Ink painting is a traditional Chinese medium and a symbol of Eastern humanistic spirit. In the face of rapidly advancing global scientific civilization, modern life is increasingly shaped by emerging technologies and digital information. In Taiwan, a new generation of contemporary ink artists is integrating new media and technological elements into their practice, opening up innovative possibilities and dynamic developments for ink art.

The exhibition “Think Change – Taiwan Contemporary Ink Art Exhibition: Cross-Disciplinary Reconstruction” is curated by Professor Lien-Tung Chuang, Chair of the Department of Fine Arts at National Taiwan Normal University. It brings together ten graduate and postgraduate students from the department, all born between the 1970s and 1990s. Professor Chuang’s curatorial concept centers on posing critical questions through discussion, merging the flexible perspectives of the younger generation. By converging differing elements to seek common ground, the exhibition encourages a dialectical interplay of expanded and focused interpretations of contemporary themes. Through the collective strength of this group, diverse viewpoints are presented, each rooted in “point-based” ink thinking: exploring how a conceptual point—based on Eastern aesthetics—can lead to transformations in medium, technique, and form, while ultimately returning to examine the core qualities of ink and Eastern consciousness.

The creative process in this exhibition reflects generational attitudes, where topics are explored through both the breadth of visual expression and the depth of ink’s spiritual essence. The resulting works create a new visual lexicon that transcends boundaries and redefines ink art in contemporary terms.

This new generation’s ink practices extend beyond technical exploration into conceptual fusion—engaging in self-reflection and responding to global environments, societal shifts, and ecological awareness. Their works include “conceptual ink”, which creates semi- and fully three-dimensional dialogues; “ink installations”, which employ light and shadow to interpret traditional Chinese void-solid imagery; and “ink videos”, which introduce notions of time and space. These approaches cleverly integrate heterogeneous materials, generating fresh visual experiences and endowing contemporary ink art with new symbols and renewed vitality.

水墨是中國傳統媒材，為東方人文精神的象徵，全球隨著科學文明的高度發展，人類藉助新興科技資訊全面影響著生活模式，在臺灣新世代當代水墨創作者，結合科技新媒體元素運用與思考，多元化的發展學習，使水墨創作注入更多的新契機。

此次邀請國立臺灣師範大學美術學系主任莊連東教授策劃「思變—跨域重構的臺灣當代水墨展」，是集結出生於1971-1990年代的在學美術學系創作組十位博碩生，莊連東教授策展的概念『是以拋出議題討論的方法，結合年輕世代的靈活觀點，透過「異中求同」的聚合，讓議題詮釋的觀點在擴延與聚斂中交互辯證，然後以集體的力量呈現不同視角的議題效應，這是點狀的水墨創作思考，思考如何以一個點為中心，立基於東方思維的美學觀，嘗試改變媒材，形塑不一樣的技巧，再以多元的形式建構嶄新的水墨樣態，然後回歸水墨特質與東方意識地檢視。於是議題探討的創作實際，具體反應世代觀點的思維態度，一方面讓議題的討論向廣度的水墨表現形式擴張，另一方面探向水墨精神內涵的深度理解，然後從實質操作的作品，鋪排出跨越領域的新水墨意象。』

新世代水墨創作從技術層面的拓展到觀念思想的融合，引入自我反觀全球環境、社會現象、自然生態的感知，從「水墨觀念」構成半立體與立體對話型式；「水墨裝置」用光影詮釋中國虛實意象；「水墨錄像」產生時空意識的思維。作品中巧妙的融合異質元素並激盪出新的視覺效果，使水墨的場域更具豐富性，帶給當代水墨跨域新符號、新生命。