1960年代後期李元佳創作中的觸覺轉向

Li Yuan-chia’s Hapic Turn in the Late 1960s

李元佳早年為「東方畫會」創始成員，1960年代移居歐洲，曾以波隆那、倫敦為創作據點，最後在英格蘭北部度過創作生涯最後25年。本文聚焦李元佳的倫敦時期前後，以其於1965至1970年間的幾項展覽及相關藝評為考察對象，探討其創作如何從純粹的平面繪畫，擴展到淺浮雕、立體物件、空間及環境裝置，從而展現出一種強調物性、互動性與身體參與的「觸覺轉向」（haptic turn），並連結了英國的前衛藝術歷史場景。對此的早期重要案例，可見於李元佳在1966年於「信號藝廊」的展覽《3+1》中，首次將作品的邊界擴展至牆面，強調觀者身體與視覺經驗的共存，開啟了他日後更趨互動與參與性的創作傾向。本文進一步討論李元佳後續於「里森藝廊」的《宇宙點》（Cosmic Point）、《宇宙複數版》（Cosmic Multiples）與《金色月亮展》（Golden Moon Show）三次個展，如何將視覺形式結合觸覺、互動性及空間環境，此一方向在他1969年於北英格蘭的「布斯比工作室」展覽中進一步發展為明確的「玩具藝術」（Toyart），將創作注入觀者身體感知與操作之體驗。本文最後以藝術史學者艾力克斯．帕茲所談論的1960年代現代雕塑之轉變，來探討李元佳在此時期創作中的觸覺轉向，如何在與歐美現代藝術彼此交織的同時，又帶著某種離心的傾向。

Li Yuan-chia, a founding member of the Ton-Fan Group, relocated to Europe in the 1960s, working in Bologna and London before spending the final 25 years of his career in northern England. This article focuses on Li’s transitional period in and around London, examining key exhibitions and critical responses from 1965 to 1970. It explores how his practice evolved from purely two-dimensional painting toward low relief, three-dimensional objects, and spatial or environmental installations, marking a“haptic turn”that foregrounded materiality, interactivity, and embodied viewer engagement while connecting with the currents of British avant-garde art of the period. One key early instance of this shift can be seen in Li’s contribution to 3+1, an exhibition at Signals Gallery in 1966, where he first extended the boundaries of his work onto the wall, prompting an experiential encounter that engaged both vision and bodily perception—a trajectory that would later expand into more interactive and participatory modes. The article further examines Li’s solo exhibitions Cosmic Point, Cosmic Multiples and Golden Moon Show at Lisson Gallery, where visual forms were increasingly integrated with tactile, interactive and environmental elements. This trajectory culminated in his 1969“Toyart”works exhibited at Boothby Studio in northern England, which actively invited viewers’bodily perception and manipulation. Finally, drawing on Alex Potts’s account of transformations in modern sculpture during the 1960s, this article considers how Li Yuan-chia’s haptic turn emerged through both entanglement with and centrifugal movement from dominant Euro-American modernist art discourses of the time.