​大    頭    菜    Kohlrabi

90年代中期之後，黃館長在畫面加入新的媒材─金箔，作為背景空間的表現介質。帶著輻射光感的金箔，同時在畫面呈現平面與立體兩面效應，猶如另外結界一堵牆面或內陷空間。同時，主體則持續發展由炭精筆觸與單一色彩所演繹的幻覺世界。

油畫<大頭菜>正是在橘子的基礎上，添加新媒介的嘗試。三顆(或一顆反復出現的)球形物體，成一橫列佇立在畫面中央的矩形空間前，四周布滿不斷出現的主體灰階影像。

1996年的<橘子系列>，則減除反復影像，運用金箔與單純的主體，讓高明度的背景與沉穩的主體，對調冷暖明暗常態，並交叉對比金彩色面的平整與水果質感的大筆觸。2000年<水仙>三聯屏，則強調空間無限延伸的大場景，並加入96年之後在前景留白的作法。這樣的反轉、對比、反復與留白方式，使作品更具裝飾性與當代風格。

After the mid-1990s, Huang added a new medium, gold leaf, as an expressive medium for the background space. The gold leaf, with its radiant light, creates both a flat and three-dimensional effect on the surface of the painting, as if it were another wall or a trapped space. At the same time, the main body continues to develop an illusionary world interpreted by charcoal brushstrokes and a single color.

The oil painting "Kohlrabi" is an attempt to add a new medium to the orange. Three (or one recurring) spherical objects stand in a horizontal line in front of a rectangular space in the center of the painting, surrounded by a continuous grayscale image of the subject.

In 1996's "Orange Series", the use of gold foil and simple subjects was eliminated, allowing for a high brightness background and a calm subject, contrasting warm and cold light and dark constants, and contrasting the flatness of the gold colored surface with the large strokes of the fruit texture. The 2000 "Narcissus" triple screen emphasizes a large scene with infinite space, and adds the practice of leaving white space in the foreground after '96. Such inversions, contrasts, repetitions and white space make the works more decorative and contemporary.

大頭菜 Kohlrabi

黃才郎 Huang Tsai-Lang

1993 / 油彩、畫布 Oil on Canvas / 60 × 72 cm