Ethereal flight

Text / Hung Ken Shen / Artist

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Although the author chooses the material of the seeing as the performance, there are countless boundless and unweighted thinking, showing a series of concurrent possibilities, from the movement of space to the change of four-dimensional time, the pattern of sketching by simple painting, entering the ceremonial style. The majestic and mysterious space, by means of the Western traditional description, spreads a six-sided painting box and becomes a flat situation. Breaking through the depiction of the scene in reality, the philosophical nature of ink-and-wash thinking is triggered in the framework. The attributes of ink and wash seem to have the ultimate placement and freedom in the works. Abandoning the visual image of the inertia sketching scene, with simple symbols, pure painting, in the shuttle and interlaced reciprocal overlap of points and lines, the superposition changes as much attention to the composition of the points, spreads, and combines the three-dimensional space. Compress to plane, enter no
Restricting the expansion of space, it seems that all pastures are active with the movement of people and space, and the vitality between man and nature, through the simple lines, points or thick or thin fade into the shape of the structure, Abstraction or figuration is also open and intersected at the same time. There is no single or fixed shape, and it can be cut in from another time. This is not only the displacement of the shape, but also the mobility of the four-dimensional time, but also the delicate interweaving. Therefore, the nature of imaginary life, the simplification of black and white, the stacking compression of poor brightness, and the extremely transparent atmosphere of the atmosphere, directly point to the sense of flow.

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The dexterous black-and-white variation enters and exits with or without, and the shape is also boundless by colorlessness, highlighting the time dimension mentioned in the author's self-report, such time and space alternate, time flow, understanding the author's intention after reading the self-report In the arrangement of spaces, the three-dimensional and four-dimensional connections are appropriately expressed.

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Another life rhythm that radiates ethereal and distant vision is the flying with casual linear movement. It seems that artistic creation is like a seed in the soil. All growth is possible, the most ordinary is the most. Great, who said impossible.

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Chen Shao Yen's "Classscape"

Text / Ava Hsueh / Dean of the School of Visual Arts at the National Tainan University of the Arts and Director of the Doctoral Program of the Institute of Visual Arts Creation Theory

Layers of space, dense extension. Chen Yuyan 2016 works <Gravity Landscape - Road with Pasture>, <4D Time - Lijia Road>, <Worm Hole - Sweet-Scented Osmanthus Tree and Trail> with black and white gray tone, skilled brushwork and many different strokes "Classic scenery" with personal characteristics. This kind of scenery can be recognized at a glance, but by imagination.
Force to connect the boundaries between abstraction and figuration. In other words, it is a kind of abstraction of the representation, followed by the complex and repetitive connection, and then the abstract representation.

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What is the process of abstraction in sketching? Facing the places that I used to be familiar with, perhaps the real scenery is not the main purpose, but the perception of the people and the earth is the brilliance of the intention in the sketch. As Chen Shao Yen said in his self-reported statement: "The possibility of opening a sketch by the influence of the gravitational field of the universe. I returned to the place of residence more than 20 years ago to sketch, and every way through the pasture seems to enter another time and space. The symbol in Chen Shao Yen's work has a structure of biomolecules under the microscope. Perhaps it is the image after the grass is decomposed, and it grows freely in the continuation of the layers. When the two works were juxtaposed, the intention of black and white cross comparison was also appeared. Here, the gray bamboo is skillfully drawn out, and the time and space are also crossed.

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It is worth mentioning that the three works on display at the scene are connected in series by means of a wrap-around. During the viewing process, sometimes it is like a lens that zooms in and zooms out the special scenery of Chen Shao Yen. This situation, as he said: "...there is a sense of time flowing to infinity. I can't see where the end is, but I have been moving forward."