Artist SHYU Ruey Shiann’s creative form takes the shape of kinetic works. His understated individual aesthetic vision is expressed using the precision of kinetic theory, motors, gears and other mechanical parts. From conceptualization to realization, each of these installation works has gone through a process of experimentation, beginning with a hand-sketched mimetic diagram of the concept, to the deconstructed outline of its mechanical structure, a comprehensive installation plan, detailed description of the size of objects and their interconnectivity, and then the actual cutting and welding required for assembly – the entire production process requires detailed calculations and time-consuming adjustments.

SHYU Ruey Shiann’s work is a transformation of life experiences. His deep interest in kinetic art originates in his observations of life and of memory. The habit of collecting mechanical parts is a necessity of his art, or perhaps grew from his early childhood of helping his mother with recycling waste. The encouragement and early death of his older sister catalyzed SHYU’s self-funded study of Western sculpture and painting at the École supérieure d'art en Aix-en-Provence in France. The trembling lines and exaggerated composition of his oils during that time -- depicting views from his dormitory window, his wash basin and toilet -- reveal his sense of confusion and struggle while studying in a foreign country. With the encouragement he received in art school to use new media in his creations, he threw himself entirely and physically into his work, to the point where his instructors had to shut down the workshops to prevent him from being completely consumed by his work. His years of working with kinetic art installations have taken a toll on his health, and metallic dust has collected in his lungs. In a documentary of the artist directed by Huang Mingchuan, the closing shot reveal a close-up of the artist’s calloused fingers plucking at metal shavings; it is a poignant visual reminder of how art and life become one.

In this exhibition, the rainbow represents the ideals and dreams in our memory: pristine but ephemeral. The artist attempts to draw their outline from memory, to reveal a gradually forgotten or a vanishing dream. Upon entrance into the softly lit exhibition venue, four works sequentially call forth forgotten happy memories in an interactive way. In his work “The Edge of Memory,” a projector above casts a rectangular shadow on the ground that pendulums back and forth, to conjure a swing that is no longer present, but recalls the childhood laughter and feeling of flight while playing on a swing. In “Mom's Drawer,” based on the artist’s memories of his mother, an old drawer slowly extends out of a wall accompanied by the sound of a drawer being opened, and projects images toward the ceiling that fade then reappear. “Dreambox” is constructed using four large boards and motorcycle spare parts that are set into motion by a signal from the sensor, while the artist excitedly recounts his first motorcycle cross-island trek. “Afternoon Rhapsody” is performed by a primary school desk and chair which magically spin and dance around with the same endless energy and imagination of a child during school recess. The artist is attentive to the overall presentation of each vital individual work, enabling the works to narrate these stories and memories time and again.

In “Distant Rainbow”, SHYU Ruey Shiann uses shadows and sound to conjure idealized memories that seem just out of reach. He relies on many years of experience and intuition to transform and reorganize objects he has collected since childhood, blending new technology into old stories to create a subtle mix. Like a poetic rendition of waking from a dream, his kinetic art installation slowly reveals memories of childhood wishes.