The Eye of Abstraction

2023.03.18 - 07.30
National Center of Photography and Images, Taipei Galleries 301-303, 305
CHANG Kuang-Ho
Exhibiting Artist(s)
LO Pin-Ho
CHUNG Soon-Long
LAI Pei-Yu
TSAI Chang-Chi
CHEN Chun-Lu
CHEN Yan-Cheng
HSU Yuan-Fu
CHANG Kuang-Ho
CHANG Po-Chieh
Dennis K. CHIN
Richard LIN
LIN Tian-Fu
LIN Hou-Cheng
YUAN Wei-Ming
LEE Kuo-Min
LU Liang-Yeavn
WU Mei-Chi
CHIANG Ssu-Hsien
YU Chung-I
WANG Pan-Yuan
NIU Jun-Qiang
Ministry of Culture

National Taiwan Museum of Fine Arts

National Center of Photography and Images
Exhibition Overview

Curator / CHANG Kuang-Ho

Susan Sontag said, “For it is in the nature of a photograph that it can never entirely transcend its subject, as a painting can. Nor can a photograph ever transcend the visual itself, which is in some sense the ultimate aim of modernist painting.”  Breaking away from its reliance on identifiable visual signs, the readable perspective that abstract photography carries is the eye of abstraction we are looking for in the mirror.

The Eye of Abstraction wishes to look into the rationality and possibilities through the 4 subthemes, namely 1.“Figurative and Non-Figurative”: Without familiar or commonplace elements in figurative narrative, photography became abstract. And in the obscure clues of narrative, a heroic way of seeing emerges and is praised, inspiring the reading of abstract photography; 2.“Sense and Sensibility”: Repeating the path of abstract painting that colors and forms are concepts, there are rich thoughts regarding whether abstraction is the extreme beauty of rationality or the concern of sensibility. In the abstruse ambiance, whether the authors are restrained or relaxing is detectable through the exploration of their mindscape, either in painting or in photography; 3.“Gestalt”: Ideas of the “visual field” from Gestalt Psychology contend that human cognition of images is the organization of perception, instead of the assembly of individual recognitions. Through the law of proximity, law of similarity, law of closure, law of continuity, and law of symmetry, among other very exciting cognitive processes, viewers seek the meanings of signs in non-signs, they project their gestalt visions on works and experience the fun of reading images. 4.“Material Mediums”: The presentation of photography relies on photo papers, films, developer, or digital technology, among other mediums. And as technology advances, the mediums change. A system of objects is given birth by photographic materials, which carry out the endless energy of abstract virtuality. Abstract photography began with the discovery of the unusual interests in the properties of its materials.

The curatorial agenda of The Eye of Abstraction is to clarify that the lens of photography is not only applied for documenting or reporting reality, or recording life, it also could express the visual forms of the photographer's murmurs or shouts. It leads us to a new perspective. The Eye of Abstraction ambiguously carries a reminder of self-awareness of the extraordinary perspective of the author as an audience.

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