- Established Studio at Taipei, Taiwan
- Graduated from Fine Arts Department of Chinese Culture University
- Military service, Appointment as an Art Coach, Two Champion award in Painting Competition
- Graduated from MA Fine Art department, National Kaohsiung Normal university.
- Won the first place in Literary and artistic creation award of Ministry of Education at 2000.
- Won the first place in 58th National Art contest.
- Won the first place in 17th Nanying Awards.
”Ink Rhyme with Subtle Colors”, a work of deeper feelings for hometown, continues to develop “Mysterious Trail” and “Backyard Series” for recounting beauty of ecology at the Laonung River.
Mi Li Tsun Nan is a painter, real name Wang, Chia-Nung, courtesy name Wang Wei and also known by his literary name Mi Li Tsun Nan; his creative power is from Mi Li Village of Pingtung County, his hometown. Creation is a mission. Leaving hometown after my school life, even though I spent several years with the rebellious character of that age to chase the dream, hometown has been embedded inside my body; simple and honest. When I was young, I rode a bicycle in the country, taking a schoolbag to step on the mud in the irrigation pond with bare feet and playing till dark. Sugar cane car from sugar factory run to and fro, and I bit on sugar cane with my schoolmates looking at the old man who harvested bananas at banana field. How can I forget my original intention for young arrogant to this day as I bore dreams by carrying painting tools to draw sketch from nature everywhere? Beautiful sunset shuttling back and forth in trees, the images of sugar cane cars and banana trees are like yesterday. Silver grass was foggy over the Laolung River under the Likang Bridge every year. Now, the difference is that the silver grass seems no longer tall but a little more free and easy beauty. As soon as the sun covered by trees goes down, I in the creation used to ask myself if I have gone back to the original intention. Yes, the answer is positive.
Transformation of beauty from this land and this feeling, I, the youngest child in the family, born in Mili Village of Pingtung County was taken care by my father and brothers as I was not asked to work in the field in my childhood. I didn’t go home right away after school but splash in the water at river bank, viewing adults’ painting at neighboring elder’s home sometimes, painting on the sand with tree branches, and making me always miss dinner time, so as to enjoy myself. It was the growth process of my childhood that I not only was involved in country life of sports in a football team and doodle, but also cultivated enthusiasm and longing for the painting. I focused on the pursuit of artistic ideals when I was young. On the way of art, I got acquainted with many elders being both my friends and mentors, in which Mr. Hsi, Der-Chin has the most impact on me. In those years, I accompanied him to shoot old-age houses where those plain and unsophisticated buildings are located at rural soil. At the same time when I assisted Mr. Hsi in shooting old-age houses for data collection, I was also encouraged and praised by him. Our mutual correspondences became my motto in the creation at an early age, which strong feeling of hometown has laid an importance position in my mind.
The creation of “Mysterious Trail” mainly focused on broken roof tiles at childhood home and a whole row of big trees through the ages impressed us. At the beginning, the creation of “Backyard Series” was to dive into the form of performance with subtractive rhythm of the drawing texture to express the story of the picture, enabling its ink color to naturally show levels in texture variation. In general, sculptor may enrich expressive force, inverted reflection and daylight of a sculpture by means of the surrounding scenery, causing the environment to become an integral part of the modern sculpture; in fact, flat drawing also follows such a rule, view borrowing and conversion, etc.
Multiplex and diversification of modern art including some reciprocal contradictions are quite different from pure uniformity of traditional and classical art. Real things for visual expression in the painting led into memory abstraction cannot be separated from the picture composed of materials. Effective use of light and colors is painter’s basic presentation in traditional painting skill while the selection of light will cause the effect of the picture structure and the use of color will present depth of the picture space; I was caught in the myth of the technique several times. To keep searching the desired presentation closer to my mind, I created a series of styles as “Backyard Memories”, finding a right balance for visual perception in space and texture without affecting the picture and applying the thought to present the depth of indentation for the creation of oriental style of hollow strokes with subtraction method.
The technique of Chinese painting is supported with the painting of its frame, and that of western painting is realized by brushwork; different methods of brush movements make ever-changing lines, e.g. draw, trace, push, scrape, brush, wrinkle, wipe, dot and so on. The presentation of general painting can build an image by addition method while the subtraction method of wash or wipe can create atmosphere for free application to direct the creation of ”Ink Rhyme with Subtle Colors”.
It has been more than 30 years, I also specialize in the revolution of creative material for wrinkle method. So as to make wrinkle method become three-dimensional touchable texture and drawing texture in western painting. It has been my investigative creation form by combining wrinkle method with drawing texture over the years. Although the color emphasizes on thick ink and the ink charm in the field of traditional ink painting, I’m trying to keep the lasting appeal of ink and make ink run back and forth on the texture, deducting extra ink color for further examination and improvement again and again to stop where the lasting appeal of ink achieves. I usually don’t deliberately decorate my creation with heavy colors but a little bit colors under high light contrast to display the beauty of such lands. In pursuit of the feeling “between the like and the unlikeness”, my creative works may have special content to appear artistic conception of ZEN.
I’m so lonely on the journey of artistic creation; that’s always the case for an artist’s feeling. After painting on the places far away from home, feelings of hometown hidden in my heart are getting stronger. I ‘m often back to hometown during the period I settle down in Kaohsiung. When silver grass blossoms in the autumn, the Laonung River covered with white snow looks so beautiful. Naturally, silver grass becomes a very important material for my creation. In addition to the beautiful scene at Laonung River in silver grass season, the exposed soil from flooded sand dune as usual gives me much strong visual image. During the prevailing season when typhoon passes through Taiwan on August and September, it’s also blooming period of silver grass all around the riverbed. Strong typhoon hit Taiwan in beautiful blossom season of silvery grass often causes the whole riverbed a scene of devastation everywhere and river way a lot of change. When we look for painting subjects on the river bed, excavators are always seen on the river bed of the Laonung River where sand mining is so frequent; gravel trucks that are running back and forth on the river bed to kick up clouds of dust really make people sigh. Natural environment even benefits us, but we relentlessly destroy it. Extreme beauty of natural ecology is shocking; however, ecological protection must be a concept for anyone who becomes an artist shall have.
Whenever I wear rain boots stepping on riverbed soil in the country, the only quiet sound is rustling wind, mixed with a stream of water seeping into the soil underfoot. With the breath in contact with soil, such authentic hometown taste penetrates my heart moved by the love to spread on the canvas. I anticipate that the feelings for my hometown and respect towards nature can be revealed unintentionally on the picture.
Mi Li Tsun Nan 2017
2003 / 高雄市立美術館「心墨無法」水墨大展
2004 / 中國廣東美術館「台灣現代水墨畫展」
2005 / 中國青島美術館「台灣現代水墨畫展」
2006 / 中國廈門中華兒女美術館「台灣現代水墨畫展」
2007 / 高雄市立美術館「神祕痕跡1-瀰力村男個展」
2007 / 高雄市立文化局「神祕痕跡2-瀰力村男個展」
2007 / 中國成都美術館「成都雙年展」
2008 / 台北國父紀念館「第二屆臺北當代水墨雙年展」
2008 / 高雄市立美術館「美術館典藏作品展」
2009 / 台北市市立美術館「開顯與時變－創新水墨藝術展」
2010 / 中國桂林美術館「台灣二十一世紀現代水墨畫展」
2010 / 國立歷史博物館「台北第三屆臺北當代水墨雙年展」
2010 / 國家文化總會「百歲百畫」台灣當代畫家邀請展
2011 / 兩岸四地 上海、香港、澳門、台灣、當代水墨畫聯展
2011 / 高雄荷軒新藝空間開幕「當代名家藝術聯展」
2012 / 台北國父紀念館「匯墨高升2012國際水墨大展
2012 / 韓國「韓中美術交流展」
2013 / 台灣「白線的張力」兩岸三地現代水墨展
2014 / 山東博物館「白線的張力」藝術大展
2014 / 台北長流美術館「藝意深遠 台中韓交流展」
2015 / 高雄荷軒新藝空間「瀰力村男繪畫個展」
2015 / 台中現代畫廊「後院憶迴-瀰力村男個展」
2015 / ART KAOHSIUNG高雄國際藝術博覽會巴比頌畫廊「代理畫家作品展」
2016 / 屏東巴比頌畫廊「墨韻微彩-瀰力村男當代水墨個展」
2016 / 高雄市立美術館「沉默風景展-藝術視界的人文觀想」
2016 / ART TAINAN台南國際藝術博覽會巴比頌畫廊「代理畫家作品展」
2016 / 台北福爾摩沙國際藝術博覽會巴比頌畫廊「代理畫家作品展」
2016 / 港都國際藝術博覽會巴比頌畫廊「墨韻微彩-瀰力村男當代水墨創作個展」
2016 / 台中國際際藝術博覽會巴比頌畫廊「代理畫家作品展」
2016 / 山東弘川現代美術館「台灣藝術家邀請展」
2016 / 台北國際博覽會巴比頌畫廊「墨韻微彩-瀰力村男個展」
2017 / 於香港會展中心「全球水墨大展」
2017 / 台北福爾摩沙國際藝術博覽會巴比頌畫廊「代理畫家作品展」
2017 / 台中國際藝術博覽會巴比頌畫廊「代理畫家作品展」
2017 / 海峽兩岸中國畫名家精品邀請展「山東濰坊魯台會展中心」
2017 / 台北國際博覽會巴比頌畫廊「墨韻微彩-瀰力村男個展」
2017 / ART KAOHSIUNG高雄國際藝術博覽會巴比頌畫廊「代理畫家作品展」
2017 / 台中豐邑美術館「瀰力村男當代水墨創作個展」
2017 / 台北國父紀念館「2017台北國際水墨大展」
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