陳品陶 Chen Pin Tao

b. OCT 1994 Greenwich, Sydney, AUS




Descendent of an esteemed violin maker and hailing from a lineage of master craftsmen, Tao's refined images, objects, assemblages and spaces contain immense exotic, ethereal, and incorporeal allure, embedded within their exuberant visual and material complexity.  The display of analog and digital virtuosity in Tao’s works unravel between both folk traditions and technological acceleration.  These imagery and objects are means to excavate alienated ancestral history, romanticism and poetics through deep introspection, and to examine humanity's inability to comprehend the sublime.  Tao’s subject matter focuses on the relationship of human beings and culture, particularly tackling notions of identity, desire, eroticism, estrangement, displacement, and belonging.

In an accelerated and trance-like state induced by the fissures between contemporaneity, historicism, modern science and mysticism, Tao creates ecstatic realities––or unfoldment––through the alchemy of history and fantasy, expanding the already rich ontological vocabulary of contemporary Chinese materialism towards a Chinese spirituality.  Reality is stranger than fiction, Tao’s primary interest resides in the exploitation of the splits in reality, and their transcendental and transgressive qualities, examined through the interplay of figures and space in painting, and objects and space in sculpture.






出生於小提琴名匠世家的陳品陶,混合了實物與數位媒體,民間傳統和科技革命就此在他的作品中碰撞產生視覺上的張力。視覺影像的昇華與物理世界的複雜性為陳品陶的創作帶來異化、超凡空靈風華。 陳品陶的創作命題環繞於內在獸性情感與外在世界的種種牽纏瓜葛。超越了歷史、浪漫主義和詩意,他用作品去探思人類對於物外之物的有限認知。

於歷史和奇幻中煉金,陳品陶於他架空的創作世界中,混合了歷史,科學,科技,與神秘主義,創造出了充滿狂喜的現實;將中國式唯物主義中的本體語言繼續延伸。現實總比虛構更怪異。 而陳品陶以繪畫及雕塑作品的形式對空間透視,人類感知,及現實超現進行探索,表達在現實與虛幻之間那虛無飄渺的灰色地帶中綻放的原始能量。