Double Square 双方藝廊

Yen Ye-Cheng (1955-) has extensively absorbed inspiration from various aesthetic fields, including Chinese ink and calligraphy, landscaping and the craft of silk textile. Using Westering painting, he unveils the aesthetics and charm characteristic of the East. He utilizes imagery of grass and flowers as a route to observe nature, and uses simplified, semi-abstract brushstrokes to transform natural sceneries into an abundance of visual expression. His work is created with an exquisite and rich palette. Dissolving the barrier between the concrete and the abstract, the artist digresses from the modernist pursuit of innovative form and returns to a dialogue between culture and nature. Embracing both identities of a farmer and a literatus, Lin Chuan-Chu (1963-) is a unique artist in the field of contemporary art. The combination of a deep learning of Chinese arts and his contemporary art training enables him to blend Western techniques with the Eastern spirit. Through unadorned yet fluid brushwork and majestic landscape composition, the artist aims to express his keen observation of life’s fluidity and demonstrate his gentle inner world as a literatus. Sung Hsi-Te (1964-) excels at expressing rational creative logic through metal works, amalgamating the artistic conception emphasized in Eastern ink landscape with the absoluteness of metal in an abstract way. He uses techniques of flame cutting, welding and coloring with high temperature to create his works, and forms rich imagery of landscape and island topography. His superb mastery of metal’s malleability allows him to infuse the material with humanistic energy and Eastern spirit. Stone sculptor Wu Meng-Chang (1971-) immerses himself in nature and focuses on a dialogue between body and stone to precisely express the sculptural form of stone and its inherent rhythm. His work visualizes natural images as well as geometric shapes. The artist uses unpolished and broken stone as a point of departure, and follows the characteristics of the raw material to add his carving to the natural imperfections using techniques of perforation, grinding, splitting and combining before representing the harmony and tranquility of nature and one’s inner world by echoing sculptural forms and the inner world.

The art practice of Lee Jo-Mei (1985-) revolves around sketching from life, drawing and sculpture. She seeks the landscape of memory that triggers sensory perception from gazing into the everyday experience, the details of things and their repetition. Recently, she concentrates on the pure beauty and force of life embodied by natural landscape and plants, and contemplates on the disconnection and subtle relationship between contemporary life and sensory perception through observing her subject closely. Using poetic sculptural forms and sketching from life, she evokes the landscape with still life and captures their differences, continuously inscribing the passing of time. Liao I-Chin (1987-) adopts an approach of abstract expression to interpret her personal experiences. In an intuitive way, she engages in a dialogue with the canvas, using paint of different media to emphasize the creative process of each colored brushstroke. As she delineates spatial-temporal dimensions and tension resulting from conflicting emotions, she also shapes the symbols of perceptual memory. She pays attention to social issues, psychological desires and the perception of space-time, and explores the changing perception of life through natural image and form, philosophy, poetry, dreams and the subconscious mind. Hsu Jui-Chien (1994-) is a rising, much anticipated young sculptor. His work attempts to evoke the spirituality of matter and focuses on conveying sensory connections incurred when body intervenes into matter and space. He deconstructs the subtle feelings he captures and translates them with material, form and color before reconstructing them with his sculpture. His work assumes the raw appearance of metal. Through the process of forging and hammering, physical labor is absorbed and represented through the malleability of metal, which introduces the possibility of a dialogue between matter and environment that leads us to discuss the fragments of sensibility in life and between movements.