「五十五年下來，我蠻清楚，其實每個系列不一樣，但是光還是我最重要的、最想表達的元素。」

每天清晨四、五點就起床，迫不及待等著天亮開始創作，直到黃昏才走出工作室，坐看海上光線變化、月亮升起。藝術家江賢二創作超過半世紀，堅持自已的道路，不斷追求蛻變，從前半生在紐約、巴黎「封窗作畫」，直至回到台灣，在自己的土地上創作出傲視藝壇的「百年廟」系列、在台東感受燦爛陽光而創作的「比西里岸之夢」系列，江賢二始終走一條孤獨的道路，如同信仰一般，相信藝術可以淨化世界。

江賢二在紐約、巴黎時期的作品，顏色多深黑濃重，具有崇高的內在力量，不斷探求生死與生命奧義。江賢二將畫室窗戶封住，孤獨面對藝術給予的大哉問。《巴黎聖母院》與《遠方之死》，是此時期的代表作。

返台定居台東金樽之後，作品繽紛多彩，「雖然有些人看起來以為是花，但我畫的是台東。」

他最近著手將金樽工作室打造成藝術園區，邀請藝術家來駐村，啟發更多創作的可能性。他謙稱，「這是一個藝術家能對社會做的一點小小貢獻。」

In the Spotlight: Paul Chiang: a lifetime in search of the light

“For the last 55 years, it’s been clear to me that each series is different; however, light remains the most important element that I want to express in my work.”

Every morning he wakes up at 4 or 5 AM excited to begin his latest creation as the sun comes up. He doesn’t leave his workshop until dusk. By night, he watches the light dance on the surface of the ocean while the moon rises.

Artist Paul Chiang has been creating art for more than half a century. He remained committed to forging his own path through continued metamorphosis across the covered window paintings of his younger years in Paris and New York City up until his critically acclaimed “Hundred Year Temple” series and “Pisilian” series, bursting with the explosive sunlight of Taitung, that he created upon returning to his native Taiwan.

Chiang has followed this singular path with an almost religious conviction that art can heal the world.

While in New York and Paris, Chiang’s work was full of deep blacks and rich colors. His paintings were infused with a lofty intrinsic power dedicated to exploring the mysteries of birth, death, and life. He would cover the windows of his studio and individually confront the big questions presented by his art. “The Notre Dame de Paris” and “Death in Distance” are representative pieces from this era.

Upon returning to Taiwan and settling in Jinzun, Taitung, Chiang’s work became much more colorful. “Many people tell me they see flowers, but I painted Taitung.”

Recently, he’s been working to convert his workshop in Jinzun into an artist’s retreat. He hopes to invite artists to participate in an artistic residency that would inspire greater creative possibilities. He modestly offers that, “This is an artist’s humble contribution to society.”