Adam Rogers, the author of “FULL SPECTRUM: How the science of Color Made Us Modern,” said that all those hues and shades on every surface define hoe we think. They define the world we live in and the one we hope to build. The fight isn’t between color and form; color is form, giving our universe shape. (P. xxii)
These words reminded me once more of what the French artist, Yves Klein once said, "Color is a materialized sensibility." This short sentence inspired me to change my perspective on the structure of painting.
Using simply the color’s own hue and shade and the material properties of the paint itself, layers of paint are applied and dried; they are joined and folded to achieve the basic structure of "form" or "body." Through the combination of the painting body, the color and the reflected color reflect each other in the same time and space.
The title of this exhibition, "whereabouts," does not refer to a specific place or a single event, but it can be divided into several aspects.
1. It is my encounters and experience, which combine the past and present, and also include a certain expectation for the future’s direction . 2. It’s the visual experience of the works being "re" arranged after the colors are painted and folded. 3. It’s where the colors "underneath" the colors are and the light and shadows produced under the light...etc.
This series of expressions reflects the author's thoughts on "painting and its aftermath." In the entire process of making something from scratch, from liquid to solid, from plane to three-dimensional, and combining sensibility with rationality, there is a certain feeling. It can only be detected when colors and colors and spaces flow and change with each other.
Crossover of Painting Quadrant Preface by Chiang Yen Chou
The crossover of painting forms was completed during the Deconstructionism period. The quadrants of the works were extended from plane to three-dimensional, demonstrating the reversal of physicality.
The specific research starts from spatial analysis: How to define the quantity product? How to build quadrants? How do material technologies alter visual content?
The final practice is to use the optical effects of physics, combine the phase changes of material science, and shape the expanded relationship between colors, light, shadows, pigments and film layers, graphics and visual width.
The subsequent post-industrial trend of thought once again drove the heterogeneity of the painting quadrant. Among them, the critical perspective of "Materialistic Reflection" has allowed the reversal trend of the painting quadrant to gradually transcend aesthetic discussion and explore the juxtaposition between the work and the environment.
The visible strategy is to record environmental cultural symbol and outline the geo- historical context through the meta-measurement of phenomenology. The quadrants of the work are thus released into a multi-dimensional space, arousing the audience's emotions and imagination.
More works criticize the loss of industrial civilization, recall body memories, depict traces, and even reveal manual errors, revealing psychological longings, which are both implicit and explicit.
The ultimate possibility of the qualitative change of painting is: the quadrants continue to change, forming a synchronicity with the audience, and finally forming a cultural view. At this point, the ideal of cross-border painting will be completed through the artist's self-examination and response to the times.
