text by Hsieh Hsiao-Yun
Western art history's research of "pictoriality" originates with the installation of the "frame." Within the frame, the world becomes an image object that is viewed; outside the frame, the artist and viewers become the creative and cognitive subjects. Yi-Chen Hung redefines the meaning of "pictoriality," retaining the window frame shape of the "frame," but discarding the description of the frame's contents, simplifying the work into three fundamental elements: "pigment, frame, and canvas." What appears to be a distorted frame and a shriveled canvas is in fact the creative result of reproducing objects and recreating texture; thick and thin frames and the flowing quality of pigments are all realistically restored in the tranquil exhibition space.
Yi-Chen Hung (1971- ) went to England early in her career to study the fine arts creation. Between 1992 and 2002 she studied at the University of East London, the Royal College of Art, and the University of Reading. In 2002 she received her Ph.D. in Fine Arts and currently teaches at the Department of Material Arts and Design, Tainan National University of the Arts. Her creative style has been influenced by Abstract Expressionism and Minimalism, and she tends to emphasize simplicity in materials and form, reducing excessive processing and utilizing the original quality of the materials. By using a simple quadrilateral, the influence of a specific shape on the artistic message is reduced, and through the incorporation of repetition and equal distribution, a frequency that allows for rational dialogue is established between the paintings canvases.
Yi-Chen Hung has held an ongoing series of exhibitions over recent years. In 2007 IT Park exhibited Hung's "Reproduction-Representation," which discussed the concept of "extending reproduction and recreation." For the work, Hung reproduced oil paintings through the creation of molds, accurately and completely recreating the exquisite brush strokes and texture of the "original works." In 2008 the NHCUE Artist's Space exhibited "Revivification-Representation," which examined the possibility of "reappearance" and "restoration." Now, in 2009, the TFAM's exhibition of "Subject‧Painting‧Object" once again raises the dialectical question of "pictoriality." "Painting" can be used as a noun as well as a verb. It can represent subjective willpower as well as an objective creative vehicle. If the "painting" is placed between the subject and the object and allowed to swing and develop there among a variety of interpretations, every work of art becomes a question, with the answer provided by the viewers themselves.
This exhibition presents 19 of Yi-Chen Hung's works from 2007 to 2009. All of the works are named "untitled," once again allowing the artist to hide behind the works and allow them to speak for themselves. Apart from its rigorous approach to presenting Hung's works, the exhibition space is divided into two distinct spaces of black and white. The black space is faintly illuminated by square lights, emphasizing the materiality of the works themselves: the FRP reproductions of original, the horizontal and vertical stripes interlaced on the canvas, the fluidity of the oil paints and the brilliant colors of the baked paint, all condensed into a motionless art works. The white space contains a clear acrylic stand that holds 540 canvas "document "pieces that were reproduced using clay. Viewers are invited to take one and smash it to pieces, thereby deconstructing art history's definition of "pictoriality." After being smashed apart, can the original work be pieced together once again? Will the varied attempts at reconstruction by different participants lead to the same results? Through the occurrence of this "event," viewers participate actively in the art work and are encouraged to ponder the creative aim of the artist.
Yi-Chen Hung's works appear to be simple, but the creative energy that they contain allows them to breathe, rising and falling like a human lung. Hung's individualistic, handcrafted, and aesthetic artistic expression nimbly creates a dialogue between the material and the art work, and the traditional value of the subject and the object in the painting is redefined. Through her rigorous approach Hung breaks through normal constrains as she continues to carve out an artistic realm filled with her unique individual character.
Taipei Fine Art Museum Director |
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