Jun-Yang Li

簡介

1967年出生於台灣花蓮的李俊陽，年少的時候從事電影廣告畫板，也為台灣道教廟宇彩繪宗教壁畫，後來還刻製布袋戲偶。他在恣意衍生的藝術形式裡散發一種野生的創作能量，1997年的行為裝置<七彩迷魂轎>將展覽放在三輪車上，”騎著展覽”在傳統市場裡和庶民互動；2000年於台中二十號倉庫的個展「絕地逢生：黑色筆祭」裡，以鋼索懸吊自己的長髮與衣服，結合素描與速寫進行行為表演；之後於2003年在舊金山的赫德蘭藝術中心駐村，在當地隨意撿拾的落葉上繪畫、又使用這些葉子成為自己的裝扮，進行了一場即興演出。

他是個畫框外的藝術家。自製樂器、玩具、二胡、同時是住家也是工作室的空間、隨手撿拾的日常物件，甚至他的身體，都在他旺盛的創意與想像力的驅動下，成為他創作的呈現平台與媒介。

Short Bios

Born in 1967 in Hualien, Taiwan, Jiun-Yang Li designed numerous movie advertisement posters and Taiwanese Taoist temple wall paintings in his youth. Later, he created puppets for Taiwanese puppet theatre shows. Jiun-Yang Li’s style expresses a form of wild, creative energy unhindered by structure or precedent. For example, for his 1997 behavioral art installation, < Rainbow, Souls >, he placed the installation onto a tricycle, rode it throughout a traditional Taiwanese marketplace, and interacted with bystanders; In his 2000 solo exhibition, “Come Out From A Helpless Impasse：The Black Sacrifice,” at Stock 20 exhibition space, he suspended his long hair and clothes on iron thread and performed sketches for onlookers; Later in 2003, when he resided in San Francisco’s artist community, Headlands Center for the Arts, he painted on leaves he picked up from the ground and decorated his body with them in a public performance.

He is an artist whose style cannot be categorized. Self made instruments, Toys,Urheens, his residence that also is his studio, daily household items, and even his body are all just some of the mediums he uses to express his limitless imagination.

Links

with DJ Rex Chen & Xiao Liu - Sù Vol 3

with Otomo Yoshihide

with Dino