進駐成果

這次短暫回到臺灣，我在 Texture版畫工作室進行了四天的進駐。雖然時間很短，回頭看卻發現，這幾天帶來的影響遠比原先預期得更深。

兩年前，我在英國泰特美術館的檔案室裡，因為一張標示著「Atelier 17」的展覽邀請卡，開始了一段關於版畫的檔案研究。這段研究逐漸改變了我對版畫的理解，也讓我在搜尋與閱讀的過程中認識了位於臺南的 Texture版畫工作室。

Atelier 17 由 Stanley William Hayter 於1927年創立，是二十世紀現代版畫發展的重要基地。藝術史學者 Christina Weyl 曾指出，許多後來被歸於 Hayter 名下的技術，其實是在工作室的集體實驗與交流中逐步發展成熟。這件事讓我重新思考：版畫從來不只是單一藝術家的技術，而是一種透過合作、測試、傳遞與共享而形成的實踐。

在 Texture，我再次感受到這種集體性。從佩璇與不同藝術家進行技術研究，到工作室成員之間的討論、示範與交換，版畫的知識並不是固定不變的，而是在不同人的經驗之間持續被重新理解與發展。短短幾天裡的每一場對話，也意外成為我博士研究計畫，以及我重新理解自己作為一名 practitioner 的重要線索。

進駐期間，我也開始問自己一個過去很少真正思考的問題：對我而言，版畫究竟是什麼？

作為一名插畫家，我喜歡版畫裡無法完全預測的部分。它能讓商業創作保留一些獨特的痕跡與微小的叛逆，也讓作品在高度數位化、甚至影像能迅速由 AI 生成的時代裡，仍保有材料、手感與身體勞動所留下的溫度。而從藝術教育工作者的角度來看，版畫又具有非常深厚的文化與歷史背景。它不斷提醒我，印刷從來與訊息傳播、群體合作和文化建構密不可分。

進駐住宿空間裡有許多藏書，我偶然讀到一本關於明信片與傳播史的書。書中談到，印刷技術的發展始終與訊息如何被傳遞有關；而一張明信片真正產生意義，也不只是因為它被印製出來，而是因為它經過書寫、寄送、接收，並留下不同人的痕跡。每一個人都能從自己的角度閱讀它，而這些不同視角共同形成新的敘事。這也讓我重新理解這次進駐的意義。

也許藝術家進駐並不只是離開時留下了一件作品，而是在這個過程裡，讓自己的視角進入一個地方既有的知識、關係與文化之中。我所帶來的插畫與藝術教育背景，也成為 Texture 進駐文化的一部分；而 Texture 的技術、對話與集體實踐，也反過來改變了我觀看版畫的方式。

四天很短，但它更像是一個開始，而不是一個結束。

內容節錄並整理自如意於 Instagram 發表 2025 系列貼文

During this short return to Taiwan, I spent four days in residence at Texture Printmaking Studio. Although the residency was brief, looking back, I realized that those few days had a much deeper impact on me than I had expected.

Two years ago, while doing archival research at Tate Britain, I came across an exhibition invitation card marked “Atelier 17.” That moment led me into a longer investigation into printmaking history. The research gradually changed the way I understood printmaking and, through that process of searching and reading, eventually brought me to Texture Printmaking Studio in Tainan.

Founded by Stanley William Hayter in 1927, Atelier 17 became an important center in the development of twentieth-century modern printmaking. Art historian Christina Weyl has pointed out that many techniques later associated with Hayter were in fact gradually developed through collective experimentation and exchange within the studio. This made me reconsider printmaking not simply as the technique of an individual artist, but as a practice shaped through collaboration, testing, transmission, and sharing.

At Texture, I encountered this collective nature of printmaking again. From Pei-Hsuan’s technical research with different artists to the discussions, demonstrations, and exchanges among studio members, printmaking knowledge does not remain fixed. It continues to be reinterpreted and developed through the experiences of different people. Surprisingly, many of the conversations I had during those few days also became important references for my doctoral research and for reconsidering my own position as a practitioner.

During the residency, I began asking myself a question I had rarely considered seriously before: What does printmaking mean to me?

From the perspective of an illustrator, I am drawn to the unpredictability of printmaking. It allows my commercial work to retain traces of individuality and a small sense of rebellion. In an increasingly digital world, where images can now be generated instantly through AI, printmaking also offers a way to preserve the physical presence of materials, touch, and the human body in the making process.

From the perspective of an art educator, printmaking carries a rich cultural and historical background. It repeatedly reminds me that printing has always been closely connected to communication, collective participation, and the construction of culture.

The residency accommodation was filled with books, and I happened to pick up one about postcards and the history of communication. It discussed how the development of printing technologies has always been closely tied to the transmission of information. A postcard gains meaning not simply because it has been printed, but because it is written on, sent, received, and marked by different people along the way. Each person may read it from a different perspective, and together those perspectives generate new layers of narrative.

This also helped me rethink the meaning of the residency itself.

Perhaps an artist residency is not simply about leaving behind an artwork at the end. It is also about allowing one’s own perspective to enter into the existing knowledge, relationships, and culture of a place. My background in illustration and art education became one part of Texture’s residency culture, while Texture’s technical knowledge, conversations, and collective practice, in turn, changed the way I look at printmaking.

Four days may be short, but this experience feels much more like a beginning than an ending.

Excerpted and edited from Louise’s Instagram posts on her Texture Printmaking Studio Residency Programme 2025.

目前生活工作於台北，創作以版印媒材為核心，關注影像、記憶與物質之間的關聯。早期以銅版畫構築充滿幻想與寓意的風景，近年則以紙平版等實驗性技法為主，透過影像的模糊、錯位與層疊，探索記憶被重構時的流動與不確定性。在創作中往往從日常片段、旅行見聞或地方風景出發，藉由版印媒材的特質，將生活中所捕捉的影像進行轉譯，試圖探討影像中群體的記憶召喚。

Based in Taipei, focusing on printmaking as a core medium to explore the interrelations among image, memory, and materiality. Early works in intaglio printmaking constructed imaginative and symbolic landscapes. Recent projects employ experimental techniques such as paper lithography, examining the fluidity and uncertainty of reconstructed memories through blurring, displacement, and layering. Often beginning with fragments of daily life, travel impressions, or local scenery, images are translated through the material qualities of printmaking to evoke collective memory.
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《進駐紀錄 Residency Reflection》

在寒假的尾聲來到台南進行版畫駐村，4天的進駐雖然很短，但對於短暫的充電很有幫助。

Texture工作室擁有可因應各式版種的設備器材，2樓即是生活起居的空間，早上起床簡單梳洗、晃去附近買食物，回到工作室即可沈浸一整天在創作裡，晚上工作到很晚，上樓梳洗完就可休息。

這樣的模式不禁讓我想起多年前在秋留野駐村的模式，生活起居與創作都緊密結合在一起，空間環境舒適宜人，唯一的差別是texture是位在交通便利以及有太多好吃的食物的地方了吧。不論是版畫創作者，抑或是對於版印創作方式有興趣的人都很適合來此停留。

At the end of the winter break, I came to Tainan for a short printmaking residency. Although the residency lasted only four days, it was a valuable opportunity to recharge and return to my creative practice.

Texture Printmaking Studio is equipped for a wide range of printmaking techniques, while the second floor provides a living space for resident artists. Each morning, I could simply get ready, walk nearby to pick up some food, and return to the studio to spend the entire day immersed in making. Even after working late into the evening, I only needed to go upstairs, wash up, and rest.

This way of living and working reminded me of my residency in Akiruno many years ago, where everyday life and artistic practice were also closely intertwined. The studio is comfortable and pleasant—the main difference may be that Texture is located in such a convenient area, surrounded by far too many good things to eat.

Whether you are already a printmaker or simply interested in exploring print-based ways of making art, Texture is a wonderful place to spend some time.

目前生活與工作於台北

作品通過雕塑以及空間畫構的觀念建構時間、空間、物質、影像、能量之間的韻律關係。近期代表作品〈不存在的姿態〉2019年入選台北美術獎 ; 〈逆行〉於2020年參與法國波爾多生態術(Magie Verte)展覽以及2020個展〈即興曲〉於海桐藝術中心。曾進駐美國Vermont Studio、韓國光州美術館以及台南蕭壠藝術園區等地。期待於Texture版畫工作室藉由版畫的特性進一步發展繪畫與影像方面的創作。

Currently based in Taipei, the artist’s practice explores rhythmic relationships between time, space, material, image, and energy through sculpture and spatial constructions.

Recent works include Nonexistent Gesture, selected for the 2019 Taipei Art Awards; Retrograde, presented in the Magie Verte exhibition in Bordeaux, France, in 2020; and the solo exhibition Impromptu at Haiton Art Center in 2020. The artist has participated in residency programs at Vermont Studio Center in the United States, Gwangju Museum of Art in South Korea, and Soulangh Cultural Park in Tainan, Taiwan.

During the residency at Texture Printmaking Studio, the artist hopes to further develop their practice in painting and image-making by exploring the distinctive qualities and processes of printmaking.

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《進駐紀錄 Residency Reflection》

2020年負責人前去 竹圍工作室 Bamboo Curtain Studio @bcs_tw 駐村，以此契機，進而開啟新的管道-工作室對工作室，期望能建立平等互惠且穩定的國內(外)藝術工作室間人才交流(駐村)。

Today marks Yi-Ting’s last day at the studio.

In collaboration with Bamboo Curtain Studio @bcs_tw, we invited Yi-Ting, an artist whose practice is not rooted in printmaking, to join us for a residency. For us, this was also a new and unfamiliar challenge.

We began by introducing different printmaking processes, selecting techniques that might best suit her work, discussing possible directions, and experimenting with different materials. Throughout the residency, we did our best to become her “printmaking support team,” helping translate the landscape she imagined into print.

Time passed incredibly quickly, and two months were gone before we knew it. We had grown accustomed to always having someone working in the studio, so the sudden quiet feels a little strange.

From barely knowing one another at the beginning to working together every day, the emotional connections that emerge through these daily interactions become especially clear at the moment when it is finally time to wave goodbye.

Tomomi Ono 曾於日本嵯峨美術短期大學（Saga Art College）學習繪畫。之後，她在紐約藝術學生聯盟（Art Students League of New York）師從 Roberto De Lamonica、Richard Pantell 與 Michael Pellettieri 學習版畫，並跟隨 Tamarind Institute 的平版大師 Bill Lagattuta，以及 OM Print House 的 Masashi Ozaki 深入研習平版技術。

自 2006 年起，Tomomi 擔任紐約藝術學生聯盟的平版專業印刷師（Master Printer of Lithography）。她的作品曾於 Hofstra University Museum、Hunterdon Art Museum、Wayne State University、Sacred Heart University、Arizona State University 與 New Jersey City University 等機構展出。

Tomomi 也曾獲得多項美國國內與國際獎項，包括 Japan-America International Printmaking Exhibition Award of Excellence、The Tokushima Modern Art Museum Juror’s Prize，以及 Society of American Graphic Artists 頒發的 John A. Noble Prize for Lithography。

Tomomi Ono studied painting at the Saga Art College, in Japan. She studied printmaking with Roberto De Lamonica, Richard Pantell, Michael Pellettieri at the Art Students League, and with master lithographers Bill Lagattuta at Tamarind Institute and Masashi Ozaki at OM Print house. Since 2006, she has served as a master printer of lithography at the Art Students League of New York. Her work has been exhibited at the Hofstra University Museum, Hunterdon Art Museum, Wayne State University, Sacred Heart University, Arizona State University and New Jersey City University. She received numerous awards nationally, and internationally, including Japan-America International Printmaking Exhibition Award of Excellence, The Tokushima Modern Art Museum Juror’s Prize, and Society of American Graphic Artists the John A. Noble Prize for Lithography. 

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《進駐紀錄 Residency Reflection》

Tomomi Ono 此次受邀進駐，以當代平版材料與技術交流為主要方向，帶來美國現行使用的聚酯平版（Polyester Plate Lithography）與世紀平版（Century Plate Lithography）相關材料。進駐期間除進行材料測試與技術交流，也透過工作坊將相關經驗分享給臺灣創作者，並與 Texture 共同探索這些材料在工作室環境中的實際應用。

今天與Tomomi 在散步去買東西的路上，聊起了到底認識多久，Tomomi是在五年前我（老闆）去紐約進修的時候認識的，雖然我在紐約待一年，但卻只在版畫教室待了4個月。Tomomi 說，她以為是四年，因為我幾乎每天都去難怪她覺得好像認識我很久了，事實上才四個月。 明天，Tomomi 就要離開我們了。

短短的兩個禮拜真的是飛快！也好像一輩子一樣久。最後一晚總是感傷，真心的感謝 #tomomi 對我們無私的幫助！短短兩個禮拜覺得平版經驗值大增(￣^￣)ゞ 短短兩個禮拜，我想我們會成為一輩子的朋友。如同今天Tomomi 見到了28年前認識的朋友，一起去環西班牙結束後就再也沒有見面，今天看到的感人時刻，希望明年就能發生在我們身上，不用再等28年:）

Tomomi Ono was invited to participate in this residency with a focus on the exchange of contemporary lithographic materials and techniques. She introduced materials currently used in the United States for Polyester Plate Lithography and Century Plate Lithography. During the residency, she conducted material testing and technical exchanges, shared her experience with Taiwanese artists through a workshop, and worked with Texture to explore the practical application of these materials within the studio environment.

Today, while Tomomi and I were walking to pick up a few things, we started talking about how long we’ve actually known each other. I first met Tomomi five years ago, when I (the boss!) went to New York for further study. Although I stayed in New York for a year, I only spent four months in the printmaking studio.

Tomomi said she had always thought it was four years—probably because I was there almost every single day. No wonder it felt like we had known each other for such a long time, when in fact, it was only four months.

Tomorrow, Tomomi will be leaving us. These two short weeks have gone by incredibly fast, yet somehow they also feel as long as a lifetime. The last night is always a little sentimental. I’m truly grateful to #tomomi for all her generous and selfless help! In just two weeks, I feel like my lithography experience has leveled up tremendously (￣^￣)ゞ And in these same two short weeks, I think we’ve become friends for life. Today, Tomomi reunited with a friend she met 28 years ago. After traveling around Spain together, they never saw each other again—until today. Seeing that touching reunion, I hope the same thing can happen for us next year. Hopefully we won’t have to wait another 28 years. :)