謝鴻均
Juin Shieh
簡歷年表 Biography
個展自述 Statement
相關評論 Other Criticism
相關專文 Essays
網站連結 link


Artist Statement

In February 2002, there was a living being entered my womb. I began to gain a sense of mission concerning this shared mysterious space. I have tried to learn about the interacting energy between the emerging life and its mother's body in my explorations of the "chora," and record the mental and perceptual process in my art. During the pregnancy, I often pondered the world and wondered what kind of space it was. Was it the secluded realm that Dante constructed in his "Divine Comedy"? Was it a virtual cyberspace to which people flee when they become exhausted? I asked these questions right up to the moment that the world within my belly began to make obvious movements. The physical experience of this period, like a kind of feminine jouissance, led me to approach an issue that I had tried to explore in the past, but certainly had not truly realized: the possibility of transcending existent symbolic systems and texts. I assembled these behaviors and thoughts intelligible to the real world into the alien sensation of being parasitized. For its part, the parasitic entity kept up an intimate connection and mutually bound relationship with the subject. This ambiguous, chaotic experience was communicated solely through the "divine music," which was the only way that it could approach a state of "clarity" in visual language. In the repetitive process of communication, many images and goals variously came out into the cognition to which they were originally attached, subverted the self, and again gave voice from this subversion. This often prompted me to linger in an "incomplete" free state.
﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏
In August 2005, my three-year-old daughter, Yuan-Hao, could recite many Chinese poetry fluently. Her innocent mind was so obsessed by things around her environment, as well like a sponge imbibing to embrace the world. I used to pray to have a baby girl while I was pregnant. As God had granted this precious little, I felt a strong responsibility to show her our story (herstory) as well as the refreshed mission of being a woman in the 21st century. In order to visit the archetype of motherhood—“Female Pedigree”, I brought her to visit the mythology which belongs to the pre-history world, as well as the chaotic world which belongs to the pre-mythological world. Through the study and research, I tried to re-construct the told stories and the new one also shown in a series of paintings I made since. On the process of visiting the “Female Pedigree”, I realized the way my mother brought me up—the unusual woman who used to combine avant-garde as well as traditional thought in my education for the past several decades. I actually don’t want to do to Yuan-Hao the same way my mother had done to me, yet no matter what I decide, I’d found my mother’s shadow behind. Maybe by keep on telling story and keep on recording the story in my painting will solve this problem.
﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏
The process of making art is like a trail to approach the truth. Layers of brush strokes are presented as bloody wounds and drying scars; increasing stories would make the abstract phenomenon virtualized. As I keep on work with oil paint, bloody scars and visual presentation show me endless victory smiles. Visible and invisible awareness is therefore purified that makes my life cleaner and more peaceful.

 

 
Copyright © IT PARK 2024. All rights reserved. Address: 41, 2fl YiTong St. TAIPEI, Taiwan Postal Code: 10486 Tel: 886-2-25077243 Fax: 886-2-2507-1149
Art Director / Chen Hui-Chiao Programer / Kej Jang, Boggy Jang