Draw me a poem of days


Art Statement Sketchbook, a place where I can draw freely.
When I started college, I began carrying my notebook with me every day. Whenever I had time, I would open it to write and doodle.
The notebook became my intimate companion, a place where I could confide at any moment.
I would feel a bit anxious if it wasn’t by my side.
Whenever something came to mind, or even if nothing came to mind, whenever I read a great quote, I would jot down my feelings in the notebook.
I would clip in small pieces of trash, paper scraps, and documents I liked.
When it became thick and wrinkled, filled with writing and drawings, I felt a great sense of satisfaction.
When I studied abroad in Paris, I brought this habit with me to an unfamiliar land.
Due to the unfamiliar environment and language, I recorded more and more in my notebook. Although it felt a bit lonely without the company of family and friends, having my notebook in my bag gave me a sense of security.
In 2015, during the graduation exhibition at the École des Beaux-Arts in Paris, I exhibited 15 notebooks of various sizes that I had used during my time studying abroad.
They were like archives, storing my time in Paris. At the time, my professor told me to cherish these notebooks, as they were full of potential. In this exhibition, I am showcasing three notebooks and two sketchbooks from 2022 to the present, documenting my life in Japan.
For me, these are very personal collections, traces of my daily life.
This is the first time I am revealing such an intimate side of myself.
They are like my wordless diaries, recording my feelings at the moment.
When asked what I am drawing, it’s always been a difficult question to answer directly.
I think since I started drawing, I have been trying to find the answer through my art.
Whether there is a correct answer or not is still unclear, but so far, I think I might be trying to tell myself about my own existence.
When I draw, I feel present. I hope to share with you the days when I draw.


上大學時,開始每天都帶著我的筆記本,只要有時間就打開書寫、塗鴉,筆記本變成我的親密的隨 身物品,一個可以隨時傾訴的地方。
只要不在身邊就會有點緊張,想到什麼,或想不到什麼,讀到 一句很棒的話都會將當下的感受收進筆記本裡。
將喜歡的小垃圾、紙片、文件都夾進筆記本裡,當 它變得厚厚皺皺的、寫滿畫滿東⻄時,就覺得很滿足。 我在巴黎留學時,也帶著這個習慣到了人生地不熟的國度。
因為不熟習的環境語言,筆記本裡記錄 的東⻄越來越多了,雖然沒有了家人朋友的陪伴有點孤獨,但只要包包裡有筆記本,就覺的很有安 全感。
2015年在巴黎美院的畢業展,展出了15本大大小小,在我留學期間所使用的筆記本,裡面像 是資料一樣,儲存著我在巴黎的時間,當時的教授叫我要好好珍惜這些筆記本,它們充滿了可能 性。
在這個展覽裡,展出了2022年到現在的三本筆記本以及兩本寫生本的作品,紀錄了在日本生活的這 段時間。
對我來說都是很私人的收藏,是過日子的痕跡,這是第一次將我的很內在的一面展現出 來,想是我的沒有文字的日記,紀錄著當下的感受。當被問到在畫什麼,一直都是個很難直接回答 的問題,我想從我開始畫畫以來,一直嘗試著用畫畫去找到答案。
有沒有正確的答案可能還不太清 楚,目前為止,我想可能是想要告訴自己,自己的存在,當我在畫圖的時候,我感受得到當下。

黃品玲 (ピンリン・ホワン ) 1986年台湾、新竹県生まれ。
現在横浜市在 住。2009 国立台北芸術大学卒業、專攻絵画。
2014 エコールデボザール(フラ ンス国立高等美術学校)大学院修士課程修了。
ホワンは自身のこれまでの体 験や記憶の小さな断片を拾い集め、紡ぎ合わせた詩的な風景画を描いていま す。
それは留学のために自国台湾を長期間離れたホワンが故郷を想い、改め て外界(社会)と自己との関係を見つめなおしたことによって生まれた心象 風景です。
描き留めた何冊ものスケッチブックをもとにしながら過去と現在 を行き来し見落としてしまいがちな小さな事物を捉え画面に重なって表れる そのイメージは、柔らかな色彩と質感、筆の痕跡によって独特の世界を創り出します。
視点によって変化するその風景は私たちにどこか懐かしさと心地 よさを感じさせます。
近年の展示に「 ダスト・オブ・マインド」( nca | nichido contemporary art 、東京、2017)、「 Sound Talks: Local Soundscape Collecting Project 」(Hong-Gah Museum、台北、2021)、 「 川面から昇る夢」 ( nca | nichido contemporary art 、東京、2021)など。国立台湾美術館に作品 が収蔵されている。
Pin-Ling Huang was born in 1986 in Hsin-Chu Taiwan.
Graduated from Taipei University of the Arts in 2009, and obtained the DNSAP from Beaux-Arts de Paris in 2014.
She uses oil paints as a painting material.
Her paintings focus on the theme of the landscape of the inner world in her mind.
Her earlier works in the university period force on the fluidity and the nature of painting materials.
The theme of the works is about the relationships between the natural environments and the artificial landscapes by the way of non-figurative paintings.
Her work was also collected by the National Museum of Fine Arts in Taiwan.
During her stay in France, her works were selected for the ‘Jeune Création’ award in Paris in 2012. Her first abroad solo exhibition ‘Piece of Peace’ was held in Prague in 2013.
And her graduation solo show ‘Lonely Land’ was held in Beaux-Arts de Paris in 2014.
In 2015, she had a solo exhibition ‘Somewhere Else’ in the gallery in Paris.
Her first solo exhibition in Japan ‘ Dust of Mind’ was held in Tokyo in 2017.
She also had a solo exhibition ‘Dreams Rise From the River Surface’ in Tokyo in 2021.
She participated in several exhibitions in Taiwan and abroad. Also, had the experiences of Artist-in-Residence in Korea and France.
She is currently working and living in Japan, in an art residency at the Koganecho Area Management Center in Yokohama.


黃品玲,1986年生於台灣新竹,畢業於國立臺北藝術大學美術系,留學法國巴 黎,於2014年取得國立巴黎高等美術學院(ENSBA)高等造型表現國家文憑 DNSAP(BAC+5),2015回台灣居住,在台北工作與創作。在北藝大時期使用壓 克力創作擅長使用顏料流動的特性與硬邊處理表現畫面,專注於非具象風景討 論自然環境以及人造地物之間的關係,受到國美館青年典藏計劃典藏,並參與 台灣國立美術館、關渡美術館的展覽。
前往法國留學期間開始使用油畫為主要 創作媒材,使用油畫顏料本身的厚度與質地產線感性的厚度與線條,受到隻身 在異地生活的經驗影響,開始關注於內在經驗以及自身的情感狀態,以風景的 意象描繪內心的感受以及記錄記憶的片段。
留學期間入選當代指標性展覽 《Jeune Création》並且參與展出。
2014 年在巴黎美院舉辦的畢業個展《Lonely Land》(孤寂之地)得到當時校長尼可 拉.布希歐(Nicolas Bourriand)的佳評。
2017年於東京展出個展《Dust of Mind》。
目前在橫濱黃金町區域管理中心駐村 中,並持續參與國內外展出。
傳統的油畫媒材如何轉化成當代藝術的語言表 達,傳遞現代人可以與之共鳴的感受,始終是當代藝術創作者深入挖掘的命 題,也企圖以此命題拋出一種可能。