Art ignites Wang's daily life, fulfilling it with colours, imagination, and creativity. Through painting, she sees the world differently. Wang profoundly believes that art can tranquillise the world, mediate people's mind and soul. Wang's hometown was the fascinating turn-of-the-century - Jinguashi,...
Read MoreArt ignites Wang's daily life, fulfilling it with colours, imagination, and creativity. Through painting, she sees the world differently. Wang profoundly believes that art can tranquillise the world, mediate people's mind and soul.
Wang's hometown was the fascinating turn-of-the-century - Jinguashi, located in the northeast of Taiwan. Being famous for its now-defunct mines, the legendary mountain village once called Petit Shanghai witnessed economic prosperity and culture flowering unparalleled elsewhere. By 1938 Jinguashi had become the most profitable gold mine in Asia. Within a few decades afterwards, the town is torn between illusion and reality before its decline. Moving to the capital Taipei City at the age of 15, Wang's art grows with the memory of "illusion and reality", and her visions were at once filled with city life and too conscious of plants linking a passing world with an emerging one. It is fascinating to look at the tranquillity of her drawings, the rhythmic composition, the implicit cultural identity, and the invitation to read stories depicted in her pictures.
When Wang was pushing 50, she decided to take academic art education. Passed a highly competitive entrance examination to the National Taiwan Normal University, she received strict art training and a Master of Fine Arts. Meanwhile, she held a solo exhibition in May 2020 showing the theme of Reproduction of Illusion and Reality at the reputable fine art gallery of the university.
The five paintings presented as follows are from Wang's solo exhibition, The Reproduction of Illusion and Reality, featuring the relationship between people and the living environment. Wang's paintings often incorporate symbols, a pleasure of life intriguing the decay and rebirth to unravel stories happening now and here. This series of water-soluble encaustic from 2018 to 2020 deliberately uses the once-lost medium in history to present an alternative impression of the Taipei city. In 2018, Wang participated in a workshop held by Guest Professor Pedro Cuni at the National Taiwan Normal University to develop proficiency in working with encaustic. Through her collection of works, water-soluble encaustic is recommended for the medium's diverse techniques, high compatibility, and environmental sustainability.
