Exhibitions Now On
[Listening to Silence] Joint Exhibition of Pu Hao-ming (蒲浩明) and Pu Yi-chun (蒲宜君)
Exhibition Name | [Listening to Silence] Joint Exhibition of Pu Hao-ming (蒲浩明) and Pu Yi-chun (蒲宜君)
Exhibition Period | 2026.05.30 - 2026.07.27
Opening Hours | 10:00 - 19:00 (Closed on the first and third Tuesdays of each month)
Location | Third Floor Exhibition Hall, Spotlight Art Center (光點藝術中心)
Address | No. 18, Ceramic Street, Yingge District, New Taipei City (新北市鶯歌區陶瓷街18號)
Exhibition Hotline | 02-2678-6577
Exhibition Introduction |
In this world full of sound and speed, silence is often overlooked. Yet, for art, silence is not emptiness but a deeper state of perception. "Listening to Silence" as the theme of this exhibition presents the two artists' different responses to "space" and "existence." Although the media and forms of Pu Hao-ming (蒲浩明) and Pu Yi-chun (蒲宜君) differ, they engage in dialogue with each other within an inner stillness.
Pu Hao-ming's (蒲浩明) calligraphy and sculpture series transform the rhythm of writing into three-dimensional spatial structures. Calligraphy is originally a temporal act of writing, but in sculpture, the brushstroke is condensed into a form that can be walked around and viewed. Lines extend, penetrate, and interweave in space, like the flow of breath in the air, making sculpture no longer just a material mass but a perceptible energy field. Transparency and voids constitute important parts of the work, allowing viewers to feel the "spirit resonance" (氣韻) and "blank space" (留白) inherent in Eastern calligraphy.
Pu Yi-chun's (蒲宜君) sculptures and paintings point to inner spiritual landscapes. Her works often appear in gentle and quiet postures, as if the forms slowly take shape in time, possessing both material weight and dreamlike poetry. The texture of metal surfaces, the contemplative postures of figures, and symbols such as clouds, stars, and inner landscapes make the works a quiet gaze upon memory, time, and the soul.
In the world of sculpture, form is often understood as the existence of weight, volume, and space. Yet for many sculptors, creation does not stop at the three-dimensional. When the sculptor's hand returns to paper, lines, ink marks, and brushstrokes often continue the same thinking: about space, time, and how existence slowly manifests within matter.
"Listening to Silence" unfolds precisely in this context. In this exhibition, sculptures and two-dimensional works are displayed side by side, allowing viewers to see the flow and transformation of sculptural thinking across different media. The two-dimensional works are not accessories to the sculptures but another field where forms are generated—on paper, forms have not yet been completely solidified; they are still in a state of becoming.
In this joint exhibition, the lines of calligraphy, the ink marks of painting, and the forms of sculpture form a cross-generational dialogue. Pu Hao-ming (蒲浩明) opens up space through the movement of calligraphy, making sculpture like poetry written in the air; Pu Yi-chun (蒲宜君), in her quiet figures and symbolic forms, presents a spiritual dimension of inward gazing. Together, they create a field that is both fluid and still, allowing viewers, as they look and move, to gradually enter a slowed-down perception.
This exhibition is not merely a juxtaposition of media but a viewing of how forms are born. As viewers move between sculptures and paintings, it is as if they walk through different layers of space: from the weight of matter to the lightness of lines, from tangible forms to inner landscapes. In the space, one hears the breath of lines; in the forms, one feels the sedimentation of time; between the works and the viewer, a silent and open spiritual space emerges.
Exhibition Period | 2026.05.30 - 2026.07.27
Opening Hours | 10:00 - 19:00 (Closed on the first and third Tuesdays of each month)
Location | Third Floor Exhibition Hall, Spotlight Art Center (光點藝術中心)
Address | No. 18, Ceramic Street, Yingge District, New Taipei City (新北市鶯歌區陶瓷街18號)
Exhibition Hotline | 02-2678-6577
Exhibition Introduction |
In this world full of sound and speed, silence is often overlooked. Yet, for art, silence is not emptiness but a deeper state of perception. "Listening to Silence" as the theme of this exhibition presents the two artists' different responses to "space" and "existence." Although the media and forms of Pu Hao-ming (蒲浩明) and Pu Yi-chun (蒲宜君) differ, they engage in dialogue with each other within an inner stillness.
Pu Hao-ming's (蒲浩明) calligraphy and sculpture series transform the rhythm of writing into three-dimensional spatial structures. Calligraphy is originally a temporal act of writing, but in sculpture, the brushstroke is condensed into a form that can be walked around and viewed. Lines extend, penetrate, and interweave in space, like the flow of breath in the air, making sculpture no longer just a material mass but a perceptible energy field. Transparency and voids constitute important parts of the work, allowing viewers to feel the "spirit resonance" (氣韻) and "blank space" (留白) inherent in Eastern calligraphy.
Pu Yi-chun's (蒲宜君) sculptures and paintings point to inner spiritual landscapes. Her works often appear in gentle and quiet postures, as if the forms slowly take shape in time, possessing both material weight and dreamlike poetry. The texture of metal surfaces, the contemplative postures of figures, and symbols such as clouds, stars, and inner landscapes make the works a quiet gaze upon memory, time, and the soul.
In the world of sculpture, form is often understood as the existence of weight, volume, and space. Yet for many sculptors, creation does not stop at the three-dimensional. When the sculptor's hand returns to paper, lines, ink marks, and brushstrokes often continue the same thinking: about space, time, and how existence slowly manifests within matter.
"Listening to Silence" unfolds precisely in this context. In this exhibition, sculptures and two-dimensional works are displayed side by side, allowing viewers to see the flow and transformation of sculptural thinking across different media. The two-dimensional works are not accessories to the sculptures but another field where forms are generated—on paper, forms have not yet been completely solidified; they are still in a state of becoming.
In this joint exhibition, the lines of calligraphy, the ink marks of painting, and the forms of sculpture form a cross-generational dialogue. Pu Hao-ming (蒲浩明) opens up space through the movement of calligraphy, making sculpture like poetry written in the air; Pu Yi-chun (蒲宜君), in her quiet figures and symbolic forms, presents a spiritual dimension of inward gazing. Together, they create a field that is both fluid and still, allowing viewers, as they look and move, to gradually enter a slowed-down perception.
This exhibition is not merely a juxtaposition of media but a viewing of how forms are born. As viewers move between sculptures and paintings, it is as if they walk through different layers of space: from the weight of matter to the lightness of lines, from tangible forms to inner landscapes. In the space, one hears the breath of lines; in the forms, one feels the sedimentation of time; between the works and the viewer, a silent and open spiritual space emerges.
Event Details
- 2026-05-30 — 鶯歌光點美學館