In the face of the rapidly changing urbanization of the 19th century following the Industrial Revolution, the flâneur in the writings of the French poet Charles Baudelaire (1821-1867) is depicted as an imaginative and passionate observer. The German philosopher Walter Benjamin (1892-1940) attributed more significance to the term "flâner," highlighting that the wanderer desires not only participation but observation. Seemingly aimless, the act of wandering embodies a clear intention: to be present yet detached, to observe the contemporary urban life with a philosophical spirit, and to resist the pace of modern urban living while strolling slowly through the city.
Born in Taipei Taiwan in 1990, Jung Ching, Chang witnessed the nation's transition to freedom and cultural diversity following the lifting of martial law in 1987. Taiwan's rich cultural backdrop, drawing from Chinese art, Japanese aesthetics, indigenous culture, and various Asian influences, provided abundant inspiration for artists. Building on the foundation of Eastern media like gouache, Jung Ching, Chang explores the interplay of nature, multiculturalism, time, and urban development. Today, amidst rapid civilization, she takes on the perspective of the flâneur, contemplating the collisions, dialogues, and integrations of different cultures. With a leisurely pace, the artist shuttles between cities, transforming viewers into alternative flâneurs through artistic expression.
In Chang's works, the flowing ribbons and eco-friendly paper cutouts in the compositions create divisions within the imagery. Drawing from Husserl's phenomenological perspective, the art focuses on the experience of the present moment and delves into the layering and flow of abstract history, time, and nature within the urban fabric. It enables viewers to traverse freely through specific, imagined, past, present, future, two-dimensional, and even three-dimensional spaces in a broader sense.
The temporal progression of the blossoms symbolizes the passing of time and life, simultaneously reflecting urban development and natural environmental evolution. Depending on the viewer's perspective, the change in seasons and natural rhythms are implied, and the use of white space conveys the sensation of a gentle breeze moving through the composition. The mineral properties of gouache allow the work to refract an array of colors, transforming with shifts in viewing angles and the passage of time. When night falls, turning off the lights reveals the natural fluorescence of the fluorite used in the artwork, casting a unique radiance in the darkness. This luminous effect adds a layer of mystery, symbolizing the cycle of light and darkness, the passage of time, and the delicate equilibrium between urban and natural realms, echoing the issues of modern urban culture and sustainable development. It encourages us to reevaluate our position in this complex world in terms of time, space, and self.
As the ancient Chinese philosopher Laozi put it, "The Tao gives birth to one, one gives birth to two, two gives birth to three, and three gives birth to all things." The artwork embodies the life principles in harmony with nature, presenting the infinite possibilities in the seasonal changes of the flowers. Through the skillful use of ribbons and geometric blocks, a unique abstract representation of time is created, allowing viewers to feel the gradual shifts and progressions within the historical and urban context. This artwork is filled with the elegance and grace characteristic of Eastern aesthetics, integrating traditional elements with contemporary ones, presenting a unique aesthetic experience. Just as in traditional Chinese philosophy, it radiates a sense of tranquility and balance, offering viewers a window into Taiwan's history, culture, and contemporary aesthetics.
