World Mystery - Wang Tin-yu Solo Exhibition
”World Mystery” is a series of scenery paintings characterized with spectacle flavor. Of “spectacle” indicated here it refers to the pun of double meaning for it will, on hand one, tell about the natural spectacle as demonstrated with the paintings, while it will also refer to the space reincarnation as summoned by the media.
The so-called media can be represented by the gossip magazine and network image which are the sources that I extract images, and while it is the image of human figures that I concern the most. Through the collection behavior of massive images and human gestures as conveyed through observation, we can have viewed about the perspective of scene-taking of media “habit,” for instances, the images of human figures of individuals who are about to enter and leave certain venue, the means of transportation of arrival and departure, ways of holding baby, or action so much similar to a buffoon. With tailoring that accommodates to page layout or window, the small view-observation window can, under the fabrication of media, have become the only way that helps to appreciate the authentic façade of this world, and that is the dinning world as construed by those individuals after heterization. As such, it is exactly through such process that media has helped replaced our eyes so that the world reincarnated has become the one we have acknowledge and experienced
However, among my paintings what is described is genuinely the natural “spectacle” (unthinkable events) people have learned about, while those human figures are being endowed with shadow of four limbs as tailored from gossip magazine or network media as they have seemingly accomplished the gestures they are supposed to be (maybe). Thus, they can stand in my new world I have created as gestalt, which is truly “authentic” world mystery. Under such context of wonderful site, it has rendered human figures hidden so that though they are images occurred as categorized into different time and locations their gestures of “cooperation” have completed another inner spectacle from the world as evoked from images.
In terms of forms, it is given the “appearance” of painting style as surrealism for the location human figures being installed seems to be like a certain corner of the world; it is a bit like the holy land for tourism, or somewhat like a disaster-stricken area, while some have been awarded with certain form of ritual. The construction o f such domain of spectacle is, actually, being initiated from the subjectivity of the creator who has, through incomplete tailoring of human figures, fill up the missing description with his own imagination, and it also seems to tell as metaphor the real subjectivity as genuinely indicated with our desire, which is exactly the missing story of the description. As for my job, it is simply like the general function of mass media, while media are the extension of ourselves, and what I do is merely the re-extension upon media extension. In such a way, the others (part of forgotten one with human extension) that are separated after media anaesthetization have been re-conducted with some kind of connection surgery with imagination.
As from the perspective of viewers, it is considered as the natural spectacle integrated with human figures and “pseudo-nature” with some form of falsification. And for the expression of such single material as oil painting, it is capable to have created “seamless” synthetization, and it can, as a whole, appear to be like a sketch of painting worked out from a natural scenery. Nonetheless, we can find some rather unreasonable perspective with the natural scenery displayed for the scenery is, in order to cope with human figures as sketched from image, more similar to the space of Chinese painting with mountains and waters as it is conducted with measures that object is created large in short distance and vice versa.
It is quite difficult for one to explain with the world created from imagination. Furthermore, the image pictures I have searched from network have, on one hand, attempted to explicate the world in the painting, and they have, on the other hand, used images to indicate mere scenery, while another form of emptying is being implemented upon the human figures in the painting. Therefore, it appears that human figures from these images are enhanced to certain existential significance a priori, while such significance has, in some way, echoed to the universality of image of human figures as found in the world of media.
We have always said, “When man is given birth to this world,…,” it seems to tell that the world has been in existence before mankind in our unconsciousness or in our concept of recognition. However, when the era of pictorial times has come such a priori belief has been exposed to challenge for the construction and demolish of the world has been so drastically fast, just like Mobius loop, and there will be eternally be an unsolvable answer, ending up as a puzzle. The series of works in “World Mystery” will, as re-demonstrated, appear to be like the characterization of mysterious spectacle, and even so, it is doomed to be discussions of mystery of recurring rise and extinguish from the world of images.
> WANG Ting-Yu 王庭宇
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