In the long-term process of finding the ideal form, people constantly change their surroundings through creative adjustments, thus leaving a series... Read More
In the long-term process of finding the ideal form, people constantly change their surroundings through creative adjustments, thus leaving a series of so-called traditional styles. These patterns exist in sacred objects and everyday objects, and are the footprints of people approaching the ideal form according to their inner imagination.
In my work, I stretched the canvas on the object, and used the shape of the object to give the canvas the characteristics instead of the inherent state of the canvas in the frame. Then the creation of the painting is carried out, and then the canvas in the object is drawn away, so that the completed work presents the force and visual interaction between the object, canvas and color.
In the production process of some works, the figurative details of some objects are removed, so that the interaction generated by the objects, canvas and color becomes an abstract silhouette in the work after the objects are extracted. So that the work can get rid of the object's restraint on the viewer's understanding and express the essence sought in the creative process. Not only can this essence be felt within the orderly and random changes of nature, but also experienced within the evolution of our everyday artifacts.
I draw inspiration from the Taoist literary tradition. My work is concerned with the mixing of familiar and strange. Sometimes, I use the objects of the room as materials keeping true to scale. For example, I found an object, but I don’t want to modify it too much. This object is not perfect because of the limitation of the material itself. Its characteristics are caused by the material itself. Itʻs defect by the material itself. I donʻt cover up this defect, but highlight the anomaly. I seek to expose new spaces to consider. A disturbance at home cause uncomfortable feeling with being unadapted. This happens when a small toy hidden under the carpet. A general emotion is not hoped for. An illusion can often become conflation. In this way my works are a warning, I would like people to see how they perceive. I believe our sensory modalities need to be restored to a natural balance to best avoid unnecessary discomfort, harm and tragedy.
