes this approach is that I no longer depict “color as illuminated by light,” but instead pursue a state in which color itself possesses luminosity. Through a precise understanding of chromatic systems and the deconstruction of color mixing, I establish an internal system of illumination within the canvas.
As a result, color no longer passively reflects environmental light; instead, it emits a spiritual radiance from within the layered fibers and pigments. In works centered on The Unity of Light and Color, layering is not intended to create heaviness, but to generate transparent depth.
Viewers may notice that even within the darkest shadows, color remains fluid and translucent, while in the most intense highlights, saturation retains its richness. This absolute fusion of light and color allows vision to move beyond the contours of form, guiding the soul into a pure perceptual space where chromatic sensation and luminosity intertwine.
This is the artistic boundary I have continuously explored over the past two years:to liberate color from physical constraints and elevate it into the most direct, life-affirming expression of light.
The State of Unity
The unity of light and color is the artistic realm I persistently seek.When light ceases to be an object and color is no longer mere embellishment—when the two merge seamlessly upon the canvas—painting transcends surface representation.
I sincerely invite you to step into Fish Art Center, and within the interwoven layers of light and color, discover your own moment of calm, purity, and lingering warmth.
—HUANG MING-CHUN
流光溢彩
流光溢彩 2 The Glimmering Drift 2
91 x 65 cm (30p) / 油彩畫布 Oil on canvas / 2025
流光溢彩 3 The Glimmering Drift 3
69.5 x 59.5 cm / 油彩畫布 Oil on canvas / 2025
流光溢彩 4 The Glimmering Drift 4
69.5 x 59.5 cm / 油彩畫布 Oil on canvas / 2025
虹系列
虹4 Rainbow 4
33 x 24 cm (3pcs) / 27 x 22 cm (3pcs) / 油彩畫布 Oil on canvas / 2024
虹1 Rainbow 1
69.5 × 59.5 cm / 油彩畫布 Oil on canvas / 2024
虹2 Rainbow 2
81 x 48 cm / 油彩畫布 Oil on canvas / 2024
流光系列
流光1 Fluidic Light 1
120.5 x 91.9 cm / 油彩畫布 Oil on canvas / 2024
流光2 Fluidic Light 2
64.9 x 90.9 cm / 油彩畫布 Oil on canvas / 2024
光抽象 18 Light Abstraction 18
91 x 65 cm (30P) / 油彩畫布 Oil on Canvas / 2024
極光系列
極光1 Aurora 1
69.5 × 59.5 cm / 油彩畫布 Oil on canvas / 2024
極光2 Aurora 2
69.5 × 59.5 cm / 油彩畫布 Oil on canvas / 2024
極光3 Aurora 3
69.5 × 59.5 cm / 油彩畫布 Oil on canvas / 2024
極光4 Aurora 4
81 x 48 cm / 油彩畫布 Oil on canvas / 2024
極光5 Aurora 5
81 x 48 cm / 油彩畫布 Oil on canvas / 2024
光 25 Light 25
81 x 47.5 cm（3pcs）/ 油彩畫布 Oil on Canvas / 2024
天地1 Above and Below 1
41 x 53 cm / 油彩畫布 Oil on canvas / 2025
天地2 Above and Below 2
41 x 53 cm / 油彩畫布 Oil on canvas / 2025
光之窗 2 Window of Light 2
81 x 47.5 cm / 油彩畫布 Oil on Canvas / 2024
光景 1 Light scene 1
118 x 45 x 50 cm / 不銹鋼、烤漆、油彩 Stainless steel, Liquid Coating, Oil paint / 版數 Edition：12 / 2021
「光」是我創作生涯三十年以來主要研究的課題，在創作上逐漸發現過往的色彩理論，已無法滿足我對光影表現的追求。印象派過於注重光影而忽略形體輪廓，以致光影與形體間產生「取捨」，而這成了我欲突破的課題。傳統繪畫長久以來依循光、色分離的概念，兩者三原色並不一致。然而，既然光帶來色彩，光即是色彩，本出同源，最終理應相符，為何兩者之三原色竟有所區別？在我以光的原理所出發的色彩理論中，藍色多為光衰減的結果，因此我進一步調整，以光與色料三原色統一出全新的光色三原色（洋紅、黃、鮮綠），即所謂 「光色合一」，並提出實例及當代色彩理論予以佐證，縮小繪畫與現實之間的差距，使畫面更具傳統繪畫所無法達到的真實與立體感。
－黃敏俊
For over thirty years, light has been the central subject of my artistic practice. As my work evolved, I gradually realized that existing color theories could no longer satisfy my pursuit of representing light and shadow. Impressionism, while emphasizing light, often neglects the solidity of form, resulting in an inevitable trade-off between light and structure—an issue I have long sought to overcome.
Traditional painting has, for centuries, followed a conceptual separation between light and color, even though their respective primary color systems do not align. Yet if light gives rise to color, and light itself is color, sharing the same origin, then logically they should ultimately correspond. Why, then, do their primary colors differ?
In developing a color theory grounded in the principles of light, I observed that blue is often the result of light attenuation. This led me to further refine the system by unifying the primary colors of light and pigment into a new set of light–color primaries: magenta, yellow, and vivid green. This concept, which I call Light and Color in Unity, is supported by practical applications and contemporary color theory.
Through this approach, I aim to narrow the distance between painting and reality, enabling the image to achieve a level of realism and spatial depth unattainable through traditional painting methods.
—HUANG MING-CHUN
黃敏俊
HUANG MING-CHUN
1971 生於台北，台灣
復興美工繪畫組 畢業
1994 建立工作室 桃園市觀音區
個展
2026， 「光色合一：借一抹餘溫」黃敏俊個展，秋⼑魚藝術中⼼，台北
2025 「光 ‧ 徘徊」黃敏俊個展 — 以「光」為「彩」的藝術，米馬羊藝術空間，臺南，臺灣
2024 「泠光」黃敏俊個展，秋刀魚藝術中心，臺北，臺灣
2022 「系譜與辯證」 黃敏俊「新光色論」創作的再發現，秋⼑魚藝術中⼼，臺北 ，臺灣
2021 「系譜與辯證」 黃敏俊「新光色論」創作的再發現，桃園文化局 ，桃園，台灣
2020 「光色合一再辯證」黃敏俊「新光色論」的視覺光譜及其超自然性，耘非凡美術館，台南，台灣
「再科學」黃敏俊個展，桃園展演中心，桃園，台灣
「光色合一再辯證」黃敏俊個展，秋⼑魚藝術中⼼，台北 ，台灣
2019 「光‧形」光⾊合一黃敏俊個展，秋⼑⿂藝術中心，台北，台灣
2016 新色彩觀—黃敏俊 個展 大地的低鳴，桃園文化局 第一展覽室，桃園，台灣
2008 「功夫系列」，上海國際藝術博覽會，上海，中國
「新東方精神-黃敏俊北京個展」，北京798藝術特區MING ART GALLERY， 北京，中國
2005 油畫個展，Galerie la Forge，法國
1994-2020 共舉辦30多個個展
聯展
2025， ART 021 上海廿一當代藝術博覽會，上海，中國
2025，〈混搭誌〉台北藝術週聯展，秋刀魚藝術中心，臺北
2025， ART 021 北京廿一現當代藝術博覽會 ，北京 798·751園區 七九罐，北京，中國
2024， ART 021 上海廿一當代藝術博覽會，上海展覽中心，上海，中國
2024， 〈遺忘與凝望〉雙向奔赴的創作思維，秋刀魚藝術中心，臺北，臺灣
2023 ART 021上海廿一當代藝術博覽會，上海，中國
2023 Art Taipei 台北國際藝術博覽會，台北，台灣
2022 《擬態未來》秋刀魚20週年特展—存在：三部曲，秋刀魚藝術中心，台北，台灣
2022 ART TAIPEI 2022 x 秋刀魚二十週年特展《存在 EXISTENCE》二部曲，台灣，台北
2022 秋刀魚藝術中心20年特展 《存在—以詩性探詢》，台南，台灣
2021 Art Taipei 台北國際藝術博覽會，台北，台灣
2021 Art Tainan 台南藝術博覽會，台南，台灣
2020 迴．游—尋找再棲地與物質記憶，台東美術館，台東
2017 START 藝術博覽會，薩奇藝廊，倫敦，英國
2016 KIAF201 / ART SEOUL 韓國國際藝術博覽會，首爾，韓國
倫敦全球藝術博覽會，倫敦，英國
「未來之島」邀請展START 藝術博覽會，薩奇藝廊，倫敦，英國
2014 這個年代，兩岸藝術家群展，北京，中國
2010 CIGE 中藝博國際畫廊博覽會，北京，中國
2009 Asia Top Gallery Hotel Art Fair 09，首爾，韓國
2006-2022 Art Taipei 台北國際藝術博覽會，台北，台灣
2010-2019 Art Beijing 藝術北京．當代藝術博覽會，北京，中國
2000-2020 約舉辦20個聯展
展期｜Date
2026 / 01 / 10 ~ 2026 / 03 / 28
開幕｜Opening
2026 /01/ 11 , 15:00
地點｜Place
秋刀魚藝術中心 Fish Art Center（台北市中山區基湖路137號一樓）
開放時間｜Open hours
週二至週六 13:00~19:00（週日、一閉館）
聯繫我們
郵箱：info@fishart.com.tw
電話：+886 2 2532 3800
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