Ciel

 

 

 

 

 

蒼穹

 

 

 

2013

 

Oil, acrylic and charcoal on canvas (Dallas 560)

 

27.3 x 34.8 cm

 

 

 

 

 

 

 

 

 

 

Statement of Solo Project in Switzerland

 

 

 

STATEMENT
The Ocean / Sheau Ming Song 2013

 

 

 

“Contemporary realist art contains a great deal of illusion and deceptiveness. That is to say, there is an intriguing and complex relationship between ‘the real’ and ‘the truth’ and between ‘the subjective’ and ‘the objective’.”

 

The depiction of illusion is not my goal. My intention is to achieve a quality of contemplation based on my own interpretation of reality that may transcend the confinement of traditional realist formations. In other words, the goal is to transcend the mode of description. In the matter of form, a dual character is evident among my paintings, in which the tangible realness of the objects is adopted and the quality of the abstract is manifested. As I argue in initial paragraphs, the duality is also the paradox. As is seen in my works, compositional artifice and selective concentration are utilized as expressive devices, but the edges of the pictures could imply both visual and spatial extension because all ingredients appear to be in a state of the materialized. The form of appearance is already presented as part of the condition of appearance’s possibility. In brief, the surface of a painting is commensurate with the subject, and vice versa. L’autre Côté de L’océan, Northerly, Perplexité or Crépuscule is typical example.

 

My practices do not aim to reveal the truth about the medium itself which is its flatness or create the awareness of the self-contradictory, however, these two points may underline the potentialities of producing a new vision to see different realities which mean to depart from the conventional system of realist art then further break its frame. The construction of material tangibility (such as masking tapes, dripping paints, spontaneous scratches and rough linen) may become independent and disentangled from its prescriptive situation. Furthermore, the character of rendering raw materials can evoke the viewer’s awareness of the artist. The visibility of artistic mediation is an integral element of my creative process and a key to deciphering my works – the nature of human intervention. My inner images are not literally reproduced through such ‘realistic depiction’ but adumbrated in metamorphoses of visual combinations. Minuit, Fleuve, Équinoxe Adumbration, and Ventus are well demonstrated. They express themselves without recognizable meanings but they do lay claim to some significance that reside in their raw identities as physical materials.

 

In exploring something lyrical with ‘thingly’ character, my paintings are trying to draw the viewer into a space of the unexpected, and thus the viewer becomes involved in the dialogue that demands a viewer’s ability to see something with her/his mind rather than with her/his eyes.

 

 

 

 

This statement is written for the SOLO PROJECT in Basel/Switzerland, from 12/June to 16/June, 2013