黃憶人 AMBER BOY

Amber 琥珀是一種能凍結時間與生命的神奇物質，與人類有著淵遠流長的歷史連結。在古老的西方神話中是太陽神的眼淚，在東方傳說中則是老虎魂魄所化成的寶石。到了現代，琥珀搖身一變成了熱門電影中的關鍵題材，侏羅紀公園揭露了琥珀中的生命密碼讓恐龍重生，創造了另一個人類與遠古巨獸共存的平行時空。

在亞洲有一位琥珀界的傳奇人物黃憶人先生，就如同他的名字是命定一般，從孩童時期就與琥珀結下不解之緣。投入超過 40 年歲月的蒐集與研究，以古生物學家的身份參與了許多新物種的論文發表，更進一步成功的將琥珀從科學研究材料轉化為藝術創作材質，以全新的視角與技法，重新詮釋琥珀，賦予當代藝術的新面貌。
琥珀在科學家眼中是唯ㄧ能將遠古生物以最佳狀態保存下來的完美載體，所以也稱呼它是「時空膠囊」。這樣絕無僅有的材質觸發了藝術家的靈感，仿如將自身化為琥珀樹脂，運用其巧思與技法，以藝術的形式記錄當下所見證的一切事物，永續流傳代代傳承。

2021 年 10 月黃憶人先生以藝術家的身份參與台北國際藝術博覽會，發表最新的琥珀藝術創作；2022 年四月更以科學家兼藝術家的身份，為台中國立自然科學博物館策劃了為期近一年的琥珀專題特展，展現一場科學藝術兼容並蓄的知識與心靈饗宴。

2024 年黃憶人先生於高雄佛光山佛陀紀念館舉辦個展「緣起—黃憶人琥珀藝術個展」，本次大展為藝術家藝術生涯極為重要的里程碑，展覽內容貫穿黃憶人先生近十年來最完整、展品最豐富的作品，讓觀眾一睹藝術家與琥珀的緣起初心。

2026 年一月，黃憶人（Amber Boy）作品〈聖杯虎〉於臺南市美術館一館特展《恁兜攏按怎拜？從餐桌到神桌的藝術連結》的「百虎齊發」展區中展出。展覽以日常餐桌作為策展發想，沿著生活紋理的延展，思考神桌如何成為承載人間願望與信仰寄託的場域。

同年六月，於臺南市美術館一館特展《搜查記：警察異能館》參展，攜手「怪奇事件調查委員會」展開跨領域學科的歷史考究。面對歷史認識的「錯訊」與偏差，藝術家透過反覆辯證，將搜查〈南無警察大菩薩〉圖像所碰觸到的繁複問題轉化為可見的景觀，深入殖民治理與大眾文化，透過不同時代的警察形象與視覺文化，引領觀眾展開跨越百年的歷史重探與追查。

Amber is a miraculous medium capable of freezing time and life itself, sharing a profound and enduring historical connection with humanity. In ancient Western mythology, it is revered as the tears of the sun god, while Eastern legends perceive it as a precious gemstone transformed from the ethereal spirits of tigers. In the modern era, amber has evolved into a pivotal motif in popular cinema. Jurassic Park unveiled the biological codes preserved within amber to resurrect dinosaurs, crafting a parallel universe where humanity coexists with ancient behemoths.

In Asia, there is a legendary figure within the amber realm: Amber Boy. As if predestined by his very name, he has forged an indissoluble bond with amber since his childhood. Dedicating over 40 years to meticulous collection and research, he has contributed to numerous academic publications on newly discovered species as a paleontologist. Transcending his scientific background, he has successfully elevated amber from a mere subject of scientific inquiry into a sophisticated medium for artistic creation. Through groundbreaking perspectives and innovative techniques, he reinterprets amber, endowing it with a striking new presence in contemporary art.

To scientists, amber is the ultimate vessel, uniquely capable of preserving ancient organisms in pristine condition—a true “time capsule.” This unparalleled material has deeply catalyzed the artist’s inspiration. As if embodying the amber resin himself, he channels his ingenuity and masterful techniques to document contemporary existence through art, ensuring these captured moments endure and are passed down through generations.

In October 2021, Amber Boy participated in ART TAIPEI as an artist, unveiling his latest visionary amber artworks. Subsequently, in April 2022, embodying the dual roles of scientist and artist, he curated a nearly year-long special amber exhibition at the National Museum of Natural Science, orchestrating a profound intellectual and spiritual feast that seamlessly integrated scientific inquiry with artistic expression.

In 2024, Amber Boy held his monumental solo exhibition, “Once Upon a Chance 緣起 “, at the Fo Guang Shan Buddha Museum. This major exhibition marked a pivotal milestone in his artistic career, presenting the most comprehensive and richly curated collection of his works from the past decade. It offered audiences a profound glimpse into the artist’s original, serendipitous encounter with amber.

In January 2026, Amber Boy’s masterpiece 〈聖杯虎〉 was featured in the “Roar of a Hundred Tigers” section of the special exhibition, Where We Eat, Where We Pray: From Dining Table to Altar, held at Tainan Art Museum Building 1. Drawing curatorial inspiration from the everyday dining table, the exhibition explores the textures of daily life, contemplating how the altar transforms into a sacred sanctuary that bears human aspirations and spiritual devotion.

In June of the same year, the artist participated in another special exhibition at Tainan Art Museum Building 1, Investigation Chronicles: The Police Expo. Collaborating with the Strange Cases Investigation Committee, he embarked on a cross-disciplinary historical investigation. Confronting the “misinformation” and deviations inherent in historical narratives, the artist engaged in rigorous dialectical reflection. He transformed the complex issues encountered while researching the image of Namu Police Great Bodhisattva into a compelling visual landscape. Delving into the intersections of colonial governance and mass culture, and utilizing police imagery and visual culture across various eras, the exhibition guides the audience on a profound century-spanning journey of historical re-exploration and inquiry.