A Garden of MirrorsPost date：2024-01-19
Updates：2024-01-19
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- Event Time
- 2024-01-20~2024-02-24Tue. - Sat. 11:00 -19:00
- Event Location
- 1F., No.2, Alley 45, Lane 147, Sec. 3, Sinyi Rd., Da'an Dist., Taipei City Taiwan, R.O.C
“Each portion of matter may be conceived as like a garden full of plants and like a pond full of fishes. But each branch of every plant, each member of every animal, each drop of its liquid parts is also some such garden or pond.”
Gottfried Wilhelm Leibniz, The Monadology, 1714 Fragmentation is not necessarily negative; it can have positive connotations. Unfolding as a perspective on painting blurs and relieves a composition of its distinguishable benefits. Any folds in the painting gestures - a bend, a turn, a concavity - fill space while the attribute of existing as a structure succinctly marks their state. The canvas, initially a “plane without folds,” implies there was once a force acting upon it. An indication that power has passed through as if mapping traces and arranging temporality. Using deconstruction and reconstruction as a creative method, from one far end to another, completes the transformation of self and formation of a painting language; living in a stylized manner, where living means the destruction of its stereotypes.
White, a distinctive element in artworks, is able to precisely and insightfully reveal the true state of paintings, as every flaw is then subject to catch viewers’ attention. Fragmented images come from clear ones and carry textures within themselves, so they underlie and also fortify paintings.
It suddenly dawned on me that perhaps what I have been creating is some kind of intangible, ghost- like image, or an atmosphere, rather. Subtle, tumultuous things were placed where I wanted them, so that they were reflected here and there – and these differences created an atmosphere in their own right. They didn’t follow any rules but stayed deep in their own space.
Gottfried Wilhelm Leibniz, The Monadology, 1714 Fragmentation is not necessarily negative; it can have positive connotations. Unfolding as a perspective on painting blurs and relieves a composition of its distinguishable benefits. Any folds in the painting gestures - a bend, a turn, a concavity - fill space while the attribute of existing as a structure succinctly marks their state. The canvas, initially a “plane without folds,” implies there was once a force acting upon it. An indication that power has passed through as if mapping traces and arranging temporality. Using deconstruction and reconstruction as a creative method, from one far end to another, completes the transformation of self and formation of a painting language; living in a stylized manner, where living means the destruction of its stereotypes.
White, a distinctive element in artworks, is able to precisely and insightfully reveal the true state of paintings, as every flaw is then subject to catch viewers’ attention. Fragmented images come from clear ones and carry textures within themselves, so they underlie and also fortify paintings.
It suddenly dawned on me that perhaps what I have been creating is some kind of intangible, ghost- like image, or an atmosphere, rather. Subtle, tumultuous things were placed where I wanted them, so that they were reflected here and there – and these differences created an atmosphere in their own right. They didn’t follow any rules but stayed deep in their own space.
