CHEN Guan-jing / WU Cheng-Han
10 Jan 2015 - 9 Feb 2015

Statement |Chen Guan-jing

About Simulate – Daily Observational Studies

I was delighted when I learned that I would be holding a joint exhibition along with Wu Chen-Han. After all, we often had discussions about our artwork and even held exhibitions together in the past. Furthermore, Wu and I attend the same school, which would allow us to easily manage the various curatorial duties involved. This makes me feel a sense of relief.

As we thought of a name for the exhibition, we began by discussing the concept of “a coinciding point between the works of two people”. I believe that since it is a joint exhibition, there has to be a certain level of fairness. Through mutual communication and understanding of the connotation behind each other’s artworks, we discovered that a shared coinciding point to our works lay in the element of simulation. As a result, we decided to use “Simulate” as the name for our exhibition.

However, after we named the exhibition after a common element to our artworks, I began to think of some interesting ideas. According to the dictionary, “Simulate” means to speculate, mimic, or draft, which made me think how both life and creativity are seemingly associated with this word. Starting from an early age, we mimic language, gestures, and many other things. The same process is used to learn to paint – we start by objectively mimicking before adding subjective elements to slowly develop a personal artistic style. Regarding the artwork by me and Chen Han, one uses food to simulate landscapes, while the other utilizes non-ink traditional materials to simulate the sensations of ink. These are the results shaped and obtained from the accumulation of past experiences regarding the notion of “simulate.”

As a result, this exhibition, Simulate not only consists of the element of simulation, but also various imaginations that Chen Han and I have on daily life, and our multi-faceted attempts in ink creations. We hope to convey our creative ideas through our artworks, as well as present a different appearance to modern ink painting.


Statement| WU Cheng-Han

Ink mimicry:

On the bases of pigment piling-up, color performances, surface texture, themes, when watching a plane work, our visual experiences will automatically classify its type to oil paintings, ink wash paintings, woodcuts or etc.. Every kind of painting has its huge historical context, and each one of them possesses a unique look.

But today, owing to the rapid flow of information, viewer’s sensations are not limited in vertical orientation, it unifies viewer’s observing experiences and becomes identical. The information we receive is close to that of other countries. Spectators have difficulties in distinguishing art orientations. As I walked into a fair of various arts, most of the art works could not catch my eyes. But there is an exception, with a strong particularity, can reflect the artist’s living environment and historical context. “Ink mimicry” creation is generated in such thinking.

“Ink mimicry” is the hope in my learning and skilled mediums, to reconstruct a new style of traditional ink painting. The works simulate ink effect by using acrylic paint on canvas. Hoping the viewers from distance erroneous categorize the works as ink paint by screen texture, atmosphere, themes and symbols. Just the opposite, when viewers taking a closer look at the work, they can be confused and have a wonder what to classify the material to. The artist hopes to express the concept that the Ink Art doesn’t necessarily rely on Traditional ink mediums but other features, such as lines, ink usage, symbols of Painting Manual of the Mustard Seed Garden , color yellowing changing with time and its subjects.


Anthropomorphic creatures in nature:

My father yearns for living in the nature since I was little. Therefore he constructed a cottage in Miaoli hillside when I was twelve. In the mountains, there was no entertainment , observing the creatures became my only recreation. Flowers, birds, insects and fish were my companions. At times I would pick up brushes to paint my companions. When I grew up gradually I realized that natural world is as complicated as human society, creatures have feelings, socialize organization, they follow the rules of the jungle, strive for survival, and compete with each other. So I chose this theme, projected it to people and things around me and poured into subjective emotional thinking.