text by Chen Sung-chih
Reviewing the creations over the years, most of them were presented by the vocabularies of materials such stereoscopic installations to present the sentimental parts that tended to be neglected in the daily experiences. The past creations were presented by a large number of techniques of “construction” and “destruction” to exhibit the various abstract possibilities of limited materials. The complicated imagery interweaved by many life incidents was presented by “concrete shape” and “meaning.” The imaginary world exhibited by these cheap and rough materials attracts the fixed and cognitive perceptual thinking of people to look attentively at the phenomenal epitomes which coexist with multiple values.
“My Dear Wrinkle -A Solo Exhibition by Sung Chen” extends the description of my personal obsession with “time/traces” and exhibits creations of “My Dear Wrinkle–series”, which are conceptual sculptures of investigation on materials and object art. “Wrinkle,” a fold, ridge, or crease is exhibited by the image photographs of classical bisque sculptures in response to the fractional image sculpted by the repeated extrusion of soft PVC. The simple, flat, hard, and straight veins were enlarged, expanded, pulled, and dragged. In terms of cognitive activities, it invisibly touches the values and meanings hidden among classes or time. The formal models of western sculptures are used in the creations to irrationally exhibit humor and rebellious criticism, reflect personal visual experiences in the large environment, and present the aesthetic perception regarding the marginalization of the changing society. This is a margin which is going to be obliterated. For me, it is an attempt to disclose a kind of collection of rupture, destruction, and weakness caused by powerfulness from my own experiences.
We are borne with wrinkles and the wrinkles pass away with us. People are used to pursuing the surface value of flatness and smoothness. However, wrinkles are the most profound memory revealed on our body. The movement of folding reflects multiple and various spatial dimensions. The distance of the real world is also reflected by the pattern and roughness of creases. You may gaze at it without seeing, but it indeed exists.
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