jump to the central content area
:::

Kuandu Museum of Fine Arts

The Reveal, Study Carrel Project - Peng Si-Qi
:::
The Reveal, Study Carrel Project - Peng Si-Qi
2024.07.19~2024.10.13
10:00 - 17:00
1 and 1/2 Space, KdMoFA
Exhibition Introduction
“Common things revealed in all things are all benevolence.” - “Volume 71, Yi, Fu”, Thematic Discourses of Zhuzi.

“The Reveal, Study Carrel Project” draws from the experience of growing up in a humid, tropical island climate. “The reveal” is the colloquial term for “wall cancer” (efflorescence), referring to the disclosure of an internal state. Looking around the studio, the corners of the walls are surrounded by areas of flaking efflorescence of varying sizes. While this may sound concerning for a living environment, to me it is a daily scene. Gazing at the large pieces of efflorescence that have fallen to the ground, the visual immediately triggers a sensory nerve response. The folds carry a destructively fragile perception, these familiar thin shards identical to the ceramic leaves I normally fire.

This project attempts to analyze the conceptual knowledge between regional interstices through a research mindset, bodily perception, and labor techniques. How do the shattered leaf postures transition into remnants of moisture-revealed efflorescence? How do the choices of parasol leaf tree and paper mulberry transform into efflorescence phenomena? The accumulated acid corrosion and penetration over time awaits the emotional fermentation by mycelial wall spots, while the humid air breathes along the bodyskin, linking myriad subtle signals into an unknowable completeness.
Exhibition Introduction
“Common things revealed in all things are all benevolence.” - “Volume 71, Yi, Fu”, Thematic Discourses of Zhuzi.

“The Reveal, Study Carrel Project” draws from the experience of growing up in a humid, tropical island climate. “The reveal” is the colloquial term for “wall cancer” (efflorescence), referring to the disclosure of an internal state. Looking around the studio, the corners of the walls are surrounded by areas of flaking efflorescence of varying sizes. While this may sound concerning for a living environment, to me it is a daily scene. Gazing at the large pieces of efflorescence that have fallen to the ground, the visual immediately triggers a sensory nerve response. The folds carry a destructively fragile perception, these familiar thin shards identical to the ceramic leaves I normally fire.

This project attempts to analyze the conceptual knowledge between regional interstices through a research mindset, bodily perception, and labor techniques. How do the shattered leaf postures transition into remnants of moisture-revealed efflorescence? How do the choices of parasol leaf tree and paper mulberry transform into efflorescence phenomena? The accumulated acid corrosion and penetration over time awaits the emotional fermentation by mycelial wall spots, while the humid air breathes along the bodyskin, linking myriad subtle signals into an unknowable completeness.
About the Artist
Peng Si-Qi’s creative nourishment is rooted in her experience with the Eastern restoration of ink on paper, while the fragility of ceramic material drives her meticulous craftsmanship akin to cultural relics for each piece. The extremely thin leaf works, with meandering and incomplete edges, are sealed in moments of frailty, reflecting on the waxing and waning, as well as rebirth of all things between bodily decline and spiritual awakening. She strives to coexist the relationships between lightness and heaviness, loss and preservation, fiction and reality.
About the Artist
Peng Si-Qi’s creative nourishment is rooted in her experience with the Eastern restoration of ink on paper, while the fragility of ceramic material drives her meticulous craftsmanship akin to cultural relics for each piece. The extremely thin leaf works, with meandering and incomplete edges, are sealed in moments of frailty, reflecting on the waxing and waning, as well as rebirth of all things between bodily decline and spiritual awakening. She strives to coexist the relationships between lightness and heaviness, loss and preservation, fiction and reality.