CHEN SUNG CHIH 

Another Place Series - Borderline

Another Place Series – borderline is composed of paper and timber. It uses torn paper to form an abstract painting language of minimal substances. What the audiences see is the dilapidated state of torn substances. Destruction and assembly & recreation approaches are also used in this work to reflect the sentiment of minimal substances and perception. As for the connection and dilapidation parts, they are from the same place and both are located at the same edge line. However, they create their own meanings from different images.

TU PEI SHIH

World Expositions

Tu Pei-Shih utilizes the posters of World expositions in Japan as her base, also media reports on large events of these days as cross references to create this series of works“World Expositions”. The purpose of World Exposition in a way is to build a international platform for discussion, through which participants are able to communicate, however, it winded up to become a competition of national strength that notes civilized cultures and progressive ideas of human beings. Tu montages all the material sources to awaken people's memories of World Exposition, also questions us: "do we need a World Exposition?"

CHOU YU CHENG 

Molyneux

When Chou Yu-Cheng was an artist-in-residence at the Centre for Chinese Contemporary Art (CCCA), Manchester, United Kingdom, he issued an open call for proposals to local artists. The open call resulted in a joint exhibition by twenty local artists at different ages, among whom was Geoff Molyneux (1951), the protagonist of this project. Molyneux studied art in Liverpool and lives currently in Manchester. After the one-day exhibition, Chou investigated the details of Molyneux’s career in art by visiting his atelier. The British artist who underwent the vicissitudes of the 1970s and 1980s gave Chou a rheological sense in terms of art and time. Such an inspiring resonance led to Chou’s idea of interpreting and representing the trajectory of Molyneux’ creations, since Molyneux has never held any retrospective exhibition on his own works. The mutual trust between Chou and Molyneux was gradually fostered after the presentation of the first-phase result at the CCCA. Chou was therefore entitled to reinterpret the whole set of Molyneux’ works. They continuously communicated with each other by email after Chou returned to Taiwan. Chou presented their communication with a cinematic scene adapted from realities, introducing the British artist to the Orient from another angle. The second-phase result of this project was displayed in an alternative retrospective exhibition at Taipei Fine Arts Museum. 

WANG SEAN 

Black Access, Light Merges Nature

Wang Sean often uses painting, which is in relation to the representative nature, for my work. Taken from the life experiences, such as a forest half-covered by the buildings, there is an epitome correlation between the vestiges of nature and artifact. The basis materials of painting and it’s content are also based on the relationship: the nature and artifacts are represented by art works.Thus, to distinguish between figurative or abstract is not important in his works. What matters are the process of imaginations and incarnations.