[ 專訪 ] Soft Geometry：澳洲藝術家Holly Terry 以色彩書寫抽象的生命片刻，凝結能量的流動

 

Holly Terry (Photo Credit: Holly Terry ) 

 
 

有些畫面並非有明確的邊界定義，而是在層層色彩的浮現中逐漸顯影。它們沒有固定敘事，卻像是一種內在運動；沒有既定結構，卻自成一種獨特調性。整體觀看的過程，就像在捕捉一股能量的流動。

Holly Terry 的作品正是如此。它們看似輕柔，卻隱藏著堅實結構。她不以線條描繪具體形體，而是透過色彩的層層堆疊，讓畫面自然生成。這些圖像既模糊又清晰、既柔軟又精準，既像是能量的流動，也是一種「狀態的停留」。在她的畫布上，色彩是裝飾，也是一種介於感官與結構之間的語言，憑直覺推進，在混合與消融之間構築出張力。

「Soft Geometry」完美詮釋了她的創作。她以色彩為結構，卻拒絕將作品鎖定於「完成」的定義中，而是任其停留在持續流動的狀態。正如她所言，這些畫作更像是能量的轉譯與時間的片刻凝結，而觀者所看見的，往往不是藝術家想傳達的，而是自己內心需要感受到的。

 
 

  • Some images are not defined by clear boundaries but emerge gradually through layers of color.
    They have no fixed narrative, yet move with an inner rhythm; no predetermined structure, yet hold their own distinct character. To observe them is to follow the movement of an unseen current.

    This is how Holly Terry’s works unfold. They appear soft but carry a quiet structural strength. Instead of outlining forms with lines, she builds her compositions through layers of pigment, allowing each painting to form naturally. Her images are at once blurred and precise, fluid and composed. They convey both motion and stillness. On her canvas, color becomes ornament and language, something that lies between sensation and structure, guided by intuition and sustained by the tension between blending and dissolving.

    Soft Geometry encapsulates her approach. Terry treats color as structure but resists the idea of a definitive finish. Each piece lingers in a state of becoming. As she describes, these paintings are translations of energy and moments in which time briefly takes form. What viewers see is often less about her intention than what they themselves are ready to feel.

 
 

Photo Credit: Holly Terry

 
 

藝術的轉化，自我蛻變的奇異旅程


Holly 是一位自學成才的藝術家，同時也是藝術／設計寫作者，現居澳洲陽光海岸。她的創作主要在大尺幅畫布上展開，透過充滿姿態性的揮灑與細緻的層疊，將生命歷程中的情緒與能量轉化為鮮活的抽象作品。她的藝術旅程在從墨爾本遷居至陽光海岸後迎來了重要轉折，不僅改變了她的生活方式，也讓她的作品注入更明亮的色彩、更開放的筆觸，並展開了對層次、形狀與色彩的嶄新探索。

除了繪畫，Holly 也透過寫作來參與藝術社群，分享她對藝術與設計的獨到見解。她的文字和作品同樣帶有內在的韻律與能量，如同兩條平行的線索，共同指向一個核心：藝術是一種自我發現的過程，也是一種與他人共享的感知經驗。

 
 

  • Holly Terry is a self-taught artist and art and design writer based on the Sunshine Coast, Australia. Working primarily on large-scale canvases, she translates the emotions and energy of lived experience into vivid abstractions through gestural strokes and delicate layering. Her artistic journey took a pivotal turn after relocating from Melbourne to the Sunshine Coast. The move not only reshaped her way of life but also infused her work with brighter tones, more open brushwork, and a renewed exploration of depth, form, and color.

    Beyond painting, Holly engages with the creative community through writing, sharing her distinct perspectives on art and design. Her words and paintings carry a similar sense of rhythm and vitality, two parallel threads leading to the same core idea: art is both a process of self-discovery and a shared experience of perception.

 
 

Photo Credit: Holly Terry

 
 


" Many of which represent my life in that moment. I’ll often paint the canvas with words first and stick figure representations of people, dogs, animals, houses, whatever! "


 
 

深入 Holly Terry 的創作世界

 
 

HC：你的畫作常像懸浮在「形體與流動」之間。當你開始創作時，會先有一個視覺的錨點，還是讓它自然展開？

Holly：我認為我的作品雖然大多是抽象的，偶爾會有一些具象的符號，但我通常會先從一個視覺或文字的「錨點」開始 。這些錨點通常反映了我的心情、當下的處境，或是我正在反覆思考的一句話 。很多時候，它們就是我此刻人生的縮影 。

我習慣在畫布上先寫下一些字，或隨手畫出人、狗、動物、房子等等 。從那裡開始，作品就會慢慢變得抽象。這像是一種反向創作，把具象的意義一步步拿掉，而不是朝著具體的方向走。我最喜歡這種曖昧的狀態，因為它能讓觀眾感受到的，不一定是他們「想要」的，而是他們「需要」的 。我相信藝術作品總會反映出觀看者自身 。

當然，作品背後有我的情緒和能量，但我很難用語言去清楚解釋 ，也不想告訴觀者「這幅畫是什麼」，而是希望他們自己去感受作品的能量

 
 

  • Q：Your paintings often feel suspended—between form and fluidity. When you begin a work, do you start with a visual anchor or let it unfold?

    Holly:
    Although my works are mostly abstract, I usually begin with a visual or written anchor that reflects my mood, a circumstance, or a phrase I have been thinking about. Many of these starting points represent my life at that moment. I often paint the canvas with words first or with small stick figures of people, animals, or houses, whatever comes to mind.

    From there, the work gradually becomes more abstract, almost like working backwards and taking literal meaning away. I prefer when my paintings remain ambiguous because it allows the audience to experience not necessarily what they want to feel but what they need to. I believe art always reflects the viewer.

    My own emotions and energy are present in each piece, but I find it difficult to explain them verbally. I do not want to tell people what the work is about. I want them to sense the energy themselves.

 
 
 
 

HC：色彩似乎是妳作品的主要結構。妳是把它視為情感、氛圍，還是更建築性的元素？

Holly：老實說，我在創作時幾乎不會特別去思考色彩組成，甚至作品完成後也不太會去回想。當我確定了文字或視覺錨點之後，才真正進入繪畫，而在這個階段幾乎沒有太多理性的思考。顏色選擇完全憑藉直覺，我已經不記得上一次刻意去想「下一個該用什麼顏色」是什麼時候了。

因為我的創作速度很快，顏料必須快速下筆，在過程中常常自然混合出上百種不同的色階，也因此幾乎不可能重現一模一樣的作品。等作品完成後，我喜歡回頭去感受它所散發的情緒——這份情感往往透過色彩表現出來，但同時也來自筆觸與動態感。對我而言，色彩更像是一種情感與氛圍的表現。

 
 

  • Q：Colour seems to be your primary structure. Do you see colour as emotion, atmosphere, or something more architectural?

    Holly:
    To be honest, I do not give colour much thought until after the work is finished, and even then, perhaps not that much. Once I have given the piece a written or visual anchor, the real painting begins. During that process, there is very little conscious thought. I choose colours intuitively, almost carelessly, and they often blend into hundreds of different shades as I paint quickly. It is difficult for me to replicate a piece for this reason.

    When the work is complete, I like to take in the emotion of it. I suppose colour gives part of that feeling, but it also comes from mark making and movement. To me, colour is both emotional and atmospheric.

 
 

Photo Credit: Holly Terry

 
 


" Typically, the negotiation means working with the piece, layer after layer, until it reaches a point that feels complete. "


 
 

HC：你的作品邊界模糊，但形狀卻依然精準。你怎麼在清晰與柔軟之間找到平衡？

Holly：「協調」這個詞非常貼切。對我而言，這確實像是一種協商。正如我剛提到的，作品在初始階段通常會比較具體，但隨著創作推進，會逐漸遠離具象（這往往意味著邊界與形狀會被模糊化）。這大多發生在創作的早期階段，後期要再加回去其實很困難。所謂的協商，就是不斷和作品對話，一層又一層地疊加，直到抵達一種「完整」的狀態。

我很難用語言去形容那種感覺，它並不總是輕鬆或視覺上的滿意，有時甚至會感到焦慮，但那也是蠻合理的。當那份「完整性」出現時，我就會在心裡認定作品完成，然後不再回頭。

 
 

  • Q：Many of your works have no hard edges, yet the shapes feel precise. How do you negotiate between clarity and softness?

    Holly:
    Negotiation is a good word. It really is a negotiation. As I mentioned earlier, my works begin with literal meaning and then move away from it, which often involves removing hard edges and defined shapes. This usually happens in the early stages because it is difficult to add later on.

    The process is about working with the painting, layer after layer, until it reaches a point that feels complete. It is not always a feeling of ease or visual satisfaction. Sometimes the piece can feel tense, and that is fine. There is simply a sense of knowing when it is finished. Once I reach that point, I mentally label the work as done and move on.

 
 
 
 
 
 

HC：你作品中的質感和密度常在畫面中微妙轉換。對你來說，「層疊」意味著什麼？它是否和時間或記憶有關？

Holly：有時候我的作品裡確實堆疊許多層次，底下甚至還有舊的畫作，它們在某種程度上仍然在傳遞能量。從這個角度來看，層疊確實代表時間與記憶。不過，近年來我的作品大多是以「直接畫法」（alla prima）的方式完成。這樣就不再是時間與記憶的累積，而更像是一種細膩、複雜、具深度的能量故事（當然不是字面上的敘事，而是一種感受上的層次）。


* 直接畫法 (Alla Prima) 是一種直接、快速的繪畫技法，在義大利語中意為「初次嘗試」。這種技法主要用於油畫，在顏料尚未乾燥時直接進行濕畫（濕蓋濕），通常在單次會話中完成一幅畫。

 
 

  • Q：Texture and density shift subtly across each painting. What does layering mean to you—not just visually, but in terms of time or memory?

    Holly:
    Sometimes my paintings have many layers, with older works underneath that still carry a kind of energy. In that sense, layering does represent time and memory. These days, though, most of my works are painted alla prima, meaning wet on wet. This approach removes the idea of time and memory and instead focuses on nuance, depth, and the quiet complexity of the story within each piece.

 
 

Photo Credit: Holly Terry

 
 


" If I am feeling creatively stuck or blocked, I will quite literally attempt to repaint a painting from the past. They never turn out the same, but I find it is a good way to get the muscle going. "


 
 

HC：重複性是妳創作節奏的一部分，還是妳更傾向於在沒有固定順序下進行創作？

Holly：我確實偶爾會從相似的錨點開始新的作品。我相信如果你同時看我的二十幅作品，可能會發現它們之間存在一些重複的元素，那通常是因為它們在同一時期完成。但大部分作品沒有固定的順序。老實說，我常常甚至不記得自己是怎麼畫的，因為在真正投入時，我大多處於一種很深的「心流狀態」。

這並不是說重複性沒有價值 。當我感到創意枯竭或被卡住時，我會嘗試重新繪製過去的一幅畫。雖然成品永遠也不會一樣，但這是一種讓手感重新啟動的方法。當畫面逐漸成形時，創作的流動感也會回來。

 
 

  • Q：Is repetition part of your rhythm, or do you prefer to approach each piece without a known sequence?

    Holly:
    I have certain anchors that I return to from time to time, the same ones I have used in past paintings. If you looked at twenty of my works, you would probably notice some repetition among them, especially those created in the same period. However, most of my pieces do not follow a planned sequence. It is difficult to do because I often cannot remember how I painted them. When I am truly creating, I am usually in a deep flow state. As the painting starts to take shape, the flow always returns.

 
 

Photo Credit: Holly Terry

 
 

HC：你的作品給人一種安靜、不急促的感覺。對你而言，繪畫是一個什麼樣的過程？

Holly：如同我前面提到的，我近期大多是以「直接畫法」的方式創作，通常一口氣就完成。如果不是一次完成，也會在兩到三次內完成，同時在不同作品間來回。這種方式很依賴直覺，我的注意力多半放在周遭感官上——音樂、生活裡的想法，或者像是冥想般，讓自己什麼都不去想。



HC：你會想像觀眾怎麼觀看你的作品？

Holly：老實說，觀眾怎麼觀看我的作品，並不是我能控制的。當然，收到觀眾的鼓勵訊息會讓人很開心，有趣的是，每到展覽開幕，我常會因為觀眾正在凝視我的作品而感到有些不自在。對他們而言，那是一個非常私密的時刻，而我卻不確定自己是否該出現在其中。也許這只是我的不安吧，我也不太確定。

 
 

  • Q：Your work feels quiet and unhurried. Does painting tend to unfold slowly for you, or are there moments where decisions arrive all at once?

    Holly:
    Definitely not slow. I would not say decision-making is really part of my process either. As I mentioned earlier, most of my works are painted alla prima, which means wet on wet and usually completed in a single sitting. If not, they are finished within two or three sessions while I move between other pieces.

    This method naturally supports an intuitive approach. My mind is often attuned to sensory surroundings during this time — the music, thoughts about life, or sometimes a meditative stillness where I am not really thinking at all.

    Q：How do you imagine your viewer? Do you hope they walk toward the canvas? Pause? Look closely? Drift?

    Holly:
    It is not really my business what a viewer does with my work or how they think of it once a piece is finished. Of course, it is always lovely and affirming to receive kind messages or words of support. Interestingly, though, I often feel quite uncomfortable during exhibition openings when I see people looking at my work. It feels like an intimate moment that belongs to them, one I am not sure I should witness. Maybe that is just a kind of insecurity, but I prefer to let that space remain theirs.

 
 
 
 
 
 

HC：當有人問「妳的畫在表達什麼」時，妳會怎麼回答？

Holly：我最近完成了一系列作品，而它的簡介其實能很好地回應這個問題：

『當我開始創作這一系列時，並沒有明確的起點，至少一開始完全沒有計劃。就像沒先試水溫就直接跳進泳池。那幾個月的創作過程往往模糊成一片，等到作品完成，我甚至說不清楚哪裡是上方、哪裡是下方，更別提究竟畫了多少件、用了什麼方法。

如果我說：這一系列並沒有任何概念出發，或許在藝術學院裡會被視為禁忌，甚至可能被立刻退學。但事實就是如此。這些作品幾乎沒有經過清晰的思考，它們更像是一場潛意識與材料之間的非語言對話。訊息總是在之後才浮現——不是透過語言，而是透過能量。這些作品並不是和文字產生連結，而是和能量、與意識相關。

我不會告訴你該如何感受這些作品，也不會告訴你應該帶走什麼，因為那是屬於你的自由。但對我來說，當我回望它們時，我覺得它們遊走在尋找遊戲感與能量顯現之間，源自一段真實而飽滿的人生，就像你我一樣的生活。我希望觀者能感受到這一點。我的期望只有兩件事：第一，作品能在你心中喚起某種感受，不管是什麼；第二，它能同時承載許多層次——沉重的、偉大的、輕快的、艱難的、快樂的或悲傷的。它們是藝術對生命的模仿，不是網路上那些理想化的人生，而是這段真實而混亂的旅程。』

 
 

  • Q：When people ask you what your paintings are “about,” how do you tend to respond?

    Holly:
    I recently wrote a synopsis for a body of work that sums it up perfectly. When I begin a series, there is rarely a clear starting point. It feels like diving into a pool without testing the temperature first. Months of painting blur together, and by the end I can hardly tell which way is up or how many pieces I have made.

    It might sound unconventional to say I start without a concept, but that is the truth. My process is a subconscious stream of non-verbal dialogue between myself and the material. The message only reveals itself afterwards, not through words but through energy. These paintings are not about language; they are reflections of energy and consciousness.

    I do not want to tell anyone how to feel about them or what to take away. When I look back, I see a sense of playfulness intertwined with a revelation of energy, all born from a very full and very real life. I hope viewers can sense that. My wish is that these paintings evoke something genuine, whatever it needs to be, and that they reflect all parts of life — the light and heavy, the joyful and difficult, the beautiful mess of simply being here.

 
 
 
 

HC：你的作品帶有很強的內在性，幾乎像是記錄了一種安靜的狀態。對你來說，繪畫比較是內省，還是關係性的？

Holly：對我來說，繪畫確實是內省的。但如同我前面提到的，只有在作品完成後，我才會回頭去感受它的能量。雖然對我而言它是內省的，但我希望它對觀者來說，也能引發某種自我對話——一種與我無關，但屬於他們自己的感受。



HC：最近有沒有什麼材料、參考，或日常經驗，在意外地影響你的創作？

Holly：其實就是生活本身！從最微小的細節到最重大的事件，我的作品都直接承接並轉化這些能量。在創作的早期階段，這些真誠的片刻常常讓我感到意外，或許是因為當時我還不確定自己真正想表達的是什麼。但現在，這些流露變得自然，也不再令我驚訝。我覺得自己更能放手，讓作品自由發展，走向它該去的方向。至於材料，我已經有一段時間沒有嘗試新的媒材了，也覺得是時候展開新的實驗。我手上有一些即將開始的計畫，相信會自然地引領我進入新的探索階段。

 
 

  • Q：Your work holds a strong interiority, almost like it records a quiet state. Do you think of painting as something introspective—or relational?

    Holly:
    Painting is certainly introspective for me. Yet I do not always understand what that means until I have time to reflect on the energy of the work once it is complete. While the process feels deeply inward, my hope is that it also becomes relational for the viewer. I want my paintings to evoke a feeling that is entirely their own, something not connected to me but to their own sense of being.

    Q：Finally, are there any materials, references, or daily experiences that are currently shaping your work in unexpected ways?

    Holly:
    Just life itself. In the earlier stages of my painting career, moments of honesty often felt unexpected, probably because I was not yet sure what I wanted to say. These days they come more naturally. I have learned to let each painting be free enough to end up where it needs to go.

    As for materials, it has been a while since I experimented with anything new, and I think it is about time. I have some exciting projects coming up that will likely lead me into a new period of exploration.

 
 

Photo Credit: Holly Terry

 
 


" From the smallest references to the largest, my work is a direct energetic transfer of all of these things. "


 
 

Photo Credit: Holly Terry

 
 

凝結色彩，感知與柔韌的生命歷程


Holly Terry 的創作，遊走在直覺與能量的臨界點上。她不以語言去框限作品，而是讓觀者在畫布前尋找屬於自己的共鳴。這樣的開放性，讓她的繪畫不僅僅是圖像，而更像是一股能量流動，一場與生命同步的呼吸。

融合 Holly Terry 獨特的創作脈絡，也能領略她如何將藝術視為一種與生命對話的方式。正如她所說，每一幅畫都是時間的凝結，等待觀者以自己的感受去解讀，在模糊與清晰之間，找到屬於自己的感動。

 
 

  • Holly Terry’s practice moves along the threshold between intuition and energy. She does not confine her work within language, but invites viewers to find their own sense of resonance before the canvas. This openness allows her paintings to exist not merely as images, but as currents of energy, breathing in rhythm with life itself.

    Through her unique creative process, Holly reveals how art becomes a dialogue with life. As she describes, each painting is a condensation of time, waiting for the viewer to interpret it through personal feeling and to find a quiet sense of connection somewhere between clarity and obscurity.

 
 

Photo Credit: Holly Terry

 
 

關於 Holly Terry
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Photo credit/ Holly Terry
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