Installation of "Metaphor"

合泰 佘先生裝置掛勾

Metaphor (隱喻) 典藏並長期展示於台灣大學會館
台大 湛盧手沖館一樓
(台北市 羅斯福路3段284巷2號, 02-23628883)


West Coast / October

西岸 / 十月
Oil and acrylic on Belgium linen
54 x 162 cm



Oil and acrylic on Belgium linen
50.8 x 76 cm (Approx. 25F)
The Rest of the 'Quote'
There is something never appears but physically exists.


A Statement for Art Toronto 2012


In exploring something lyrical with ‘thingly’ character, my present practice is trying to transpose realities (something real and unreal) onto a two-dimensional surface. Unprimed canvas, masking tapes, and spontaneous marks are often utilized materials or elements in my work. These objects occupy a non-specific space or time and thus can be elastically employed on the flat surface of canvas and make fewer explicit biographical associations to the image depicted. Nonetheless, by rearranging such nondescript materials, new references or meanings can be generated by virtue of further artistic alienation and transference.

Strictly speaking, the masking tapes, as well as other objects I represent on canvas, are not the ultimate images but the mediums and tools. Compared with the ‘authorial mode’ of perception of conventional ‘Realism’, the ‘spectatorial mode’ of perception of my practices not only annihilates the distance between the viewer and the depicted image but also intensifies the tangible quality of the subject matter. The feature of characterizing masking tape as the raw material is manifested in ‘Cage’ (2011), ‘Linen, Lines and Masking Tapes’ (2012) or ‘Sepia and Masking Tapes’ (2012). The components of raw materials constitute the visual images whilst the raw materials (such as paints, depicted object and tapes) seem to become parts of ‘realities’ of the work. In addition, the quality of ‘uncertainty’ is relevant whilst the processes of painting are adopted as some of my painting. The meaning of process is often seen as a series of actions that an artist takes in order to achieve a result. For my practice, the uncertain and imprecise way of constructing an image is also a mode of how to construct the meaning of an image. That is to say, different potentialities of being a finished work are latent.

As regards to the sense of incompleteness, the empty space of canvas positions as evocative as painted surface. Some quality of emptiness could suggest something is fleeting, in transition and imaginative which is the counterpart of the painted image. Most importantly, the element of emptiness not only extends the perception of solid image but also diminishes the rectangular nature of being a conventional representation which is generally shaped in and accommodated to a four-sided square.


(This statement is for my participation in 'Focus Asia', Art Toronto 2012)



List of works –

Cage’, 2011  

Oil and charcoal on Belgium linen, 80 x 100 cm

Abstract In 162 Centimeters’, 2011  

Oil on canvas, 80 x 100 cm

Linen and Masking Tapes’, 2012  

Oil on Belgium linen, 80 x 100 cm

Linen, Lines and Masking Tapes’, 2012  

Oil and pencil on Belgium linen, 80 x 100 cm

Three Rectangles and Masking Tapes’, 2012  

Oil and acrylic on Belgium linen, 100 x 80 cm

Sepia and Masking Tapes’, 2012  

Oil, acrylic and pencil on Belgium linen, 100 x 80 cm