李振明_上拍藝術家 | Galerie des Beaux Arts 博藝畫廊

Artists

李振明

出生 1955年
籍貫台灣-嘉義
1984 台灣師範大學美術系畢業
1988 台灣師範大學美術研究所碩士

現任台灣師大美術系所教授，曾任該校美術系主任、藝術學院院長。曾任國際彩墨畫家聯盟秘書長、台灣彩墨畫家聯盟會長。國家文化藝術基金會、國父紀念館美術審查、現任台灣師大美術系所教授、博士生導師、台灣美術院院士、曾任台師大美術系主任、台師大藝術學院院長、韓國東國大學客座教授、天津南開大學客座教授、台中教育大學、台中科技大學及東海大學美術系所教授。21世紀現代水墨畫會副會長、國際彩墨畫家聯盟秘書長、台灣彩墨畫家聯盟會長、台中藝術家俱樂部會長、元墨畫會會長。文建會、國家文化藝術基金會、國美館、國父紀念館、台北市文化局等之諮詢、審查。全國美展、全省美展、中部美展、大墩獎、高雄獎、中山文藝獎、桃園美展、府城美展、玉山獎、磺溪獎、桃城美展、苗栗美展等評審。
個展二十餘回，並多次參加國內外重要聯展，包括台灣、香港、中國大陸、美國、法國、西班牙、俄羅斯、加拿大、比利時、日本、韓國、馬來西亞、薩爾瓦多、南非、波蘭、菲律賓等。

出生於台灣省嘉義市，台灣師範大學美術研究所碩士，在台灣畫壇上售到注目，他從1972年習畫開始他覺得似乎應有自己的主觀取捨與構思才是，傳統裡學習技法，那是基礎是必要的；但是走得進去，還得學會如何走出來，他強調文化的主體性:『別人的母親再好也成不了自己的母親』，他批判搬石移樹的傳統畫法，也不滿那些以拍照，速寫稿完成的『寫生國畫』或『改良國畫』，這自然也是對鄉土論者的批判。1984年全力投身水墨後，他就走著一條既堅定專一、又融合多元的長路，他的創作多出於對生活周遭生態環境的關懷，作品於理性節結構中蘊涵著感性內涵，漬染並施、濃淡墨色層層疊累的作法，豐富了原先紙本水墨的單薄。突破中鋒書法性線條的侷限，讓筆墨的線性可能，無拘束的衍生出更多樣的類型，解構出一番別於習見風貌的新風格水墨。相信乃是不棄傳統技法，並且從中再賦予新意的可行作法。

Born in Chiayi City, Taiwan Province, Master of Fine Arts Graduate Institute at Taiwan Normal University, and is attracted attention in Taiwan's painting circle. Since he began studying painting in 1972, he felt that he should have his own subjective choices and ideas. In the tradition, he studied techniques that are foundation and necessary; however, if you enter, you have to learn how to exit. He emphasizes the subjectivity of culture: “Other people’s mothers can’t become their own mothers”. He criticized the traditional painting method of moving stones and trees. He is also not satisfied with the "sketched Chinese paintings" or "improved Chinese paintings" completed by taking photos and sketches. This is of course a critique of localists. After rushing into ink painting in 1984, he walked on a long road that was both firm, dedicated, and multi-faceted. His creations were mostly concerned with the ecological environment around his life. His artwork contained a sensual connotation in the structure of the rational festival. In addition, the combination of stains and dying, thick and light ink layers has enriched the thinness of the original paper ink. Breaking through the limitations of the “Zhongfong” calligraphic lines, the linearity of the pen and ink can be free to derive more types, deconstructing a new style of ink painting that is different from the traditional style. It is believed possible practices that does not abandon traditional techniques and give new ideas from them.