text by Ava Pao-shia Hsueh
Abstract art has been in existence for more than a hundred years since the turn of the twentieth century. When retrospecting the historical past, our perception happens within the field that triggers the history and reality. It involves not only “knowing” but “dialectics” which take place in the established perception. Moreover, it entails“perception” that underlies the changing reality. Thus, every process draws out energy, and herein unravels the new meaning of perception. To me, the new meaning forms in the very field where lies the relational scenes of the paradox formed by abstract art history itself.
I’m concerned with the issue of referentiality raised of abstract art in the loops of history. That is to say, if a painting could be easily identified as a piece of abstract art, then abstract art shall claim the quality of self-reference. And this self-referentiality gradually forms its own paradox in the time-spatial evolution. Hence I shall delve further into the proposition: “Is it possible that contemporary abstract art is a phenomenon of abstract art being concretized in the cognitive system?” If contemporary abstract art ought to confront the acknowledgement of concretized
abstract, then abstract symbols’ self-referentiality and meaning shall evolve in the relational scene of history and reality.
I often trigger the starting point of collision against cognition of the real through juxtaposition of geometric abstract symbols and biomorphic abstract symbols, and thereby construct in my works the energy field where dialectics and perception interweave with each other. Therefore, to me, “abstract symbols” themselves compose
the scene that evokes energy, and prompt the extension of events between stillness and movement. In the meantime, it opens up the possibility of contemporary abstract art shaping its own history on its own terms.
Energy, both visible and invisible, appears in our living world. In this sense, every gaze is a trigger, and every trigger creates a link between history and reality. These abstract paintings are thus the energetic scene that arises between the gaze and the trigger.
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