Architecture Study includes the side profiles of nine urban buildings arranged according to the circle at the center of the image. The work is symmetrically created, while the stillness and movement of time are portrayed through the different intensities of light and shadow, which give the image of buildings the dimensional qualities of time with hopes of inspiring viewers to appreciate the Zen within the work.
This is a story of a Taiwanese woman. The bicycle is a part of her everyday life, and it takes her everywhere, carrying different objects. These objects are always by her side and are manifestations of her life.
The No Tomorrow series explores the parallel dimensions of the collective imagination. There are exotic gardens scattered across the cities of Taiwan, all of which are products of the one-sided, romantic imagination of designers and viewers. The insincere but enticing artificial scenes have become a perfect simulacrum. Rooted in the beckoning of the stunning gaze, the artist lays out the sequence of medieval love stories and several paintings, opening a crack in reality and depicting the illusion of the faraway land with exquisite detail.
After the tide ebbs, the withered branches entangled by fishing nets are revealed on the beach, silently protesting ocean pollution with a wide opening that seems to gobble up the soul.
The heart is filled with suffocating contradictions, oppositions, and panic, with fatigue piling up. There is no outlet for the pressure, and the feeling overwhelms the body. The cracks and water stains on the weathered red wall are traces of things exploding in my mind.
Home is where family members get together, and the house is the outer embodiment of the “home.” However, having spent decades in this building, the architecture has also become a witness to moments of sadness and happiness, the various life memories of the family. Everyone has their own memories and family sentiments about their homeland, and as they work hard to build a rightful, long-time home, government policies have ordered the expropriation and demolition of these homes. This is a wound in the hearts of people who have lived on this land, and this work attempts to portray the vanishing of memories and irreversible imagery of the home.
In Taiwanese, the water pump is also known as the “water dragon.” The Taiwanese name for the water pump given by the elderly is based on the action of manually lifting and pressing a wooden handle.
Grandma said: “In the old days, getting water was not as convenient as today, where you simply turn on the faucet to have water. We needed water pumps to retrieve the water from the wells or underground. In the age of agriculture, the water pump played an important role, and as technology advanced, only a few places still have these installations.”
When steel kitchen knives come into contact with food, it initiates occurrences including moisture flow, oil adhesion, weathering and drying, the capillary phenomenon, and light and shadow refraction, a multitude of changes embodied in the artistic blade. As an artist and full-time homemaker, the pandemic has led me to find inspiration and art in everyday life.
The dim light of headlamps breaks the stillness in a silent alley on a quiet night, guiding the workers as they set off on their mission. The figures of the laborers are mixed with sweat and professional skills, dignified and elegant in the night scene. The workers added white lines and color patches, embodying simplicity and majesty with breathtaking beauty.
The city awakes as the sky gradually lights up, and the streets and alleys look brand new. Pedestrians and city dwellers are able to live their lives with the dedication of these workers laboring in the dimly lit night.
Since the emergence of Covid-19, various industries around the world have been impacted, wreaking unprecedented havoc on the economy, the medical system, and our surroundings.
The virus continues to evolve from Alpha, Delta, to Omicron, and so on, and travelers passing through Taoyuan Airport, Huaxi Street of Wanhua District, hospitals, and a Taoyuan cleaning company, have all been impacted. This series of photographs document how wet market vendors are fighting the pandemic.
Now and then, the music of nature echoes in my ears, and the beautiful scenery comes to my mind.
Once upon a time, people have left marks and scars on it, arbitrarily or inadvertently. The dirge has been weeping, and the roar is on the string.
The beautiful mountains and waters are no longer to be seen, and the dead mountains and waters are now in front of us.
Is it a comma or a period, all in a thought.
The ancient Chinese dictionary "Shuowen Jiezi" defined: "Light is bright. " It symbolizes warmth and hope, meanwhile, it embellishes the magnificent beauty of the world.
In the process of urbanization, temples have changed according to the environment, either hidden in alleys, or adjacent to high-rise buildings, and have been integrated into ordinary people's life. Temples not only have exquisite buildings, but are also the halls of gods and the centers of belief for believers. At any time, the temple space is always waiting for the general public in a warm halo, providing comfort and spiritual sustenance. "
We take the scenes we encounter in everyday life for granted, but once we quiet down, we often gain alternative perspectives that may touch our hearts through the eyesight or the mind. These images are captured and rearranged in groups of two or three to present richer connotations.
Withered lotuses and branches are remnants of the beauty of summer, while crumpled trash resembles what was once seen by human beings as valuable. The two end up in the same cold pond water, its distorted form condemning the harshness of time. This work integrates the curves of withered lotuses and the irregular forms of trash to create a visual that resembles ink works, while the poetic, painterly image is, in fact, a playful approach to lies, replacing truth with illusions. The lotuses and trash echo calligraphy and painting works, while the fabrication and the fabricated are ironic reflections of reality.
Chang creates an image that integrates past and present through on-site photography and by traveling through space and time through old photographs on tablets. Kaohsiung Hamasen is surrounded by Shoushan, Port of Kaohsiung, Shinhamachō and downtown Minatoyama, and was the bustling financial area and port district. The old port railway, the shinsha Martyrs' Shrine that no longer remains, and the changes in the labor structure of the fishing port, provide perspectives on the present through the past. “To inspect the present, one must look to the past; without the past, there is no today.” -- Popular Collection of Traditional Chinese Wise Sayings
Modern urban buildings have different appearances, but they are either black, white, or grey. This work features the walls of rare colorful buildings with simple lines in Taiwan cities through different perspectives of the lens and adds blue skies into the composition, integrating nature with modern architecture. The result is geometric color blocks that resemble color palettes and is the artist’s take on contemporary photography.
Each room in an old house that is about to be demolished has a story. Although the house owner has moved away, they have left messiness and abandoned furniture behind, which seem to emit the faint scent of life. Each wall and trace are a memory that has succumbed to the erosion of time, leaving the mottled old wall behind to face the future of being demolished.
“Accumulation/Embodiment: 2022 National Art Exhibition R.O.C. Photography” is the first exhibition tour featuring photography since the “National Art Exhibition R.O.C.” was established in 2011. The “National Art Exhibition R.O.C.” is a competition organized by the National Taiwan Museum of Fine Arts under the supervision of the Ministry of Culture and aims to provide a platform for artists to present their works and exchange ideas through its selection, evaluation, award, and exhibition process. Since its establishment, the photography section has remained one of the most competitive categories with the highest number of entries, showcasing rich and abundant creativity, which has gradually shaped “National Art Exhibition R.O.C. Photography” into a beacon among government-held photography competitions.
After careful and deliberated evaluation, this year’s event (the 12th National Art Exhibition R.O.C.) has selected one work for each of the gold, silver, and bronze prizes among the photography works, with 16 works that are shortlisted, adding up to a total of 19 works. In terms of content and form, the works showcase the participant’s selection of subject matter and conceptual and experimental tendencies, as well as varying creative methods such as image collages, expanding the frontiers and expressions of the genre. The most notable works of this year not only feature the artist’s personal experiences but also allude to their explorations of life and the surroundings, analysis of the urban scene, interpretations of social issues, and reflections on inner sentiments, presenting different creative focuses and perspectives.
By focusing the exhibition on the concepts of “accumulation” and “embodiment” through independent curating, the National Center of Photography and Images, Taipei is presenting the 17 awarded works of this year’s “National Art Exhibition R.O.C. Photography.” The title of this year’s exhibition not only implies the considerable number of entries but also alludes to the idea that amid the accumulation and embodiment of the varying expressions amid the recent photography works of Taiwan, the competition strives to encourage and discover talents and inspire dialogues through photography.