The special exhibition of Art Bank Taiwan Collection is held at the art space for public lobby of the New Square Building in Taipei. It is organized by Chong-Hong Culture & Education Foundation and Art Bank Taiwan.
The two large-scale photographs were originally acquired by Art Bank Taiwan in 2014.
IPA Best of Show 2016 and Formosa's Photo Elites
21 July ~ 20 August 2017
Pire-2 Art Centre, Unit P3
IPA (International Photography Awards) opens its first international exhibition in Taiwan in collaboration with Art Angle Corporation, at Pier-2 Art Center in the heart of Kaohsiung, featuring the IPA Best of Show Curated Exhibition and Taiwan’s finest photographers.
Re-Imaging Painting in Digital Fiction
16 June ~ 08 July 2012
madL contemporary art space
The art form in the solo exhibition presents the relationship between colour, time, and space through a relatively novel approach. A surreal hidden order manifests in my still/moving-image works – an emerging borderline between real and virtual dimensions evolves in my moving image, conveying a dark, optical fantasy. I create the biomorphic forms and surreal compositions, straddling the modernity of painting and photography and the advanced technology of animated images.
These works represent a motion picture of strange beauty – a sense of colour in time – a beauty that evokes the feelings of being ‘emotional’ or ‘sophisticated’ in some audiences. These emotions suggest ‘romance’ in the fictional space, and evoke the uncanny and the sublime. The sense that something familiar has turned ambiguous and unpredictable extends to the meanings of the still/moving images.
10 ~ 31 May 2010
Art Centre for
Chung Yuan Christian University
The solo show presents the best of my selected works from 2008 to 2010. What makes the core visual meaning even more interesting is that across these works, the concepts, stillness, slow motion, and soundlessness, have remained significant for each other in the works, not only technically but also aesthetically. Ostensibly, the concept of these works has morphed from painting to photography to digital still and experimental moving image.
In the creation of a ‘manipulated moving image’, I combine the similar visual styles into a body of work using computer animation and cinematography. These works are set in the HD mode (1920 × 1080p) and constantly projected on the walls of the gallery, and screened through several sets of LCD widescreen flat-panel monitors. The concept of the display allows the viewer to perceive the works as two-dimensional paintings.
06 ~ 28 June 2009
Safulak Art Village Gallery
The animations in Lyricism (2009) are separately screened on eight sets of 32” LCD flat panels using colour systems that include red, orange, yellow, green, blue, indigo, purple, and grey. It appears that the colour-image-scene exhibits a new nature of lyricism here. This new nature reconstructs the perception of space. The moving image transports the audience’s feelings that convey a supernatural journey. The colour, image, and scene flow together into a boundary.
This is primarily because of the ‘lyric’ sublime enveloping the spatiality; the spatiality seemingly allows the audience to enter it. As the stillness of painting extends into the flow of time, the digital technology associated with the immersive concept extends beyond the two-dimensionality of the painting. The audience thus becomes a mental participant within the moving-image world.
Romance than Fiction
08 ~ 30 March 2008
Art Site of Chiayi Railway Warehouse Gallery, Chiayi, Taiwan
The moving-image works in the solo show portray abstract linear objects experiencing their innermost emotions. The meaning of ‘romance’ here stems from pictorial sublimes and my aesthetic experiences. This type of romance connotes the contemporary beauty of romance itself. This particular style of beauty is a characteristic of the animation. The light, shadow and time are the underlying forces behind the works in the exhibitions. Another aspect on the structure of the montage is the characteristic of colour in time, to cover what the work makes it cover. All of the works are obscure in objects, colours and scenes, and converting our feelings by the romantic abstractions. The abstracts make images with somewhat mystical appearances.
The contemporary sublime implies infinite space, which the audience could fall into. This concept reveals ideas of montage, which correspond to the hybrids of time and space. The digital hybrids are the inklings of beauty that have developed into a sense of visual experiment with our emotions. For exploring the relationship between animated images and pictorial colours, their aura is a critical factor. The notion involves seeking various ‘realities’ in the virtual world. What seems clear in the concept of the exhibition is that the animations reveal long-time visual interactions of stillness, movement, swiftness, backward motion, and slowness between the viewers and the works.
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