蔡沛倚
简介Biography
蔡沛倚（蔡沛倚_Tsai Pei Yi）1990年生于中国台湾，现居英国伦敦。2020年毕业于国立台湾师范大学美术学系西画组获硕士学位，2024年毕业于英国皇家艺术学院绘画硕士。其创作灵感源于对个人身份和经历的深刻洞察，以及对亚裔酷儿群体在离散社群中的经验探索。蔡沛倚的创作是创伤考古学、形式实验场与生存宣言的三重奏：通过对画布的反复打磨，以层叠覆盖模拟记忆的沉淀与遮蔽，用色彩与肌理搭建临时避难所，最终在个体与集体的裂隙中开辟出抵抗性美学空间。其艺术不仅修复了自我，亦为全球化时代的流离者提供了“生存的图解法则”——如TA所言：“群聚是宿命，隐蔽是策略，而绘画是第三种出路。”
Tsai Pei Yi (Tsai Pei Yi) was born in 1990 in Taiwan, China, and currently lives in London, UK. They graduated from the Western Painting Group of the Department of Fine Arts at National Taiwan Normal University with a master’s degree in 2020, and from the Royal College of Art in 2024 with a master’s degree in Painting. Their creative inspiration derives from a deep insight into personal identity and experience, as well as an exploration of the experiences of Asian queer communities within the diaspora. Tsai Pei Yi’s practice is a triad of trauma archaeology, formal experimentation, and a manifesto of survival: through repeatedly sanding the canvas, layering and overpainting simulate the sedimentation and concealment of memory; using colour and texture they construct temporary shelters, ultimately carving out a space of resistant aesthetics within the fissures between the individual and the collective. Their art not only restores the self but also offers the displaced of the globalised era a “diagrammatic law of survival” — as they put it: “Congregation is destiny, concealment is strategy, and painting is the third way out.”
代表作Selected Works
展览履历Exhibitions
- 2025從我處經過BROWNIE Project
艺见洞察ArtMatters Insights
代表作与创作Selected Works & Style
根据平台档案，蔡沛倚（Tsai Pei Yi，1994年生）是一位常以丙烯、油画、水彩等媒介进行具象与意象创作的艺术家，题材集中于**人物、情感与风景**。
**代表作**（选自档案收录作品）
- 《双生》（2024，油画与丙烯于粗棉布）
- 《双生 II》（2024，油画与丙烯于粗棉布）
- 《隐蔽》系列（II、III、VI，2024–2025，油画与丙烯于粗棉布）
- 《潜行》（2025，油画与丙烯于粗棉布）
- 《暂留》（2024，油画、丙烯和油画棒于粗棉布）
- 《祈》（2024，油画与丙烯于粗棉布）
- 《水镜》（2025，油画与丙烯于粗棉布）
- 《痕迹》（2024，油画、丙烯和铅笔于粗棉布）
- 《刃雪》（2025，油画于粗棉布）
- 《消逝的海市蜃楼》（2025，油画与丙烯于粗棉布）
**创作特点**
- 蔡沛倚的创作被概括为**创伤考古学、形式实验场与生存宣言的三重奏**：通过对画布的反复打磨，以层层覆盖模拟记忆的沉淀与遮蔽，用色彩与肌理搭建一种临时性的精神庇护。
- 技法上大量运用**油画与丙烯在粗棉布上的叠加与打磨**，形成半透明、斑驳、遮蔽与显现并存的视觉语言，使画面带有时间感和修复感。
- 主题上关注个体身份、亚裔酷儿经验在离散中的隐蔽与聚集，把绘画视作在个体与集体裂隙中开辟出的“第三种出路”——既是自我修复，也为全球化时代的流离者提供一种生存的图解法则。
- 视觉气质介于具象与意象之间，人物与情感被包裹在类似梦境、记忆碎片或避难所般的空间里，强调“群聚是宿命，隐蔽是策略，而绘画是第三种出路”。
**Representative Works:**
Tsai Pei Yi's notable works include *"双生" (Gemini)* (2024), *"双生 II" (Gemini II)* (2024), *"潜行" (Stealth)* (2025), *"隐蔽VI" (Concealment VI)* (2025), *"暂留" (Temporary Stay)* (2024), *"祈" (Prayer)* (2024), *"隐蔽II" (Concealment II)* (2024), *"水镜" (Water Mirror)* (2025), *"隐蔽III" (Concealment III)* (2024), *"痕迹" (Traces)* (2024), *"刃雪" (Blade Snow)* (2025), and *"消逝的海市蜃楼" (Vanishing Mirage)* (2025). These works are predominantly executed in oil and acrylic on burlap, occasionally incorporating oil pastel or pencil.
**Creative Style:**
Tsai Pei Yi's practice is a triad of trauma archaeology, formal experimentation, and a manifesto for survival. Her work draws profound inspiration from personal identity and lived experience, specifically exploring the experiences of the Asian queer community within diasporic spaces. She employs a technique of repeatedly sanding down and layering the canvas to simulate the sedimentation and obfuscation of memory. Through the interplay of color and texture, she constructs temporary sanctuaries. Her art ultimately carves out a space of resistant aesthetics in the fissures between the individual and the collective, serving not only as self-repair but also as what she calls "a diagrammatic law of survival" for the displaced in the globalized era. As the artist states, "Congregation is destiny, concealment is strategy, and painting is the third way out."
展览与收藏Exhibitions & Collections
依据平台结构化艺术家档案数据，蔡沛倚的展出机构为 **BROWNIE Project**（2025 年举办个展“從我處經過”）。
关于作品被哪些机构收藏，目前平台档案中尚未收录相关信息，故暂无公开收藏记录。
Based on the available artist profile, 蔡沛倚 (Tsai Pei Yi) has exhibited at **BROWNIE Project**, in the 2025 exhibition titled *從我處經過* (Passing Through Me).
The provided data does not list any institutional collections of her work. If more comprehensive records become available, they may include further exhibition venues or collecting institutions.
