It can be observed in recent years that Sheau Ming Song constantly released doubt in deep heart through canvas and pigment dyes while studying in Britain or exhibiting artworks created in the U.S. journeys. However, with pieced tape portrayed in his works, imagery is pulled back to reality. His works look like realistic depiction of natural scenery but contain abstract emotions, a seemingly peaceful appearance with hidden churning undulation. There is nowhere in Sheau Ming Song’s works without conflict of two opposite extremes – to be free from impulsion for individual existence, under abstractionism is contemplation of inevitability and eternity. As definition of art pinned down in Die Welt als Wille und Vorstellung (Arthur Schopenhauer, 1788-1860), mankind, with appreciation of nature and life, has been briefly consoled by art since being freed from essential desire of self- existence.

There are two cornerstones in Sheau Ming Song’s artistic creations: natural realism and abstract illusion. Heavy, dark monotonous color reflects what on his mind is. Of course all the imagery is beyond absolute realistic depiction of scenery, presenting more about the artist’s life experience and injection of thought – plenty of fear and misgivings still exist in the inner world that either a flowing river or snatches of memory vanish in a fluid and fleeting state, so the imagery as well transmits impulsion that the artist tried to eagerly capture an instant moment. With constant tug of war on the artist’s mind between eternity and transience, tranquility and conflict, multiple images and messages stimulated by contradiction are hence presented in works.

With images of tape intervened, Sheau Ming Song’s works dramatically convert a sentimental mood into a sharp ruler measuring illusion that could not be quantified, awkwardly pulling the audience back to reality from visions instead of leaving them endlessly indulging in past memories and uncapturable sorrowful moments. The Pacific is a 111.5x202 large-size work. Its image is boldly separated by 6 strips of white tape while there is a small string of tape on the up right and down left corner respectively to buffer brutality of the image. It should resemble the artist’s personality that hits the brake upon an outburst to escape losing grip.

Asthetische Theorie, an important work in Theodor Wiesengrund Adorno’s later years (1903-1969), points out three criteria of aesthetics: material, self-discipline and contents of truth. Modern art is closely bound up with the real picture of industrial societies – changes in industrial societies lead existence of humankind to alienation. Since artists are sensitive to the phenomenon, they portray intense inner conflict and unease in works. Meanwhile, changes in societies exert influence on ways that artists produce works. The original art style can’t meet artists’ demand so a potential alternative is invented from the real life and the new art form brings novel aesthetic experience. Watching Sheau Ming Song’s works is just like reading a fragment of aesthetic theories. Overtone, a small 31.5x40 oil painting, conveys self-demand for artwork creation during that particular period of time, a great deal of which allows himself a bit of freedom for breath but one the other hand presents consistent consciousness in his works – personalized experience stimulates potential emotion of the community.

In Sheau Ming Song’s works, time and space are compressed within the area of a painting. A moment captured is not only a reminiscence but also a start of resurgence in youth. It should be what keeps the artist motivated in production.

Rational Contradiction To A Romantic - Sheau Ming Song
/ Kun Sheng Wang