1971
Born in Taipei Taiwan
1997-2000
University of Reading PhD Fine Art
1997-1995
Royal College of Art MA Fine Art
1995-1992
University of East London BA(Hons)Fine Art
1992-1991
Anglia College Foundation of Art

Solo Exhibitions
2009
IT Park Gallery﹐Taipei
Taipei Fine Arts Museum
2007
IT Park Gallery﹐Taipei
2001
Non Zero Gallery﹐London
2000
Hockney Gallery﹐London

Selected Group Exhibitions
2006
Museum of Contemporary Art, Shanghai “MoCA Shanghai Envisage”
Huash Culture Park, Taipei “Exposicion Arte AHTIC-Imagen de Espana”
Huash Culture Park, Taipei “Artists Art Fair”
2005
Kuandu Museum of Fine Arts﹐Taipei “2005 Kuandu Extravaganza”
2003
Non Zero Galleries﹐London “Group Exhibition”
2002
Battersea Park﹐London “Art Fair”
2001
Non Zero Gallery﹐London “Group Exhibition”
2000
Sophie Woolton﹐London “At Home II”
1999
Sophie Woolton﹐London “At Home I”
1998
Proud Gallery﹐London “From One Island to Another”
Air Gallery﹐London “Award Winners”
Ogilvy & Estill﹐Wales “Expressions”
1996
Mall Gallery﹐London “Making a Mark”
Interzone Gallery﹐Berlin “Group Exhibition”
1994
Gill Gallery﹐London “Drawing”

Awards & Honors
1998
Natwest Prize Shortlist
1997
University of Reading Scholarship for PhD
Foundation for Sport and the Arts Scholarships for MA
1996
Erasmus Exchange to Hochschule der Kunst﹐Berlin
Cite International des Arts﹐Paris Studio Award

Artist Statement     

Transcript
What does it mean for a painter to think?1 Such is question that has long been asked: What is it that a painter does? Techniques, forms, looks…, none of these is the fundamental thing. For Jackson Pollock, Barnett Newman, or Piet Mondrian, the question to deal with is – what will we paint?

The point of painting lies in visual perception, where it typically involves no other senses like feeling, hearing or smelling. The treatment of the pictorial surface, that is, the presentation of the object, becomes the focus of attention. Thus an initial thought to make the subject a painting thus examines the primary meaning of painting and its means of representation, as it seeks to offer more possibilities of “viewing” in trying to return to the original state in which the object has not yet taken place. The viewer observes the painting in looking at it. In conceptualising, the artist explores an alternative of seeing the painting so the seeing can be initiated more by a concept. The emphasis on the first idea of painting expresses the hope to return to the original state of visual presentation or inner sentiment through representation. In process representation is meant to reproduce and preserve the accomplished visual work in order to fulfil the needs and initiations of “viewing.”

Roland Barthes declared in 1968 the death of the author, denying the originating source of any given work. The birth of the reader is thus announced with the text being the centre of attention. As early as in the late structuralist period, modern formalist theories on the independence of text and autonomy of art had obviously begun challenging the author/creator with the question whether “representation” of the moment of creating is possible. If “representation” is the ultimate aim, then “revivification” is the means through which time back-flows, retracing that evermore pure side of the artwork. “Representation” is thus being presented through the notion of “reproduction.” Once this ultimate visual presentation is accomplished, what is left of the original piece? The works on display in this exhibition include a series of monotypes, which are reproduced artworks to be regarded as the original, or to be equal to the original. Unconventional painting materials are employed to enhance the visual impact and to maintain the concept of painting.

The artwork with “representation” as its end is thus divided in two: The subject is the representing, while the represented is the object. The importance of notion in contemporary art has entailed many interpretations of the concept of representation. Either in terms of the truthful presentations of objects in Concrete Art, or the imaginary space of the Pittua Metafisica, the idea of representation challenges the many different standpoints of authors. Suppose the essential materials used in traditional Western painting, the stretcher, canvas and paint, are to be taken independently as the main components of the art piece, to what end and idea, then, will painting be led? The divide between the two-dimensional and the three-dimensional in painterly presentations can thus no longer be.

At this point, the considerations of painting focus no longer on the representation of what things appear to be, but instead on how paintings come into being. What is intended in this series of works from Transcript is to deflect the art of painting from its representational agenda to a new agenda in which the means of representation becomes the “object of representation.”

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1.Yve-Alain Bois，《Painting as Model》，First MIT Press paperback edition，1993，p245。