Emerging - Melt with Reality
Sean Wang Solo Exhibition
開展 Opening | 2023.08.19 (六) Sat. 3 pm
2. 對具象（Figurative）的繪畫技巧來自於林布蘭（Rembrandt Harmenszoon van Rijn, 1606-1699）以及泰納 (JMW. Turner, 1775-1811) 還有一些藝術史中的範例。對繪畫的多層次處理方式，他們是我的啟蒙，然後我從他們之中找到相對新的方式來進行我的繪畫。所以曾有位老師說：從我畫的方式以及觀念，我一定是自學的。
7. 我喜歡觀念藝術 （Conceptual Art），而繪畫的細緻感知特質與思辨，我的創作盡可能的在兩者間找到平衡。目前，我偏向這樣去描述上面的狀態：在理性中感受情緒的流動，在感性中回想起這世界的客觀存在，我喜歡清楚意識到這兩著的事物。
8. 曾有人說我似乎是天生的演說者，但我擔心自己只是口才辯給。創作讓我沉澱我所說的，然後我讓語言、話語、言說成為我作品沈默的觀念，揉合到繪畫之中。我希望我的創作能接近如羅蘭‧巴特 （Roland Barthes）對於語言的、語言學的般的流暢。或許有趣的是，我的草圖常常是段話，是個單字，或是詞語。有時我會將這些詞語放入我的作品之中或是在作品上改寫一遍，又或是將詞語轉化成為作品的題材。所以不說太多的時候，就是創造的特殊時刻，像是無語的空白感，沒有言說卻意義無限。
9. 非具象的（Non-figurative）、抽象的 (Abstract) 的藝術形式常常有可能因為知識的限制，顯得更具體。我所感興趣的是，跨越這樣分類的創作。
"When painting, I create not only images but also the process by which results are reached."
By Sean Wang
Over the last while I have written a few articles and a lot of artist’s introductions, so for this exhibition I have instead attempted, as much as possible, to not package my work in written words but rather highlight a list of related ideas, allowing rational expression separate from the pieces themselves to embrace open emotional description.
1. In my works, the process and the result are valued as equal.
2. Figurative painting technique comes from Rembrandt Harmenszoon van Rijn (1606-1699), J. M. W. Turner (1775-1811) and several other figures in art history. I have very much been inspired by their layered approach to painting. Moreover, I also discovered in their work relatively new painting methods. One of my teachers once said: From the methodology and ideas you employ when painting I can tell you are self-taught.
3. I deconstruct and reconstruct traditional painting. As such, painting technique and creative perceptions need to be reconstructed through the artistic language of the work and I particularly enjoy the process of reassembly. I often have a dual vision when creating art: highlighting both the surface layer and the material used to create works.
4. My use of color is generally instinctive. When I am painting or when a work starts, colors often emerge in my mind (from all kinds of daily experiences, images, current memories etc.) and I set about creating that color (have the color forms an object or motif). However, after the piece starts to develop, I rein in the color use and adjustment, so the hues in the piece are circumspect. I want to remember and have a full grasp of how I felt in the moment I first sensed the color. I like viewers to discover for themselves how I deal with color in my work.
5. In terms of media and composition, because I used to be very much fascinated with the field of design, I often spend a great deal of time considering the many different features of a work: proportions, positioning etc. and suitably soften these elements through the artistic process.
6. One of the most important aspects of my work is that I try to avoid fixed geographical traits. Art can develop culture or knowledge and my works tend to engage more in a dialogue with art history and discuss related issues. In objective art questions I find things that correspond to daily perception and sensibility and they become my subject matter. I very much hope that my art speaks to most of those viewers who want to get close to it, as the spectacle of such works comes from a deeper observation of them.
7. I love conceptual art and the features of fine perception and critical thinking in painting and as such, I do everything I can to ensure my art achieves a balance between the two. Currently, I would tend to describe the above situation as follows: I feel the flow of emotions in reason and through that emotion recall the objective existence of the world. I like to be clearly aware of these two things.
8. I was once told I am a natural public speaker, but I worry that could just be speechcraft. Creating art forces me to reflect on the things I say, and thereafter I allow language, utterances and the words spoken to become silent concepts as I fold them into my work. I hope my art approximates to the smooth flow of language and linguistics seen in the work of Roland Barthes. Perhaps what is more interesting is that my sketches are frequently written passages, single words or expressions. Sometimes I place these in the works themselves, rewrite them in the piece or transform the words into the subject of the work. As such, when I do not say much, that is a special creative moment, like wordless emptiness, not speaking but replete with boundless meaning.
9. Non-figurative and abstract artistic forms invariably seem potentially more concrete because of the limits of knowledge. What I am most interested in is work that transcends this taxonomy.
10. In many of the works I have created, especially more recently, I pay particular attention to leaving blank spaces. Although my works contain Western tradition and art concepts, I also like Eastern painting and I later discovered that I want to combine these two things. This is similar to the way in which I often look at a white canvas or media and after a while many objects I remember emerge from the whiteness. I am not willing to conceal this starting point, so the emptiness simultaneously becomes the result. In the current exhibition I have brought together recent works that showcase this form of development.
Perhaps I can best describe myself with the following allusion: The works I create are like emotional conceptual art, they must create something from nothing and in that something find the beginnings of emptiness.