臺南藝術家陳正雄，1942年生於安平，1955年起陸續跟隨北港佛像店、鹿港李煥美師傅練習雕刻，在1958年正式出師後持續參與廟宇雕花工作，除了在雲林、嘉義的廟宇留下其手藝之外，臺南西羅殿、安平天后宮、高雄超峰寺也有其木雕、藻井創作。除了沿襲傳統廟宇雕刻技法，陳正雄於1960起開始自我摸索，以肖像、生活主題切入，逐漸集中於勞動者、異鄉者、庶民群體的造像，逐漸豎立其風格，並以此主題於70至80年代獲獎無數，甚至成為日本新構造社會員且榮獲「雕刻大賞」。

　　陳正雄作品主題以臺灣社會常見之人文特色出發，以人為中心主體，不僅傳達出肖像寫實特性，更利用人物姿態營造出整體情感氛圍。這些情感的傳遞，來自於陳正雄對臺南的生命觀察與個人的創作習性，因其創作時需反覆咀嚼其情感才能下刀，故而情感盎然。此外，雕塑作品不同於平面創作，可讓觀眾四周環繞欣賞，故除單一人物造像外，陳正雄作品中的情感流動，更來自於群像中每個個體的互動關係。

   因本展屬於前導展，故選件將著重於陳正雄成名作—〈討海人系列〉，同時結合上述兩項陳正雄作品特性，亦展出〈廟前群像〉以及〈南北管樂曲〉作品，企圖以成熟風格代表作，傳遞陳正雄雕塑技藝，並以廟前、南管群像，展現人物情感與臺南風貌。本展名為「安平・平安・人」，乃展現陳正雄以安平為創作概念之外，更欲表達出陳正雄作品中，人群之安居樂業、辛勤勞動、歡欣收穫等樣貌，傳達庶民對平安之寄託。

    Tainan artist Cheng-Hsiung Chen was born in Anping in 1942. In 1955, he began to study carving, first at a temple statue shop in Beigang, and then with the Lukang master Huan-Mei Lee. After he finished his apprenticeship in 1958, he continued to work on temple woodcarving projects. He not only left traces of his craft in temples in Yunlin and Chiayi, but also created wood sculptures and caisson ceilings for Tainan Xiluo Temple, Anping Tianhou Temple, and Kaohsiung Chaofeng Temple. In addition to following the traditional temple carving techniques, Cheng-Hsiung Chen began exploring new territory in 1960. Using portraits and themes from daily life, he gradually shifted his focus to depicting groups of laborers, outsiders, and ordinary people, gradually establishing a style of his own. In the 1970s and 1980s, he won countless awards for works of such themes; he even became a member of Japan’s Shinkouzou Society, and was honored with the "Sculpture Award” at the Shinkouzou Exposition.

    The themes found in Cheng-Hsiung Chen's works are inspired by the cultural characteristics of Taiwanese society; in his art, people are the central subject. Not only do his works have the realism of portraits, but he also uses the postures of the figures to create an overall emotional atmosphere. The transmission of these emotions comes from Chen's observation of Tainan life and his personal habits. He is full of emotions because he needs to mull over them while he is in the process of creating. In addition, sculptures differ from two-dimensional works in that they can be appreciated by the audience from all angles. Besides the sculptures of solitary figures, Chen also creates emotional flow from the interaction between the figures in his group sculptures.

    As this exhibition is a preliminary exhibition, it will focus on Cheng-Hsiung Chen’s most famous works: the Fishermen series, which combine two of the aforementioned characteristics of Chen's work; Group in Front of the Temple; and Nanguan and Beiguan Music. The exhibition is the TAM’s attempt to showcase Cheng-Hsiung Chen’s sculptural skills with the masterpieces from his mature period, and depict personal emotions as well as scenes of Tainan with his Temple and Nanguan group sculptures. The title of the exhibition is Anping—Peace—People; other than highlighting Anping, Cheng-Hsiung Chen's hometown and inspiration, the TAM also wishes to express the ordinary people’s wish for peace found in Chen’s depiction of them working hard, enjoying the harvest, and living happily.

陳正雄 Cheng-Hsiung Chen