Kuandu Museum of Fine Arts

About the Exhibition

Curator: Chia-Ling Tu
Venue: 4-5Floor gallery space

The creation of different fields, through various appellations to categorize, forms a way of trying to dialogue with the world. The Eye of the Skin mentions: “The verbal statements of artists and architects should not usually be taken at their face value, as they often merely represent a conscious surface rationalisation, or defence, that may well be in sharp contradiction with the deeper unconscious intentions giving the work its very life force.”* When the creation comes into contact with people, although being silent, they are passively reinterpreted by the society and space.

“Scrambled eggs with cold sauce”, a common allegorical saying, usually is used when people feel inferior or helplessness and loose themselves in Chinese culture. Using “Let nature take its course” as an exhibition title, in order to more clearly describe the Chinese allegory. This saying is not a question but has various responses, meaning in the process of a work, the creator swings between the discourse consciousness and social conversation. The cognition of one's own works from the beginning to the end – the end does not mean the completion of a work but the complete vanishment of it – will change with the nonstop shaping of the surrounding social space. One work might be as well started unintentionally because it will be constructed and defined by the values of various roles in the society.

What does the extension and discussion of a work look like? In the dialogues of “Scrambled eggs with cold sauce”, because the roles of the society are all in different social contexts, the replying words are ever-changing, connecting the immediacy of the oral narration and the most direct background experience between the creator and the society. Through each question and change of a role to ask ourselves again, the work perhaps is just a kind of daily life wrapped under words.

*Note: Juhani Pallasmaa, The Eyes of the Skin (Wiley & Sons, 2009): p 29.

About the Exhibition

Curator: Chia-Ling Tu
Venue: 4-5Floor gallery space

The creation of different fields, through various appellations to categorize, forms a way of trying to dialogue with the world. The Eye of the Skin mentions: “The verbal statements of artists and architects should not usually be taken at their face value, as they often merely represent a conscious surface rationalisation, or defence, that may well be in sharp contradiction with the deeper unconscious intentions giving the work its very life force.”* When the creation comes into contact with people, although being silent, they are passively reinterpreted by the society and space.

“Scrambled eggs with cold sauce”, a common allegorical saying, usually is used when people feel inferior or helplessness and loose themselves in Chinese culture. Using “Let nature take its course” as an exhibition title, in order to more clearly describe the Chinese allegory. This saying is not a question but has various responses, meaning in the process of a work, the creator swings between the discourse consciousness and social conversation. The cognition of one's own works from the beginning to the end – the end does not mean the completion of a work but the complete vanishment of it – will change with the nonstop shaping of the surrounding social space. One work might be as well started unintentionally because it will be constructed and defined by the values of various roles in the society.

What does the extension and discussion of a work look like? In the dialogues of “Scrambled eggs with cold sauce”, because the roles of the society are all in different social contexts, the replying words are ever-changing, connecting the immediacy of the oral narration and the most direct background experience between the creator and the society. Through each question and change of a role to ask ourselves again, the work perhaps is just a kind of daily life wrapped under words.

*Note: Juhani Pallasmaa, The Eyes of the Skin (Wiley & Sons, 2009): p 29.

Artists

莊英渝
Ingrid Cheng

About that Sound: Volume
sound installation, piezo elements / 250 × 150 cm

Volume means the size of three-dimensional space occupied by an object. In the field of architecture, this term usually refers to the "visual" size of a certain element in the architecture itself or interior space. The artist tries to build the connection between her work and this concept by regarding piezo elements as “volume”, spurring viewers to think whether it is the visual effect of piezo elements or the sound which piezo elements creates separates the space. With the sound recording technique and algorithm, collected sounds will be turned into electronic environmental sounds, and the sounds will be used as a functional display to achieve the relationship among sound, vision, and space.

-

吳亭毅
Ting-Yi Wu

Inside the Autorefractor
installation, autorefractor, lens, motor, celluloid sheet, 1:100 model / dimensions variable

Through the principle of camera obscura and lens reflection, people use the autorefractor to observe patients’ eyes with an image of a house by operating motors, lens and shifting focus. Fogging is a method to adjust the scene from blurry to clear. Using this concept, this work considers this scene as an imagination of the space, bringing the house image in the autorefractor into reality by the model. And between focusing and blurring, this work tries to create an illusional and bizarre view. Perhaps it is the artist's short-sightedness and the experience of eyesight examination makes him curious about the house, makes him inquisitive about the angle of the scene, and makes him care about the flat and exaggerated depth of the field. The installation invites the viewers to observe with lens and redefine the dimension of light.

-

陳恩澤
En-Tse Chen

Steady-State Waveform
installation, motors, aluminum, acrylic, light, sound / 300 × 300 × 440 cm

The time sequence is arranged into readable waveforms and cut into small pieces. Even if it is disordered or out of order, it still needs to keep quiet and wait for a moment to be complete. The wave crests and troughs fluctuate slowly and form the same wavelength gradually. It diffuses and contracts evenly, stabilizing and circulating. It displays only the temperature as far as possible, and people can still feel its existence. The concept that thinking time is used piecemeal but still moves slowly in general. Through this work, we can feel the flow of time and symbolize the cutting time sequence with sound. The slow waveform shows the process of time being squeezed and twisted, and gradually forms a dynamic balance. It is like a normal life, sometimes a complete circle, and most of the time is ups and downs. This kind of day is slow and circular, cold and quiet.

簡令謙
Ling-Chien Jian

Fluctuating
installation, metal sheets, acrylic, motors, light, wood / 240 × 90 × 110 cm

Hard metals, smooth waves, silky faces, and sharp sounds. How could they resonate?
The hard metals can simultaneously be as smooth as the waves. Fluctuating attempts to use the characteristic of metal to transform invisible waves into visible ones. The motion of the metal sheets which are mixed with lights, shadows and sounds expresses the process of the transferring energy, seeking for new possibilities between the dynamic visuals and sounds.

-

侯思齊
Ssu-Chi Hou

TV Wall
video installation, tv screens, raspberry pi / 280 × 120 cm

TV Wall attempts to map “the image of the screen” on the “screen”. From the perspective of pixels, even a completely white image will show pixels of grids when it is played by any kind of screen. Based on this aspect, the image simulation enlarges the pixel grids; at the meanwhile, the image takes the border of the TV screen as an element. In the end, the image will be zoomed out into the black grids, turning complete black. This procedure might bring out discussion of what are the outside and inside of an image, what is virtuality and reality, and how to create images when the screen and the border of the image are regarded as objects.

-

WWC

Vahalla
self-made instrument, mural, single-channel video, light / dimensions variable

WWC, a self-made instrument band, was formed in autumn 2019. In the beginning, WWC challenged the regular audiovisual performances through performing their self-made instrument about epic paragraphs. The context of their work referenced different religions and legends, attempting to present in contemporary methods. Furthermore, after combining each member’s talent, WWC created a performance which was not only creating music but also telling stories about the alternative universe. WWC defined each song as a chapter, and by the form of chapters, each song would closely interconnect with each other, telling each story. The members of WWC created diverse vessels to interpret varied characteristics and emotions of each universe in each chapter.

Artists

莊英渝
Ingrid Cheng

About that Sound: Volume
sound installation, piezo elements / 250 × 150 cm

Volume means the size of three-dimensional space occupied by an object. In the field of architecture, this term usually refers to the "visual" size of a certain element in the architecture itself or interior space. The artist tries to build the connection between her work and this concept by regarding piezo elements as “volume”, spurring viewers to think whether it is the visual effect of piezo elements or the sound which piezo elements creates separates the space. With the sound recording technique and algorithm, collected sounds will be turned into electronic environmental sounds, and the sounds will be used as a functional display to achieve the relationship among sound, vision, and space.

-

吳亭毅
Ting-Yi Wu

Inside the Autorefractor
installation, autorefractor, lens, motor, celluloid sheet, 1:100 model / dimensions variable

Through the principle of camera obscura and lens reflection, people use the autorefractor to observe patients’ eyes with an image of a house by operating motors, lens and shifting focus. Fogging is a method to adjust the scene from blurry to clear. Using this concept, this work considers this scene as an imagination of the space, bringing the house image in the autorefractor into reality by the model. And between focusing and blurring, this work tries to create an illusional and bizarre view. Perhaps it is the artist's short-sightedness and the experience of eyesight examination makes him curious about the house, makes him inquisitive about the angle of the scene, and makes him care about the flat and exaggerated depth of the field. The installation invites the viewers to observe with lens and redefine the dimension of light.

-

陳恩澤
En-Tse Chen

Steady-State Waveform
installation, motors, aluminum, acrylic, light, sound / 300 × 300 × 440 cm

The time sequence is arranged into readable waveforms and cut into small pieces. Even if it is disordered or out of order, it still needs to keep quiet and wait for a moment to be complete. The wave crests and troughs fluctuate slowly and form the same wavelength gradually. It diffuses and contracts evenly, stabilizing and circulating. It displays only the temperature as far as possible, and people can still feel its existence. The concept that thinking time is used piecemeal but still moves slowly in general. Through this work, we can feel the flow of time and symbolize the cutting time sequence with sound. The slow waveform shows the process of time being squeezed and twisted, and gradually forms a dynamic balance. It is like a normal life, sometimes a complete circle, and most of the time is ups and downs. This kind of day is slow and circular, cold and quiet.

簡令謙
Ling-Chien Jian

Fluctuating
installation, metal sheets, acrylic, motors, light, wood / 240 × 90 × 110 cm

Hard metals, smooth waves, silky faces, and sharp sounds. How could they resonate?
The hard metals can simultaneously be as smooth as the waves. Fluctuating attempts to use the characteristic of metal to transform invisible waves into visible ones. The motion of the metal sheets which are mixed with lights, shadows and sounds expresses the process of the transferring energy, seeking for new possibilities between the dynamic visuals and sounds.

-

侯思齊
Ssu-Chi Hou

TV Wall
video installation, tv screens, raspberry pi / 280 × 120 cm

TV Wall attempts to map “the image of the screen” on the “screen”. From the perspective of pixels, even a completely white image will show pixels of grids when it is played by any kind of screen. Based on this aspect, the image simulation enlarges the pixel grids; at the meanwhile, the image takes the border of the TV screen as an element. In the end, the image will be zoomed out into the black grids, turning complete black. This procedure might bring out discussion of what are the outside and inside of an image, what is virtuality and reality, and how to create images when the screen and the border of the image are regarded as objects.

-

WWC

Vahalla
self-made instrument, mural, single-channel video, light / dimensions variable

WWC, a self-made instrument band, was formed in autumn 2019. In the beginning, WWC challenged the regular audiovisual performances through performing their self-made instrument about epic paragraphs. The context of their work referenced different religions and legends, attempting to present in contemporary methods. Furthermore, after combining each member’s talent, WWC created a performance which was not only creating music but also telling stories about the alternative universe. WWC defined each song as a chapter, and by the form of chapters, each song would closely interconnect with each other, telling each story. The members of WWC created diverse vessels to interpret varied characteristics and emotions of each universe in each chapter.

Works

2020 Outstanding New Media Art Award "Let Nature Take Its Course"

$Ting-Yi Wu / Inside the Autorefractor$