LIGHTWELL｜展覽｜Appreciation

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▎Capturing Memories that Cannot be Reproduced

“To read the unwritten.” ----------- Hugo von Hofmannsthal

When looking at an artwork, we may often ask, “What do I see?” What does “I see” entail? Does it mean that we understand the artistic concept, or we not only understand it but are also moved by the work? What if we can’t comprehend the concept but still resonate with the work itself? The ways of seeing seem vary by circumstances, time and space, pending on our perceptual acuity or even collective experience in a larger context.

Through the works of Emily Wang, Chiu Chen-hung, and Yeh Wei-li, this exhibition suggests a standpoint for audiences to uncover the moments when memories of objects, spaces, and events become solidified and sustained. Also explored are the countless and invisible ideas generated in the artists’ minds: How they are drawn from the artists’ respective upbringings, value system, and intimate memories, then translated and transformed, and finally materialized into visible and tangible forms.

Encountering the world through the monocular vision of camera lens, artist Emily Wang reconfigures images via experimental means to bring a new perspective to experiences and memories. The photographs exhibited are selected from two series. Wang not only rearranges available materials but also constructs unique visual space to create new memories. By accentuating certain quality of light in each photograph, she allows color cast to conjure a new order in various environments, thereby leading the audience to distinctive experiences. In the Juxtaposition series, the artist uses a curious eye to juxtapose perspectives of everyday indoor/outdoor environments, challenging our accustomed way of seeing. The Still Life Diptych series, on the other hand, uses materials readily available in the studio, arranged intentionally or spontaneously, to capture the instant of interaction with mixed lighting, and stretches that split second into eternity.

Serenity is a notable quality found in Chiu Chen-hung's works. Even with industrial materials and techniques, there is a tranquil quality emanated from within Chiu’s work throughout his artistic practices. Daylighting is a series of relief works that combine painting and sculpture into carvings of light and shadow on concrete. This series evokes a familiar scenery—tree shadows swaying outside the window, triggering us to unearth memories buried deep, personal or collective. Another series of sculptural works Embroidered Swallows employs 3D printing to enlarge the fissures and gaps in the animal sculptures of the artist's Concrete Zoo series, then inlays terrazzo with brass to create rock-like forms. Completing the fissures themselves into hefty rocks and returning artificiality to nature is another self-expression for the artist.

In 2016, Wei-Li Yeh relocated from Yangmei, Taoyuan to the scenic northeast coast of Shuinandong, Ruifang to undertake a project on-site: that of transforming a long-abandoned estate into a residence museum of the late Master guqin maker and painter Yeh Shih-Chiang (1926-2012). A geographically dynamic area of unusual beauty, Shuinandong is a small community nestled on the side of a cliff overlooking the Pacific Ocean. This neighborhood began as a series of multi-layered and terraced wooden rowed dormitory housing built for miners working in the vast local mining complex on the adjacent hill. Random Encounter at Shuinandong #1 depicts a setting inside an anonymous building in the community of Shuinandong where Wei-Li Yeh resides. Like a reclusive neighbor whom Yeh occasionally passes by and purposely visits from time to time. Random Encounter at Shuinandong #1, an artwork comprised of four parts, is placed at four pivotal spaces along the navigation route of the LIGHTWELL exhibition space. The movement through this spatial configuration mirrors the development of this artwork about the dynamic transformation of time and life of objects through artistic intervention. Known for his long-term site-specific projects, Yeh’s practice often revitalizes and transforms the environmental surroundings in which he occupies while compressing and distilling years of time and labor into still images. This trail of found material, text, and photography entices the viewer to question, explore, and ultimately, engage in the possibilities and the many ways of “seeing.”

Feelings of resonance, curiosity, or even confusion may arise when viewing these works. By trying to understand, sensing the relationship between ourselves and the works, and using visual clues to perceive the impalpable vibrations and ripples within, we might be able to unveil the seen and unseen, layer by layer, to truly grasp the hidden meanings of each work.

▎ 策展人 Curator

Phyllis Kao

Phyllis Kao 為“Appreciation” 的策展人，擁有豐富多元的背景和超過15年的藝術行業經歷。

她曾在蘇富比（Sotheby's）擔任藝術專家及首席拍賣官，在邦瀚斯（Bonhams）擔任業務總監兼首席拍賣官，並擔任私人收藏家顧問。

Phyllis 在藝術行業中擔任過多個角色，對藝術產業的生態系統有著全面深刻的理解。她是一位台裔美國人，並擁有哥倫比亞大學的文學士學位。