The End of the Rainbow Wang Liang-Yin Solo Exhibition
2018.07.27～2018.09.23
09:00 - 17:00
The representative painter of German Neo-Expressionism Anselm Kiefer once said in an interview,
For me, there is no beginning, there is only an end that is simultaneously a beginning.” This paradoxical statement is related to important characteristics that have always been present in Wang Liang-Yin's paintings. It points to a distant spiritual border where the end is not really the end, but a border that one has resigned oneself to, and stands on, while thinking restlessly in secret anguish. It is there that reality and fantasy, memories and imagination, eternity and disappearance, and joy and cruelty become one. In this way, Wang’s paintings give the impression of intensely compelling mystery, especially the kind associated with disturbing dreams. Wang Liang-Yin's creative trajectory starts from materials that resonate with the viewer and then captures transitions between animalistic and spiritual states. Such a transition could be when the sky clears and a beautiful rainbow appears after a shower. But what really attracts Wang is remnants and transformations, such as midair raindrops and reflected or refracted sunbeams. Links between the self and things epitomize ambiguous and contradictory relationships between individuals, consumer society, and the natural environment. These interesting threads in her work are clearly visible in her 2014 Happy Birthday, My Dear solo exhibition at the Taipei Fine Arts Museum, as well as in her 2016 Gifts and Dust and 2018 The End of the Rainbow solo exhibitions. Wang uses human desire, a shared language of humanity, to make a circus, carousel, toy figure and Christmas tree leave the realm of the material appearance, and become intimate metaphors with a certain degree of spiritual abstraction and expressiveness. Her atmospheres are bright and intense, paradoxical yet not abstruse, and overall, her works have an infectious energy. They also mix a slight and heightened danger, leading viewers to travel among her mottled surfaces that seem to go on forever while exploring their memories and hopes.
For me, there is no beginning, there is only an end that is simultaneously a beginning.” This paradoxical statement is related to important characteristics that have always been present in Wang Liang-Yin's paintings. It points to a distant spiritual border where the end is not really the end, but a border that one has resigned oneself to, and stands on, while thinking restlessly in secret anguish. It is there that reality and fantasy, memories and imagination, eternity and disappearance, and joy and cruelty become one. In this way, Wang’s paintings give the impression of intensely compelling mystery, especially the kind associated with disturbing dreams. Wang Liang-Yin's creative trajectory starts from materials that resonate with the viewer and then captures transitions between animalistic and spiritual states. Such a transition could be when the sky clears and a beautiful rainbow appears after a shower. But what really attracts Wang is remnants and transformations, such as midair raindrops and reflected or refracted sunbeams. Links between the self and things epitomize ambiguous and contradictory relationships between individuals, consumer society, and the natural environment. These interesting threads in her work are clearly visible in her 2014 Happy Birthday, My Dear solo exhibition at the Taipei Fine Arts Museum, as well as in her 2016 Gifts and Dust and 2018 The End of the Rainbow solo exhibitions. Wang uses human desire, a shared language of humanity, to make a circus, carousel, toy figure and Christmas tree leave the realm of the material appearance, and become intimate metaphors with a certain degree of spiritual abstraction and expressiveness. Her atmospheres are bright and intense, paradoxical yet not abstruse, and overall, her works have an infectious energy. They also mix a slight and heightened danger, leading viewers to travel among her mottled surfaces that seem to go on forever while exploring their memories and hopes.
The representative painter of German Neo-Expressionism Anselm Kiefer once said in an interview,
For me, there is no beginning, there is only an end that is simultaneously a beginning.” This paradoxical statement is related to important characteristics that have always been present in Wang Liang-Yin's paintings. It points to a distant spiritual border where the end is not really the end, but a border that one has resigned oneself to, and stands on, while thinking restlessly in secret anguish. It is there that reality and fantasy, memories and imagination, eternity and disappearance, and joy and cruelty become one. In this way, Wang’s paintings give the impression of intensely compelling mystery, especially the kind associated with disturbing dreams. Wang Liang-Yin's creative trajectory starts from materials that resonate with the viewer and then captures transitions between animalistic and spiritual states. Such a transition could be when the sky clears and a beautiful rainbow appears after a shower. But what really attracts Wang is remnants and transformations, such as midair raindrops and reflected or refracted sunbeams. Links between the self and things epitomize ambiguous and contradictory relationships between individuals, consumer society, and the natural environment. These interesting threads in her work are clearly visible in her 2014 Happy Birthday, My Dear solo exhibition at the Taipei Fine Arts Museum, as well as in her 2016 Gifts and Dust and 2018 The End of the Rainbow solo exhibitions. Wang uses human desire, a shared language of humanity, to make a circus, carousel, toy figure and Christmas tree leave the realm of the material appearance, and become intimate metaphors with a certain degree of spiritual abstraction and expressiveness. Her atmospheres are bright and intense, paradoxical yet not abstruse, and overall, her works have an infectious energy. They also mix a slight and heightened danger, leading viewers to travel among her mottled surfaces that seem to go on forever while exploring their memories and hopes.
For me, there is no beginning, there is only an end that is simultaneously a beginning.” This paradoxical statement is related to important characteristics that have always been present in Wang Liang-Yin's paintings. It points to a distant spiritual border where the end is not really the end, but a border that one has resigned oneself to, and stands on, while thinking restlessly in secret anguish. It is there that reality and fantasy, memories and imagination, eternity and disappearance, and joy and cruelty become one. In this way, Wang’s paintings give the impression of intensely compelling mystery, especially the kind associated with disturbing dreams. Wang Liang-Yin's creative trajectory starts from materials that resonate with the viewer and then captures transitions between animalistic and spiritual states. Such a transition could be when the sky clears and a beautiful rainbow appears after a shower. But what really attracts Wang is remnants and transformations, such as midair raindrops and reflected or refracted sunbeams. Links between the self and things epitomize ambiguous and contradictory relationships between individuals, consumer society, and the natural environment. These interesting threads in her work are clearly visible in her 2014 Happy Birthday, My Dear solo exhibition at the Taipei Fine Arts Museum, as well as in her 2016 Gifts and Dust and 2018 The End of the Rainbow solo exhibitions. Wang uses human desire, a shared language of humanity, to make a circus, carousel, toy figure and Christmas tree leave the realm of the material appearance, and become intimate metaphors with a certain degree of spiritual abstraction and expressiveness. Her atmospheres are bright and intense, paradoxical yet not abstruse, and overall, her works have an infectious energy. They also mix a slight and heightened danger, leading viewers to travel among her mottled surfaces that seem to go on forever while exploring their memories and hopes.
Wang Liang-Yin Born in Yunlin, Taiwan in 1979, Wang Liang-Yin received her M.F.A. from the Graduate School of Fine Arts of the Taipei National University of the Arts, and is currently based in Taipei. Sensory stimulations, primal desires, reality and illusion, memory and imagination, eternity and transience are all common themes in Wang’s art. The border between other objects and the self is also the spiritual perimeter within the artist, and it is distant, blurry, yet also immensely real. Several of Wang’s artworks are collected by the National Taiwan Museum of Fine Arts, Art Bank Taiwan and Taipei Fine Arts Museum. She has also been nominated for the Kaohsiung Award, and awarded with the New Perspective Art in Taiwan’s first prize, Long Yen Foundation Creative Arts Award, Chang Hsing-Lung Award, amongst other distinctions. She has also exhibited in several other countries, including Germany, USA, UK, Japan, Korea, and China.
Wang Liang-Yin Born in Yunlin, Taiwan in 1979, Wang Liang-Yin received her M.F.A. from the Graduate School of Fine Arts of the Taipei National University of the Arts, and is currently based in Taipei. Sensory stimulations, primal desires, reality and illusion, memory and imagination, eternity and transience are all common themes in Wang’s art. The border between other objects and the self is also the spiritual perimeter within the artist, and it is distant, blurry, yet also immensely real. Several of Wang’s artworks are collected by the National Taiwan Museum of Fine Arts, Art Bank Taiwan and Taipei Fine Arts Museum. She has also been nominated for the Kaohsiung Award, and awarded with the New Perspective Art in Taiwan’s first prize, Long Yen Foundation Creative Arts Award, Chang Hsing-Lung Award, amongst other distinctions. She has also exhibited in several other countries, including Germany, USA, UK, Japan, Korea, and China.
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