14453 - 李思樺個展
14453 - Lee Shih-Hwa Solo Exhibition
▎時間：2026/10/24（六）- 11/29（日）
▎開幕時間：2026/10/24（六）15:00
▎公休：每週三四 (Closed on Wed & Thu)
▎地點：台南市中西區民權路二段64巷56號3F
▎藝術家：李思樺 Lee Shih-Hwa
▎主辦單位：應力空間、土星工作室
▎展覽介紹
14453
每個人身體裡，都住著一隻蝴蝶
14453是我迄今為止真實存在、活著的日子總和，也是生命的反向倒計時。
一天由夢醒開始，由惡夢結束。如果蝴蝶是我作為穿現實與虛幻之間，夢境與真實邊界切換身分的依據。
在夢裡，我可以成為任何人、生物，或任何場景，不斷地進行蛻變、重生和選擇我想要的結果。
創作是我生存時間與記憶的總結，記錄過我的成長，累積了我所有的情緒，隱藏著一個不完美的自己。
能有選擇的話，我想化作一隻自由的蝴蝶，擁有它的向陽性，渴望陽光，感知世上一切美好的事物。
14453
A Butterfly Lives Within Each of Us
14453 is the total number of days I have truly existed and lived up to this moment. At the same time, it is a countdown of life, running in reverse.
Each day begins with waking from a dream and ends with a nightmare. If the butterfly is what allows me to move between reality and illusion, then it also becomes the means through which I shift identities at the boundary between dreams and the real.
In dreams, I can become anyone, any living creature, or even any scene. I can transform and be reborn again and again, choosing the outcome I desire.
My artistic practice is a summation of the time I have lived and the memories I carry. It records my growth, accumulates all of my emotions, and conceals an imperfect version of myself.
If I could choose, I would become a butterfly—free, drawn instinctively toward the light, longing for the sun, and sensing all that is beautiful in this world.
▎藝術家介紹 Artist Introduction
李思樺 Lee Shih-Hwa
學歷 Education
2009 國立台北教育大學，藝術與造型設計學系畢業
Graduate at National Taipei University of Education, Department Art and Design
2014 國立台南藝術大學應用藝術研究所碩士畢業
Graduate Institute of Applied Arts , Tainan National University of the Arts
經歷 Experience
2010 台灣金壺獎陶藝設計競賽展，入選，當代陶藝館，台灣
The Third Taiwan Gold Pots Design Contest Exhibition, Contemporary Ceramics Gallery, Taiwan
2011 聯展，亞洲當代陶藝交流展，廣東石灣陶瓷博物館1506當代美術館，中國
Contemporary Ceramic Art in Asia, China
2012 聯展，[大。器] 大崎六六當代陶瓷展，嘉義市立交趾陶館，台灣
2012 駐校阿肯色大學，美國
Residence in University of Arkansas
2012 個展，solo show [INSTIABLE]，Fine Arts building of University of Arkansas，美國
2012 新域 / 東亞當代陶藝交流展，新北市立鶯歌陶瓷博物館，台灣
New Site / East Asia Contemporary Ceramics Exhibition, New Taipei City Yingge Ceramics Museum
2012 第一屆新北市陶藝獎「 陶藝創新獎 創作組 」入選，新北市立鶯歌陶瓷博物館，台灣
The First New Taipei City Ceramics Awards 2013, Finalist of The Innovation Award, New Taipei City Yingge Ceramics Museum
2014 畢業個展，「黼黻蜃景Golden Mirage」，國立台南藝術大學北畫廊第一展覽空間
Graduation Exhibition “Golden Mirage”, Tainan National University of the Arts, the First Gallery
2014 「串聯」陶藝創作聯展 ，富貴陶園藝術文化有限公司
Ceramic art creation group exhibition, Fu- Guei Arts and Culture company
2015 第七屆臺灣金陶獎 社會組銅獎，HCG和成欣業股份有限公司 財團法人和成文教基金會，新北市立鶯歌陶瓷博物館，台灣
The Seventh Taiwan Ceramics Awards, Pro Group Bronze Winner, New Taipei City Yingge Ceramics Museum
2015 「卋繪 X 溯相」陶藝創作聯展 ，富貴陶園藝術文化有限公司
The pictures of floating world, Fu- Guei Arts and Culture company
2017 第三屆台灣青年陶藝雙年展 台灣青年陶藝獎
3rd Taiwan Young Pottery Artist Award & Biennale
2018 「琗璱集錦 X 器曰」陶藝創作聯展，富貴陶園藝術文化有限公司
The pictures of floating world, Fu- Guei Arts and Culture company
2018 跨界・東方 New Orientalia，新北市立鶯歌陶瓷博物館，台灣
IAC National Exhibition, New Taipei City Yingge Ceramics Museum
2019 台灣陶藝獎─ 陶藝創作獎 首獎，新北市立鶯歌陶瓷博物館，台灣
Taiwan Ceramic Art Award - First Prize of Ceramic Art Creation Award, New Taipei City Yingge Ceramics Museum, Taiwan
2020 亞熱帶花園 彩繪陶瓷展，新北市立鶯歌陶瓷博物館，台灣
Subtropical Garden, Painted Ceramics of Our Era, New Taipei City Yingge Ceramics Museum
2020 「霽」台灣陶瓷學會陶藝展，台灣陶瓷學會與國立臺北科技大學共同主辦、文化事業發展系協辦，國立臺北科技大學藝文中心
Azure, Thematic Exhibition of Taiwan Ceramic Society, National Taipei University of Technology
2021 行・色 李思樺＆張曜昌雙個展，富貴陶園藝術文化有限公司
Colorful Behaviors, Double Solo Exhibition, Fu- Guei Arts and Culture company
2021 「工藝新臺客 - 新住民工藝家聯展」，110年度行政院中央大樓工藝品展覽 - 第二檔展覽 ，工藝中心鶯歌分館
New Taiwanese Craft – Joint Exhibition of New Immigrant Craftspeople" 2nd Exhibition of the 2021 Executive Yuan Central Building Craft Exhibition, Yingge Branch, National Taiwan Craft Research and Development Institute
2022 「越實」李思樺陶藝創作個展，國立彰化生活美學館，文化部
"Beyond Real" | Lee Shih Hwa Ceramic Art Solo Exhibition, National Changhua Living Art Center, Ministry of Culture
2023 「混搭」台灣陶芸の今，柿傳藝廊 Kakiden Gallery，東京都新宿區新宿3-37-11
"Hybrid: Contemporary Taiwanese Ceramics", Kakiden Gallery, 3-37-11 Shinjuku, Shinjuku-ku, Tokyo, Japan
2023 「島嶼工藝。流動風景」112年度總統府工藝品展覽，國立臺灣工藝研究發展中心
"Island Craft: Flowing Landscapes”, 2023 Presidential Office Craft Exhibition, Presidential Office Building, Organized by the National Taiwan Craft Research and Development Institute
2024 「微光熠熠」台南400國外藝術家邀請展 —李思樺陶藝創作展，新營文化中心第一畫廊，臺南市政府文化局
"Luminous Glimmers" | Tainan 400 International Artist Invitational Exhibition – Lee Shih Hwa Ceramic Art Exhibition, First Gallery, Xinying Cultural Center, Bureau of Cultural Affairs, Tainan City Government
2024 評審推薦獎，台灣國際陶藝雙年展
Jury's Recommendation, Taiwan Ceramics Biennale International Competition
2025 苗栗陶藝藝術節國際當代陶瓷主題展：可能之外
2025 韓國光州皇家國際陶瓷研討會
Gwangju Royal International Ceramic Symposium
2026 第八屆台灣陶藝金陶獎，社會組銅獎 HCG和成欣業股份有限公司 財團法人和成文教基金會，新北市立鶯歌陶瓷博物館，台灣
Pro Group Bronze Award, 8th Taiwan Ceramic Golden Award , HCG Foundation , New Taipei City Yingge Ceramics Museum
〈割裂感〉
文/應力空間 彭奕軒
a sense of rupture
「割裂感」——這是藝術家李思樺在與我對談、準備應力展覽的過程中，曾經說過的一種感受。我一直記得很清楚，這也是許多人在觀看思樺作品時，很常看不到的那一面。
何謂割裂感？
簡單來說，就是創作出一個美好的、充滿想像力的畫面，但創作者自身投入其中時，卻充滿著壓力、不斷地試錯，擔心自己做得不夠好，而一次又一次地將那些美好的形體與圖像灌注進作品裡。
——停不下來地思考，作品如何能夠更加超越——
A restless pursuit of how the work might move beyond itself.
這一直是我們眼中的思樺。
在這次展覽準備的過程裡，我反而一直與思樺討論：「如何放鬆地做作品？」
但我哪有資格說這些話！
因為作為創作者，我們所追求的，很常就是一種近乎瘋狂，或異於常人的追尋。我們不斷希望把所有的感知放到最大，再將它轉換成自己想要的樣貌。
所以，「如何放鬆」反而成為這次我與思樺對話的主軸。
如何從繁至簡？在這樣的討論過程中，我逐漸感知到的，是一種來自「外部觀看」的無形壓力。思樺希望自己不要愧對每一個與他合作的人，也希望把一切最美好的視覺形象交到我們面前。
很常我們的討論，都會落在「技術」不斷堆疊之後所產生的難度。但其實，作為觀看者的我，很多時候根本感覺不到那些「技術細節」。
這並不是一種諷刺。
而是我真的覺得——已經非常美了。
但思樺會覺得還不夠。
還可以更多。
14453 為這次的展覽名稱，同時藝術家思樺，希望能產生出更能對應自己的樣貌，讓想像延續，讓一切生物形體、形體想像的超越，繪畫與無繪畫之間，全部涵蓋成為藝術家的一部分，雖然依舊「割裂感」很重，但思樺願意將這樣的部分展現出來。
〈A Sense of Rupture〉
Text /Peng Yi-Hsuan, Soil Space
“A sense of rupture”—this was a phrase the artist Lee Shih-Hwa once used during our conversations while preparing for the exhibition at Soil Space. I remember it vividly. It also speaks to a side of Shih-Hwa that many people rarely see when encountering her work.
What does this “sense of rupture” mean?
Simply put, it is the act of creating images that are beautiful and full of imagination, while the artist herself, immersed in the process, is burdened by pressure, constant trial and error, and the fear that what she has made is still not good enough. Again and again, she pours beautiful forms and images into the work.
—A restless pursuit of how the work might move beyond itself.—
This is the Shih-Hwa we have always known.
Throughout the preparation for this exhibition, I often found myself talking with Shih-Hwa about a different question:
How can one relax while making work?
But who am I to say such a thing!
As artists, what we pursue is often something close to madness—a pursuit that may seem unusual, even incomprehensible, to others. We are constantly trying to heighten every perception, to amplify everything we sense, and then transform it into the form we want to create.
And so, “how to relax” unexpectedly became a central thread running through my conversations with Shih-Hwa.
How does one move from complexity toward simplicity?
Through these conversations, I gradually began to sense an invisible pressure that comes from being seen—from an awareness of an “external gaze.” Shih-Hwa does not want to disappoint the people who work with her. She wants to offer us the most beautiful visual form she possibly can.
Our discussions often revolve around the increasing technical difficulty that comes from layer upon layer of making. Yet as a viewer, I often cannot perceive those “technical details” at all.
I do not mean this ironically.
I simply find myself thinking:
It is already so beautiful.
But to Shih-Hwa, it is still not enough.
There can still be more.
More, and more.
14453 is the title of this exhibition. At the same time, it reflects Shih-Hwa’s desire to bring forth something that corresponds more closely to herself—to allow imagination to continue unfolding, and to push beyond the forms of living beings and beyond the imagination of form itself.
Between painting and non-painting, she attempts to embrace everything as part of who she is as an artist.
The “sense of rupture” remains strong.
But this time, Shih-Hwa is willing to let that rupture be seen.