A graduate of the Department of Fine Arts at National Taiwan Normal University, Chen Ching-Lin has specialized in dyeing and weaving due to his fondness for the fiber arts. Chen spent more than a decade visiting the villages of minority groups in the mountains of southwestern China performing field surveys of traditional dyeing and weaving techniques. Upon his return to Taiwan, he combined traditional and modern weaving methods, and helped revive interest in natural dyes. Chen's workshop shares dyeing techniques with other artists, and he has been active in writing and holding exhibitions. Thanks to his background in the arts, Chen has used traditional tie-dyeing, which in the past was primarily confined to creating past for creating patterns on clothing, to produce landscape-like effects reminiscent of ink and wash painting. With a starting point between heaven and earth, he creates grand and imposing new visions.
Teresa Huang received an M.A. degree from Northern Illinois University in 1985, worked at the Taipei Fine Arts Museum and the American Cultural Center, and taught part time at National Taiwan Academy of Arts, National Taiwan University of the Arts, and Taipei Municipal University of Education. She had solo exhibits and participated in several group shows. In addition, Ms. Huang loves writing and translation and has published several books. She is dedicated to introducing and promoting contemporary Fiber Art in Taiwan, and published the first book on contemporary fiber art in Chinese in 1997. Ms. Huang immigrated to the U.S. in 2008, and published a book entitled Art Museums in San Francisco in 2010. She is currently a free-lance writer and a Chinese teacher to in Chinese Schools in San Jose, California.
Chuang Hui-Lin was born in Kaohsiung in 1979, earned her degree from the Graduate Institute of Plastic Arts of Taipei National University of the Arts, and currently lives and works in Banqiao. Chuang specializes in mixed media sculpture and installation art, and her work is inspired by her urban experiences and impressions. She uses images, materials, and spaces to express her subtle mental reactions to the environments in which she finds herself. Most of her works contain large amounts of hand-made marks, and she feels that each mark represents one breath, and each breath is an opportunity for exchange, and an opportunity to coexist with the world of nature. Using man-made products, Chuang Hui-Lin variously portrays the creation and breathing of the things of nature, and calmly and painstakingly expresses the dependence, coexistence, conflict, and destruction that characterize the relationship of humans and the natural world.
This is a process of chance encounter between humans and matter. “Things always happen this way. In the stillness of the night, a solitary person walks along a street lit by flashing neon lights, toying with a key. The person doesn't particularly want to open or lock anything, and all of the person's actions are in accord with her personality. Suddenly she glimpsed points of flashing light out of the corner of her eye. Taking a closer look, she sees that all the ordinary objects are now glowing under the pale white light of the streetlights. The solitary person now walks into the white light, and extends her hand to touch the glowing matter; while thinking 'It's just this'; her heart cannot help being enthralled."
The artist has given commonly seen industrial source material new life as biomorphic objects, and uses them to relate the interdependent relationship of humanmade objects and nature. People consume natural resources in their pursuit of more convenient material life, but in their spiritual worlds, they long to return to nature and revere the myriad things of nature. In this contradiction, "biomorphic" is an indispensable aspiration.
“[In fashion] there are so many contrasts and yet those elements coexist harmoniously. Eastern/Western, traditional/modern, fine art/commercial design, hand work/high tech (CAD). The interlace of those elements is my chronicle as well.” - Hiroshi Jashiki
The foundation of Jashiki's career was the indigenous, skilled hand weaving which he encountered on the Okinawa Islands. His horizons were expanded first by formally studying art and then by embarking on a career in the New York fashion industry as a textile designer.
In his art, Jashiki uses imagery from Okinawa, New York City, as well as places he has visited over the years. Because of his use of textile software technologies and carefully controlled color and composition, the original photographs are no longer visible at the finished stage. Thus he creates both realistic and highly abstract motifs to show a romantic feeling. The work might be a painting, curtain, triptych, or screen. Influenced both by native hand weaving and modern digital textile design methods, Jashiki takes his inspiration from nature. The colors he uses for dyes are sophisticated and delicate, giving his work a minimal sparseness that at the same time is dreamy.
Born on Okinawa, Japan, Jashiki lives and works in New York. After obtaining an MFA from Cranbrook Academy of Art in Michigan, he moved into the fashion and textile industry and worked with master dyers in the Italian mills. Jashiki has exhibited at Shibatacho Gallery, Osaka; Atos Gallery, Okinawa, Poet's Den Gallery, New York, and Flux Gallery, New York.
Ming-Jer Kuo's work is the result of his research into and responses to the complexity of urban systems. He uses shifting perspectives and variations in scale to study urban areas, and to explore and respond to ideas of urban organization and management. Working with lens-based images such as aerial photographs, he captures repeated urban patterns and illustrates urban information. Using photographic prints and sculptural installations, he blurs the boundaries between architecture, urban planning, design and photography and encourages viewers to observe and rethink their surroundings.
Kuo writes: “I abstract the artificial patterns made by real estate development into numerous visual formats. In the Suburban Housing series, I transform patterns of construction into myriad forms to reflect the expansion of America's mass-produced and standardized life style as it has been expressed in suburban housing projects.”
Born in Taipei, Taiwan, Kuo is a New York-based artist. He worked as an environmental engineer for eleven years before moving to New York to devote himself to art. He creates interdisciplinary visual art based on his photographic and video experience, urban living interests, and engineer's analytic perspective. Kuo earned an MFA in Photography, Video and Related Media at the School of Visual Arts. He participates in the New York Foundation for the Arts Immigrant Artist Mentoring Program in NYC (2015), received the Paula Rhodes Award for Exceptional Achievement in NYC, and was awarded an Honorable Mention Taoyuan Creation Award in Taiwan. Kuo was selected for group exhibitions at New York Hall of Science in NYC, Newhouse Center for Contemporary Art in NYC, The 2 Gateway Center Gallery in Newark, NJ, and Art Factory in Paterson, NJ (2014). His work has been featured by numerous publications including Aint-Bad and Steadfast Arte. His solo exhibition, Everyday Practice of Art was presented at 1839 Little Gallery, Taipei, Taiwan.
Catherine Lan explores esoteric new possibilities utilizing fashion and new media and materials such as synthetic fur, painting on plastic, video, glass sculpture, and performance to address themes including feminism and individuality. In her series of faux fur "relief paintings" she cuts fur to form relief-like “paintings” of undulating surfaces with modulated texture begging to be touched. Like ink painting, the process is spontaneous and irreversible, reflecting the fact that "nothing can go back." The surface of the fabric changes color and texture with the motion of viewer and as the fabric is stroked, so the light projects a different scenery. There are gorges, forests, and mountain trails in some of her installation pieces.
Lan lives and works in Queens, NY; she was born in Taipei, Taiwan in 1980. Currently a doctoral student in Art and Art Education at Teachers College, Columbia University, she obtained an MFA in Painting/Printmaking from Yale University (2007-2009), an Artist Diploma from École Nationale Supérieure Des Beaux-arts in Paris (2003-2006), and a Bachelors in Oil Painting from Central Academy of Fine Arts, Beijing (1999-03). She is a recipient of the Queens Council on the Arts Grant for Individual Artists (2015), and received the Andrea Frank Foundation Sanyu Scholarship from Yale University (2008-2010). Lan recently showed in Interactive Art Show at Queens Museum, Kingston Sculpture Biennale in New York, and International Fiber Art Biennale at Guanshanyue Museum in ShenZhen, China. Lan is also an art educator; she has been teaching in colleges and public schools in New York, Taipei, and Beijing since 2010. Her pedagogical expertise includes: Abstract Art, Drawing, Digital Art, Figurative Art, Installation, Mixed-Media Art, Painting, and Performance Art.
Eleng Luluan, whose Chinese name is An Sheng- Hui, is a member of the Rukai tribe from Pingtung County. Originally engaged in floral art, Eleng was invited to participate in an exhibition of installation art at the Taipei Fine Arts Museum, which caused her to devote herself to making art. After leaving Pingtung, Eleng established a workshop on the coast in Taitung in 2002, and used driftwood gathered on the beach as her source material. She gradually broadened her repertoire to include use of wood carvings, plant fibers, silvergrass, and even colored packaging. Arranging these materials to form conversations, Eleng conveys her concern for Nature and feelings for the land, culture, and deep emotions.
Eleng's art originates from memories of her yearned-for homeland. She employs the weaving culture of her tribe's women to create installation art that is brimming with energy and personal idiosyncrasies. In her works, we see the two-sided image of falling and being suspended, and what is not suspended cannot fall. In this exhibition, the work Between Dreams uses a suspended square to interpret the artist's thinking throughout her life. In the Rukai language, the word "home" is the place where one's soul is suspended, and is also a warm place of refuge that one's soul longs for; without the protection of a home, one's soul will have no place to find shelter from the elements. Eleng spent her childhood in Haocha Village, which was originally located near Mt. Dawu in the Central Mountain Range, but was later relocated to a nearby river terrace at the government's order. Afterwards, the village was moved yet again, this time to Linali, in the wake of Typhoon Morakot. During this process of migration, Eleng experienced a sense of rootlessness, a feeling that she was always wandering between leaving and returning home. She discovered that all was gone or destroyed when she did visit her longed-after homeland, but also could never ignore the call in her heart to go home. For her, falling is the constant rushing flow of time, but the ever abundant Earth nevertheless gives her ceaseless inspiration. While what has been lost can perhaps never be recaptured, all the vanished things can continue their lives through the use of other methods.
Between Dreams unfolds for viewers in a swirling, falling form. This work uses woven styrofoam and other plastic packaging materials, and the suspended net-like structure seems to be falling and disintegrating. It brings to mind a broken down home that has been hollowed out by our industrial civilization, where manmade products have replaced the cradle that she remembers as having been woven from clay and wood. This substitution of plastic for the natural materials of her memory has torn loose the artist's soul. Nevertheless, her wandering soul is calling as if in a dream memory, and all her lost thoughts are transformed into a white skirt, like the pure white yarn of a newlywed bride, which leads the woman toward the next stage of the dream, where she prepares to organize a new home of her own—a new nest nurturing life. From another angle, this skirt spiraling around the bride also seems to be like a young bird's nest or a woman's womb; it provides a place for the fragments of her soul to take refuge, develop, and hatch into a brand-new life. Even if her childhood home has vanished, the artist - inspired by Mother Earth - can continue to dream in the realm of art, and can find acceptance and ownership of her life.
A native of Taichung, Huang Mei-Hui earned her degree from the Graduate Institute of Fine Art at Tainan University of Technology in 2008. She has been an adjunct lecturer in the Department of Art at Tainan University of Technology, served as the manager of the Five-Seven Art Workshop, and is currently a fulltime artist. She lives and works in Tainan. Huang specializes in printmaking and plastic arts such as fiber media; her art is often based on the blueprint provided by plants or seeds, her works are very colorful, and their varied forms are full of insights into the creation and continuation of life.
Inspired by the similarity and difference between people and cultures, Lulu Meng creates sculpture and installations from every-day objects which have been modified to be distinct, and thus represents the individual. These objects accumulate into large installations that prompt the reconsideration of their original context and implication.
Meng lives and works in Ridgewood, Queens. She received a BA in drama and theater from National Taiwan University and an MFA in Imaging Arts, Photography and Related Media from Rochester Institute of Technology. Her sculptures, installations, and photographs strive to embody how individuality and conformity coexist. Meng has participated as an artist-in-residence at venues such as Residency Unlimited (Brooklyn), Vermont Studio Center, Kala Art Institute (Berkeley), DordtYart (Netherlands), and WARP Artist Village (Belgium). Her works have been exhibited in Cuchifritos Gallery (New York), New York Hall of Science, Queens Botanical Garden, Power Plant gallery (Durham), Berkeley Art Center, William Harris Gallery, and National Taiwan University. She is currently participating in the AIM program at the Bronx Museum of the Arts.
Threshold [see image] explores the formation and relationships of individual and social identities. Elongated sleeves have been constructed from different white cloths from white dress shirts. Sleeves—familiar objects relating to the human body—are deconstructed and transformed into arrays of hanging pieces. They aggregate into tall and flexible structures with a conspicuous human-shaped opening. The viewer can interact with this piece by speculating which of the three openings would accommodate him. Consideration of whether and how to adjust himself to the opening recapitulates the individual's negotiation with the social environment. It is noteworthy that the fabric of society, represented by the woven cloth, rebounds and returns to its original state after disturbance by the individual.
John Ensor Parker
Multiverse is an inquiry into the theory of space-time regions that expand together, discussing the entire ensemble of innumerable regions of disconnected space-time. Most theories consider each multiverse being bound by unique natural laws, yet certainly common denominators exist. This video explores expanding possibilities ranging from the physical to emotional. Hand sketched, time-lapse drawings are created in the artist's studio, digitized and unfold over time. This skein of multiverses is united by a tapestry of mathematics, physical law, human plight, and emotion.
John Ensor Parker is a Brooklyn based, inter-media artist and curator working with painting, sculpture, interactive design, lighting, video, and large-scale projection mapping. In addition to gallery exhibitions, Parker has created large-scale public art installations at The New Museum, The Manhattan Bridge, the Wyly Theatre in the AT&T Performing Arts Center in Dallas, and the Solomon R. Guggenheim Museum in NYC among others. He and two colleagues present “Light Year”, a monthly single-channel video exhibition series on the Manhattan Bridge anchorage in NYC.
Parker earned a Bachelor of Science in Mechanical Engineering 1993, Florida State University, and was Visiting Artist, at Florida State University and Montclair State University. He gave a TEDx Talk at NYU Poly, and was Instructor, “Science & Art Workshop” and Visiting Artist, Eugene Lang College at the New School. Parker was Advisory Council Member, New York Festival of Light.
His public art installations include those at Integrated Visions, 522 Fifth Avenue, New York, NY; at The Yards, Washington DC; in and on the InterContinental Hotel in Miami during Art Basel; at the Aurora Festival of Light, Dallas TX; and numerous times on the Brooklyn Bridge, NY. He has also exhibited at Independent Filmmakers Project Media Center, NYC; National Museum of American Jewish History, Philadelphia, PA; and at Galeria Carles Tache, Barcelona, Spain – among other places.
Wu Pei-Shan graduated from the Art Department of National Taiwan Normal University, and is currently a Ph.D. candidate in the Graduate Institute of Art Creation and Theory at Tainan National University of the Arts. She is skilled in the use of fiber materials in mixed media art. While she initially preferred to use natural fibers, she later shifted to the use of ready-made objects or industrial media, like the inexpensive plastic products we are so familiar with. She relies on a vibrant functional vocabulary of objects to express her self-assertions and thoughts.
Pan Ping-Yu is an alumna of the Graduate Institute of Plastic Arts at Tainan National University of the Arts in 1998, and is currently an assistant professor at Taipei National University of the Arts. She has received grants from the Asian Cultural Council and ROC-US Foundation for Scholarly Exchange, won the 9th Asian Artist Scholarship offered by the Vermont Studio Center, and participated in artist-in-residence programs hosted by the Headland Center for the Arts, Fine Arts Museum of San Francisco/ de Young Museum, and Vermont Studio Center. Pan possesses abundant domestic and foreign experience, and her works, which consist chiefly of mixed media sculptures or installations, explore the relationship between myths and contemporary life.
Pan Ping-Yu's Family Cookbook series uses "home cooking" as a key thread, and relates her family story, while also exploring cross-cultural and cross-national mythic archetypes. In this exhibition, the Family Cookbook series' Rice Cake Tower for Happiness was made while Pan was an artist in residence at Seoul's OCI Museum of Fine Art. During this cultural journey to Seoul, she discovered an interesting "rice cake tower," which made her think of Taiwan's "New Year's cakes," which are very commonly seen during the Lunar New Year's holiday, and are a symbol of increasing success and prosperity. The "rice cake towers" seen at Seoul's royal palace or in cake stores typically have an extremely overloaded design featuring multiple layers of New Year's cakes towering to a great height. Although, from a certain perspective, there are differences in the details or symbolism of the New Year's cakes of Taiwan and Korea, both share the goal of seeking happiness and well-being. Because of this, Pan has used "rice cake towers" as the prototype of her Family Cookbook series, and as a symbol of people's pursuit of blessings.
Sarah Walko writes: “I create environments where ephemera from the natural world meet antiquities of a mystical science to suggest talismans. I'm interested in the stories contained within and between objects that take on new significance through their relationships to one another. Objects speak to us, ask to be understood in their poetic forms that contain magic and ritual. In 1991 Suzi Gablik wrote in The Reenchantment of Art: ‘One of the peculiar developments in our Western world is that we are losing our sense of the divine, of the power of imagination, myth, dream, and vision. The structure of modern consciousness, centered in a rationalizing, abstracting, and controlling ego, determines the world we live in and how we perceive and understand it; … We no longer have the ability to shift mindsets and thus to perceive other realities – to move between the worlds, as ancient shamans did.' I think we live in a world where re-enchantment is coming back into our lives via expanding collective consciousness. I create experiences that allow one's perceptions to shift from the historical, to the narrative, to the scientific, to the alchemical and to the magical. The work is a call to look closer and see how interconnected we all are and to all things. The protagonist in my work is always you and the story is always ours.”
Walko has a BA in studio art practices from the University of Maryland and an MFA from Savannah College of Art and Design. She has curated many exhibitions and is a contributing writer on contemporary art, literature, and film for numerous publications. She is Director of Education and Community Outreach at the Visual Art Center of New Jersey. She has been Director of Arts Programming at Marble House Project, and Executive Director of Triangle Arts Association.
Poyen Wang writes: “In this digital series, 'Atlas', I photographed dilapidated advertisements in NYC subway stations. Before a new advertisement is placed over the old, the layered remains of previous posters create an imaginary landscape. I manipulate these photographs with 3D software, resulting in a three-dimensional model recording the passing of time on this landscape. … Each landmark is perpetually manipulated and physically eroded by anonymous commuters.” Wang assembled the 20 photographs in this series into a book with the same title as the series. He continues: “Construction of Intimacy refers to the process of developing the cognitive self, which is partially shaped by the opinions, reactions, and evaluations of others.”
For this piece, Wang scanned his body. Gathering images from multiple cameras at various angles, he generated a 3D model from the composite data. Though the final digital 3D model is complete, each individual image captured from a single camera at a specific angle is incomplete.
Born in 1987 in Taichung, Taiwan and based in New York, Poyen Wang is a conceptual media artist interested in experimental animation and video art. He focuses on time-based media that incorporate immersive installation with computer animation, using both still and moving images. His work has been shown at museums, galleries and film festivals nationally and internationally, including National Taiwan Museum of Fine Arts, The Museum of Contemporary Art Taipei, Fukuoka Asian Art Museum and Sapporo International Art Festival in Japan, FILE: Electronic Language International Festival in São Paulo, Screengrab International Media Arts Award in Australia and Shenzhen Independent Animation Biennale in China. Wang has a background in Graphic Design, received an MFA in New Media Art from Taipei National University of the Fine Arts in Taiwan, and is currently pursuing a second MFA in Computer Art through the School of Visual Arts in New York.
Hsu Wei-Hui was born in Taoyuan, Taiwan in 1979, graduated from the Department of Art Education at National Hsin-Chu Teachers College (now the National Hsinchu University of Education), and received a master's degree in painting from the Savannah College of Art and Design, Georgia. She subsequently earned a master's degree in art from the Cranbrook Academy of Art in Michigan, and currently lives and works in Taiwan. Hsu Wei-hui chiefly focuses on mixed media and installation art, and she sometimes adds photography and behavioral art. She has shown her work at numerous exhibitions in Taiwan, China, Hong Kong, Japan, Korea, the US, Canada, Italy, and Britain.
Wu Wen-Chi received a master's degree in textiles from the Department of Clothing Design at Tokyo Kasei University, currently teaches in the Department of Plastic Arts at Da-Yeh University, and is the director of the department's fibers workshop. She lives and works in Changhua. Throughout her artistic career the fiber arts have been her means of recording the stages of her life, and she relies on the interwoven warp and weft on her loom to create scene after woven scene transformed from the things she has seen and heard, and the highs and lows of life.
Having received a master's degree from the textiles section of the Graduate Institute of Applied Arts at Tainan National University of The Arts, Yang Wei-Lin currently teaches in the Department of Material Arts and Design at Tainan National University of the Arts. Yang has participated in many international fiber art exhibitions, including Japan's 2013 Setouchi Triennale, and received an award of excellence in the 4th National Crafts Awards. In recent years, she has directed the "Taiwan Fiber Art Research Project," and has engaged in numerous large-scale public fiber art projects and exhibition planning efforts. Yang's artistic themes commonly revolve around memory, time, words, and writing, and she uses a wide range of materials and techniques, including weaving, vegetable dyes, paper-making, and book-binding.
Huang Wen-Ying graduated from Cranbrook Academy of Art in 1993 with a major in the fiber arts. She currently teaches at Tainan National University of the Arts, and continues to produce art using textiles. Starting in 2001, Huang has studied and practiced computerized Jacquard hand weaving, and since that time she has continued to develop this artistic form and explore its expressive possibilities. She has participated in many international fiber exhibitions, including the Rijswijk Textile Biennial 2011, 1st and 2nd International TECHstyle Art Biennial and 4th to 7th From Lausanne to Beijing International Fiber Art Biennale.
By interlacing the warp and weft, weaving can create limitless combinations of color, pattern, texture, and grain. Draw looms and Jacquard looms can be used to create realistic images, and CAD Jacquard weaving in particular allows use of computers to weave pictures with an even greater degree of realism, and users can employ image processing software to create images with a contemporary feel. Huang takes advantage of the superlative realism of CAD Jacquard weaving to combine photography with textile art. She uses gleaming metal fibers to weave the forms of the people seen in photographs from her childhood, and thus produces remembered garments from vanished images. For instance, the work Golden Military Coat from this exhibition recaptures the uniform that her younger brother wore during the Lunar New Year holiday, and what little boys in the 1960s felt was the most handsome possible outfit. For Huang Wen-Ying, the tailor's art is another method of creating three-dimensional works, and clothing is an extension of the human body that can cover, reveal, or conceal. Because of this, clothing is a carrier that can tell stories or bear meaning, and is a metaphor for human beings. Through careful lighting, the golden coat and rumpled handkerchief seem resplendent, and vibrant past images flood into viewers' minds, accompanied by the photograph's yellowed memories and the curves of clothing that once belonging to a certain individual. Fabrics are like the negatives of photos: They record the lines of the body within through their functions of covering and extending, and securely confine memory fragments on the canvas created from the warp and the weft, both preserving recollections and imprinting the past for us.
Pollution has become an integral part of our lives. Chin Chih Yang's art attempts to help us think "outside the box" in our efforts to come up with a solution to save ourselves and our planet. Multidisciplinary artist Yang was born in Taiwan, and has resided for many years in New York City, where he studied at Pratt Institute and Parsons School of Design. He has been a recipient of fellowships from Urban Artist Initiative Fellowship, New York Foundation for the Arts, Franklin Furnace, and the New York State Council for the Arts; the Lower Manhattan Cultural Council has granted him a Swing Space residency at Governors Island.
Yang's interests in ecology and constructed environments have resulted in interactive performances and installations in the United States, Poland, Taiwan, Singapore, and Hong Kong. He has exhibited or performed in Rockefeller Center, the United Nations, Union Square Park, Queens Museum, Exit Art, and Flux Factory. His work incorporates the rhythms and discords of human society, correlating them with materials discarded by industrialized society. Finding the modern world both disturbing and entrancing, he aims to capture the complex state of anxiety and compulsive fascination specific to the contemplation of contemporary social problems. His performances often dramatize the divided quality of the self, and he use video projections to create a discordant ambience.
Yang's work has been highlighted in The New York Times, the Taipei Times, CBS, NY Art Beat, the Village Voice, Time Out New York, Flavorpill and Art Asia Pacific magazine. In its celebration of Asian- American artists, NY1 profiled Yang and his work. Humphrey Hawksley of BBC world news interviewed him for a special program on NYC Artists whose work deals with political and social corruption. Recently he was interviewed by Art Radar Asia's editor Kate Nicholson.
Huang Yen Chao
Huang Yen-Chao was born in Taipei in 1985, graduated from the Department of Fine Arts at Chinese Culture University in 2009, and is currently attending the Graduate Institute of Plastic Arts at Tainan National University of the Arts. Huang's artistic inspiration is derived from the sensory impressions he receives from his participation in contemporary daily activities, such as using the Internet, exercising at a sports club, and watching TV and movies. When his body feels a sense of velocity and sparks like getting an electric shock, he seizes this transient feeling, and tries to release and publicize it in the form of planar works or sculpture
Those indescribable sensory experiences are like the flickering of light and shadow, the flow of images, or the rhythm of music. The free, bold strokes, use of mixed media, fluid lines, and beautiful fluorescent colors in Huang's works evoke a rhythmic landscape in dialogue with his physical experience. "Passing along the busy city streets, a luminous body whizzes past me, and the oncoming people make me feel like a set of stationary point coordinates corresponding to them… Suddenly, I feel an indescribable sense of weightlessness. I begin searching for some place around me that that my eyes can see. I draw them closer to me, and this feeling is like a bubble-blowing machine. A stream of messages begins to steadily fly toward me, like telecommunications signals constantly intruding on me…" Employing the spaces in which his daily life takes place, as well as those subtle bodily experiences, Huang uses these subtle bodily experiences from his daily life to produce collisions of fantasy. Creating an alternate space. This is an electrical laboratory, and his finger is pressing the power button. Like telecommunications, these works stimulate our senses, and summon physical experiences that seem familiar but yet are inexpressible.
Huang Yu-Chih was born in Yunlin in 1972, graduated from the Art Department at National Hsin-Chu Teachers College, and from the Graduate Institute of Applied Art at the Tainan National University of the Arts in 2001. She has received the Outstanding Design Award in the Arts Section of the National Taiwan Craft Research Institute's Decoration Development Program, the Excellence Prize in the 2001 Taipei Arts Awards, and the 2002 S-An Artistic Creation Award. Huang is skilled at weaving tough metal into soft lines, and the openwork variation in density created by these lines gives her works a unique sense of perspective, and lends them grace and delicacy. Her works nevertheless possess boundlessly extending plasticity, just like the way plants climb and spread, which provides a feeling of burgeoning life.
Wu Yun-Feng was born in Hong Kong in 1969, graduated from the Arts Department at Tunghai University, where she specialized in ink and wash painting, in 1992, and engaged in children's art education after completing the fiber arts program of the Graduate Institute of Applied Arts at Tainan National Institute of the Arts in 1998. Wu held her first solo exhibition at the age of 40, and currently lives and makes art in Taichung. Wu Yun-Feng's artistic method is to use ink and wash painting as a foundation, and incorporate hand embroidery, computer embroidery, and ready-made objects. Her artistic topics include many everyday occurrences inspired by her movement between Hong Kong and Taiwan, and she typically employs an autobiographical perspective to analyze the people and things that she sees. The content of her art includes her family, friends, colleagues, and even the plants that she has grown. In general, she relies on her own life to project her multiple roles and situations as a working woman, mother, wife, and artist.
Wen Fu Yu
Wen Fu Yu was born in Douliu, Yunlin County in 1968, and later moved to Zhushan in Nantou County with his parents. Since his family engaged in bamboo craftsmanship, Yu gained familiarity with traditional crafts from an early age, and he is adept at the use of natural materials to create scenic, environmental installations. Having retired from his career as an Air Force officer, Yu uses the two fiber materials of feathers and bamboo to create natural landscapes, where feathers evoke his career as an airman, and bamboo recalls life in his hometown. "Consciousness of nature" is the central aesthetic of Yu's art, and he believes that when a person's thoughts are pure and undisturbed, that individual will have keen perceptions of his or her environment. Yu has participated in numerous domestic and foreign exhibitions and artist in-residence projects, including at the Penghu International Landscape Art Festival, Taipei National University of the Arts' floral art festival, Jingmei Human Rights Park, San Francisco Headlands Center for the Arts, New York ISCP (International Studios & Curatorial Program), Paris' Cite des Arts, and Australia's King Island Culture Centre.
Since we lived in rather secluded, inland Zhushan [Taiwan] - as a child my impression of the sea was as a faraway thing; I imagined it as a floating cloud sea. Only after I went to Kaohsiung to attend high school did I experience the salty, bitter taste of seawater, I discovered that the ocean's horizon is mesmerizing and calming, and heard the roaring of the waves. Throughout my seven years living in Kaohsiung, memories of the cloud sea of my hometown occasionally fitted across my mind, and I also heard the call of the sea. The cloud sea is a state of quiet, but the sea is a passionate youth.
Steven Balogh creates paintings, installations, and photographs. His artwork is both abstract and figurative at the same time; it is a chaotic turbulence of lines. Here he talks about Mortification, but could be speaking about many of his earlier paintings. “The strange decayed body is hanging upside down, reflecting the imagination of abstraction, the destroyed, defaced, ruined terrifying world in collapse. An early critic in socialist Hungary called it devilish, unhuman artwork – a threat to the society.”
Balogh's recent paintings are large in scale, abstract in design, and many are diptychs and triptychs. He squeezes paint directly from the tube onto the canvas, and uses his hands to tweak the images. Squatting down near the floor, Balogh performs a type of dance as he releases his emotions on to the canvas. The artist was inspired to include ballet images – especially pointe shoes - by observing his daughter Lily, a professional ballerina. Balogh has shown in both the US and Hungary, including at El Barrios's Artspace 109, New York, NY; Contemporary Arts International (CAI), Acton, MA; and VLS Studio Gallery, with IstvánTóth, Szentendre, Hungary. He has works in public collection at Ignac Tragor Museum, Vác, Hungary and Ferenczy Museum, Szentendre, Hungary.
Rewoven: Innovative Fiber Art is a collaboration between the Kaohsiung Museum of Fine Arts, Taiwan, Taiwanese American Arts Council, New York, the Godwin-Ternbach Museum, Queens Colleege and the QCC Art Gallery / CUNY.
The exhibition showcases twenty-four artists whose extraordinary creativity and commitment to nature, environmental, and social issues are addressed in a convergence of painted, woven, netted, sewn, assembled and installed artworks.
The conceptual art in this exhibition forms an enchanting dialogue, a reimagining and rediscovery of prosaic materials reborn greater than the sum of their parts. As Wen Fu Yu, one of the artists asserts: "The cloud exists in a quiet state, but youth is passionate." Ordinary objects are transformed, and their mere appearance finds liberation through the progressive process: form over content. Reshaped and valued anew as art, we marvel at their creators’ skills. Encountering these uncomplicated forms, rebalanced and brought into life, the viewer is challenged to inquire, feel and experience revelations - the dreams artist Yang Wei-Lin says are truth.
Through the magic of Huang Wen Ying’s ‘Electromagnetics’ the fragility of the human condition is evoked, as well as a metaphysical sense of conflict between heaven, earth and humankind. Brought closer to self-awareness in the presence of these pieces, we sense the impermanence of life, drawing us into nature and its myriad qualities - those that Chuang Hui Lin suggest abandons quotidian pursuit of the mundane and commercial and leads toward nature, originality and a spiritual state of being.
An inventory of signs and themes from popular culture is presented in the work of these artists - an unstoppable flow of variants, or rather a succession of classic memes that infuse the spectator in a continuous, transformative flow. Closely studying the objects, we are immersed in a new sensibility, a fresh awareness; look too quickly, and this meaning will be lost. To paraphrase André Breton, true humor reveals itself in a work through the profound initiation of feeling.
Art is form, and form is a perpetual metamorphosis, forever undergoing change that evolves dynamic visions of perceived reality. Here are forms with historic and legendary power, forever in conflict, yet without heroes or ideas, here are forces suspended in a magnetically-levitated space above the pull of gravity. To view these works not as just art, but as questions to solve, we discover these objects changing rhythmically, vibrating with tension and reinventing their forms.
We would like to thank those who have lent their talent to create the exhibit and to those who have offered their devoted commitment to this project.