I am fascinated by the process of painting, through time it brings changes to the pigment layers, brush marks, shapes and forms of the painting. This shows the fact that painting is neither a faithful representation nor a solution for the reality; instead, the painting is the creation of data (image) that reopens the path for us to re-experience the reality at a different level.
The my act of capturing the seascape through painting in different sizes convey the notion of creating a blur map. The viewing and perceiving of the painting changes accordingly when adjusting the viewing from close to afar. This makes the scattered nonrepresentational colors of the painting slowly become decorative patterns that depict the form of sea.
Ironic it seems, my experience as an a island inhabitant who live close to sea have not grant me strong impression of the sea. This is due to that the seascapes are often describe verbally to people to formulate the impression of what does the sea might look or feel like. Such way of creating an impression about landscape’s location and experience are common in this island.
During this phrase I will exhibit two different series of work:
The Landscape Painting
I select specific sites for photo taking to be used as a reference for my painting. Through time, the process of painting constructs the image as the references become fragments that I piece together to create the scene of this island. Through this process the landscape revels something to be seem, unseen, hidden, clarify or mystery, such is the way for me to comprehend this place.
The Ehagaki Series
I select the image of Ehagaki(繪葉書), the postcard published in Taiwan during Japanese colonial era. Ehagaki’s writing and image reflects is the interpretation of foreign culture during the Japanese colonial era, in addition it also serves the purpose of postcard to deliver the message across. The Ehagaki depicts the representative landscapes and daily life of the island, its images are derived from the paintings made by Japanese and Taiwanese artists of its time; some of the artworks are celebrated by art history while some are without indications or unknown.
I use color chart to match the color of the Ehagaki, with cross-reference for the nearest color as the guide for my painting. The process of the painting involves recreating and reinterpreting the Ehagaki. In order to achieve resemblance, the natural yellowish aging color of the Ehagaki is recreated with yellow transparent pearl pigment; such effect transforms the process of time into image of the present. As the pearl pigment becomes visible and invisible by the changes of the light, thus reveals the process of time or diminish it into colors and forms of the painting. Ultimately, these paintings serve the creation of data and context.