典型的漆工藝創作，涵蓋日常大量的前置工作與作業，如：磨勻色粉、過篩白色蛋殼、裁切螺鈿片等等程序，耗費數小時的時間準備才得以完成，而這也是工藝家每日起床喝咖啡後必定會進行的創作程序之一。螺鈿本就是漆工藝家在台灣創作時經常使用的材料。
有別於傳統漆藝以具象的螺鈿拼組成花鳥等圖紋，易佑安選擇以抽象幾何的形式呈現，排列出方格紋裡，也構築出黑色漆面。《是圓是方》啟發自荷蘭錯視藝術家艾雪（M. C. Escher）圖地反轉的表現手法，近觀時或許目光會被閃爍光澤的螺鈿給吸引，遠觀時才發現黑色漆面的存在，當紋理淡去，即可呈現完整球體輪廓。如此視覺轉換，表達出真實常具多面向，事物的理解需要多層次。唯有保持開放心態，接納不同視角，方能領略事物豐富內涵，深化認知理解。
Traditional lacquer art often involves extensive preparatory work, such as grinding pigments, sieving white eggshells, and cutting mother-of-pearl pieces—tasks that require hours of meticulous effort. These routines have become an essential part of the artisan’s daily practice, often performed after morning coffee. Among the materials frequently used in the creations, mother-of-pearl remains a staple in Taiwan's lacquer craftsmanship.
Breaking away from the conventional representational use of mother-of-pearl to depict floral or avian motifs, Yi Yu-An adopts an abstract geometric approach. In Round And Square, the artisan arranges mother-of-pearl into grid patterns on black lacquer surfaces. The work draws inspiration from Dutch artist M. C. Escher’s optical illusions and figure-ground reversals. Up close, the shimmering iridescence of the mother-of-pearl captures attention, while from a distance, the black lacquer surface reveals itself, and the fading patterns give way to the silhouette of a complete sphere. This visual transformation conveys the multifaceted nature of reality, emphasizing the importance of multi-layered understanding. Only by maintaining an open mind and embracing diverse perspectives can one truly grasp the truth and deepen their understanding of the world.
易佑安 Yi Yu-An
從國中便就從美術班開始，一路接受美術教育，畢業自國立臺灣藝術大學工藝設計學系及研究所，自認骨子裡有愛畫畫的基因，從大學時期開始透過畫筆塗繪進入漆藝領域，自此認定漆藝並潛心鑽研並創作，亦經常往返日本、中國見學漆工藝，對漆工藝擁有深厚情感。現於日本金澤美術工藝大學博士後課程進修，持續以創新媒材結合漆藝創作發展。
科班出身的易佑安，有感於臺日教育文化體系、出身都會與當前山野自然圍繞的生活環境等差異，於本展分別帶來臺、日時期各呈現不同面向的漆工藝作品，從中可見回應地景特質，並展現風格、作法與主題性的迥異與多元，讓人看出其高超漆工藝技術與創作面向。此特色顯見於《群山之島》系列作品。
From as early as middle school, Yi Yu-An began her artistic journey in specialized art classes and continued to receive formal art education. She graduated from the Department of Crafts and its graduate program at the National Taiwan University of Arts, believing she possesses an innate passion for painting. During her university years, she ventured into the field of lacquer art through her painting, a medium she quickly embraced and devoted herself to mastering. Over the years, she has frequently traveled to Japan and China to study lacquer craftsmanship, fostering a deep emotional connection to this art form.
Currently, Yi is pursuing a postdoctoral program at Kanazawa College of Art in Japan, where she continues to explore innovative materials in combination with lacquer art to push creative boundaries.
