- Date 2009.12.12-2010.01.09
- Venue VT Artsalon
The LiQUiD STATE
Chen, Ching-Yuan
Comments on the Finalist
Chen, Ching-Yuan’s solo exhibition The LiQUiD STATE took place at Very Temple Artsalon from December 12, 2009 to January 9, 2010.
The artworks in The LiQUid STATE are all new works. Besides seven paintings, there are also five multi-media installations. In the five installations, Chen displays animation works for the first time. With the inspiration of many real-life incidents, the animation shows more factors of time than the paintings do. He connects himself with real social incidents and tries to construct floating and uncontrollable myths. He also presents an imagination of the relations of various powers and the subjectivity of a nation.
Under a complicated world system, Chen bases his work on a fable with intricate background settings, in order to create some contemporary myths for this “liquid island” which cannot find its own place. This solo show is the official presentation for the first time and is the first chapter of this “Myth.” The imagery also reflects the conflict between the artist’s ego and reality, and reflects the subtle perception in between.
Chen’s works mainly focus on the pressure and weak perception generated when one has to face an uncontrollable event. It is an ambiguous embarrassment which is a dilemma as it makes us unable to move forward or move back. Chen also uses the motions and stories of animation, with the repetition of different symbols, to explain his connection to society. Chen often uses images relating to fables that allow for deeper meanings of the images to spread out, but that can make the viewer feel unconnected when trying to seek or reorganize the visual experience. On the surface, the pictures might look colorful and vivid, but as the viewer goes deeper to decode the work, the entire viewing experience then becomes cold and distant.
Artwork Introduction
Chen, Ching-Yuan’s solo exhibition The LiQUiD STATE took place at Very Temple Artsalon from December 12, 2009 to January 9, 2010.
The artworks in The LiQUid STATE are all new works. Besides seven paintings, there are also five multi-media installations. In the five installations, Chen displays animation works for the first time. With the inspiration of many real-life incidents, the animation shows more factors of time than the paintings do. He connects himself with real social incidents and tries to construct floating and uncontrollable myths. He also presents an imagination of the relations of various powers and the subjectivity of a nation.
Under a complicated world system, Chen bases his work on a fable with intricate background settings, in order to create some contemporary myths for this “liquid island” which cannot find its own place. This solo show is the official presentation for the first time and is the first chapter of this “Myth.” The imagery also reflects the conflict between the artist’s ego and reality, and reflects the subtle perception in between.
Chen’s works mainly focus on the pressure and weak perception generated when one has to face an uncontrollable event. It is an ambiguous embarrassment which is a dilemma as it makes us unable to move forward or move back. Chen also uses the motions and stories of animation, with the repetition of different symbols, to explain his connection to society. Chen often uses images relating to fables that allow for deeper meanings of the images to spread out, but that can make the viewer feel unconnected when trying to seek or reorganize the visual experience. On the surface, the pictures might look colorful and vivid, but as the viewer goes deeper to decode the work, the entire viewing experience then becomes cold and distant.
About the Artist
Chen, Ching-Yuan was born in 1984 and studied at Taipei National University of the Arts, the School of Fine Arts.
Chen said, “Creating art is my way to express and describe things. I want to catch the subtle feelings under the atmosphere of my own generation with my art creations. In our living surroundings, the feeling of “Hurt” is no longer strong and sharp; it has become a weak, imperceptible feeling. This kind of change forces us to turn our attitudes towards our environment and our land. Our expression to freedom has also become an even subtle politic. It is a vague, fading feeling, a lack of body.”
