Outline - Chiao-Yen Hsu Solo Exhibition
2014 . 02 . 15 ~ 03 . 16
2014 . 02 . 15 ~ 03 . 16
"Outline" is a way to form perceptual connections, while looking at a work of art, and it is also a concise way to describe my current creative model. There has always been an intricate connection between my art and space. Space is comparable to the physical body; in ways that it forms experiences, takes in and exports out things. This is my attempt to express the outline of memory, and for the outline I have left behind to echo inside the minds of the viewers and for them to form their own unique memory outlines.
With affordable everyday objects as my creative foundation, things such as charcoals, cardboard boxes, canvases, plastic bags are utilized, and with the drawing techniques of expansion and covering, visual reconstructions of abstract forms are conducted within the new spatial framework, with the new forms exposing the naked spatial context found inside human desires. From the various outlines I’ve created, the connections between people and space, space and materials act as the directional guide for perceptual memories. With the imagery of the site being simultaneously revealed, within the spacetime compilations are the conflicting juxtapositions of “preservation/dissipation” and “sense/sensibility”, while imaginative experiences of people’s everyday memories are also constructed.
The Molding Room
The Molding Room is an artwork that challenges the memories I hold for home and the conflicts I face for reflections of the environment I grew up in and the cultivation of knowledge. As I instinctively use lines to illustrate the familial space based on my memories, my rich emotions for home are constructed stroke by stroke, as the compilation of lines and spaces come to form that intimate dwelling place; however, it also seems quite distant and foreign due to the spacetime distance. The compiling duo realms presented in the piece are used to weave together the conflicting outlines I hold for the notion of home. The uncertain lines disrupt the unknown perceptual experience before the eye, and similar to the emotional tremors I experience as I face the two interlacing spacetimes, the uncertainties provoked by the changes of time are also insinuated. As I construct the vision I hold for home via each stroke, a memory blueprint constructed with limitless imaginations is also composed.
Tomography– The Space of Plus
Tomography– The Space of Plus is a conflicting outline composed of instinctive lines used to illustrate the different illegally constructed spaces scattered in the architecturalenvironment. Through the dissection and expansion of the façades, the compilation of lines and spaces come to weave together a perceptual framework composed of people’s sense and sensibility. A fictional space is reconstructed through the lines I employ, and at the same time, it reflects the disturbance and the “hyper reality” in people’s experiences.
My Room is a memory outline, which expresses a personal living space. Similar spaces are compiled and juxtaposed, as an attempt is made to search for my individualspeculativeapproach for the personal space. Comparing to the drawing approach of more rational and scientific style, this artwork applies organic and physical lines to the creative surface, and through continuously repeated strokes and smudging motions, an image of the true self is compiled together.
The artwork, Markers,uses the style of sketching to depict the illegal spaces outside of buildings, and it also appropriates political banners that are prevalent in the Taiwanese society as its stylistic imagery. The banners act as a metaphor for the ballooning desires and the fluctuation of power found in the realistic setting. As these spaces stemming from people’s desires gradually cover and wrap around their primary architectural structures, a sense of sensual aesthetics that is unable to be established in the environment is thus formed. These markers are similar to the various inflating organic forms in our immediate environment, and they also depict an ironic spatial domain and are concentrations of the pathological sickness dwelling in the modern setting, while traces of humanity found in the complex reality also revealed.
> HSU Chiao-Yen 許喬彥