In Chinese painting, landscape painting takes precedence over other styles. The Chinese term for landscape contains two characters which mean “mountain” and “water”. Wei Xiong‘s works are influenced by Zen Buddhism and Daoism, which assert man’s harmony with the natural world. It is said that “In China, mountains are associated with religion because they reach up towards the heavens. People therefore believe that looking at paintings of mountains is good for the soul.” (via Khan Academy). The fine and agile brush strokes evident in Wei Xiong’s works suggest landscapes which are abstract expressionistic in style.
The pieces collected here are part of an ongoing exhibition titled Unaltered Landscapes at Loftyart Gallery in Taipei.
I love books. Especially old books. The smell, the yellowed dog-eared pages give a sensation that is equal to seeing an old friend in a foreign city or rereading a book after years of reading it for the first time. So when I saw Wang Yu Ping’s watercolor paintings of books taken from his own bookshelf and from the collection of his friend Yin Jinan, Dean of the Humanities Department, Central Academy of Fine Arts, Beijing, I can’t help but take a look at each painting (even though I have no idea what most of the books are all about since they are all in Chinese!). Seeing the watercolor paintings of these books remind me of how these fragile books chronicle the different phases in life as we go through it. Because of the artist’s realistic portrayal of these books, he was able to capture the nuances characteristic of old books–the varying shades of yellow, the spots, the spine with the cover almost flaking off, the dog-eared pages–as though each book adopts a personality of its own based on who read it, when it was read and how it was read.
The pieces collected here are part of an ongoing exhibition at Eslite Gallery in Taipei.
For more of his works, please visit the gallery’s website.
Photos courtesy of Eslite Gallery
Paco Uong is inspired by his travels to Asian countries and his home country, Taiwan. In his paintings, swarms of people populate the markets, wetlands, and well-known tourist spots. Instead of brushes, Uong uses painting knives to spread oil paint on the canvas, giving the scenes in his paintings more texture. Due to the angular strokes, the figures in his paintings seem to be constantly moving and interacting with one another. The artist also makes abundant use of bright colors, affirming the natural liveliness of each scenery.
The pieces collected here are part of an ongoing exhibit at Mingshan Art in Taipei.
Gaomei Wetlands, Taichung, Photo courtesy of Mingshan Art
Maeklong Railway Market, Thailand, Photo courtesy of Mingshan Art
Banciao North Gate Market, Photo courtesy of Mingshan Art
Ruins of St. Paul’s, Macau, Photo courtesy of Mingshan Art
In the article The Essence of Taiwan: The Journey of Yang Hsing-Sheng, Art History Professor Li Chin-Hsien writes, “For decades, the landscape paintings of Yang Hsing-Sheng start from Tamsui and extend to different corners of Taiwan. Yang targets rural locations that are yet to be developed in an attempt to capture the essence of Taiwan. The images are peaceful, succinct, and mellow, without any trace of impurities from technology or culture.”
Most of Yang’s works are imbued with warm colors as if the sun never sets in his paintings.
Sesame Farm (Yilan County), 1997, Photo courtesy of Ravenel International Art Group
Tamsui Old Street Alley, 2013, Oil on canvas, Photo courtesy of Liberty Times
Landscape (triptych), 1986, Oil on paper, Photo courtesy of Ravenel International Art Group
Green landscape, Undated, Oil on canvas, Photo courtesy of Ravenel International Art Group
One of the world’s renowned graphic designers, Makoto Saito blurs iconic images by applying small drops of paint of contrasting colors. This culminates into an outburst of colors that reveal the subject’s state of mind. As Saito said, “What I’m thinking now is, I would like to express not just the pretty surface of things, but also the internalized ugly parts as well.” Saito is a graphic designer, a poster designer, and an artist.
The pieces shown below are part of an on-going show at Whitestone Gallery in Taipei titled I Love Taiwan (Part 3).
You can see more of his works on Artsy.
Makoto Saito 是世界上最有名的平面設計師之一，他利用壓克力油漆小滴小滴地地在著名的圖像上，來模糊圖像，藉由突出豐富的顏色，呈現出主題的心涵。Saito說：「我在想，我想要做的是不僅要表達事物美麗的表面，而且要表達他內在醜陋的部分。」除了平面設計以外，Saito也是海報設計師和藝術家。
Portrait of Jean-Michel Basquiat X (2012), Oil ink and acrylic on canvas, 195.7 x 160.4 cm
Portrait of B.B. (2014), Oil on canvas, 170 x 175 cm
Tsuyoshi Maekawa was a member of the Gutai Art Association, a Japanese avant-garde group that was formed after the Second World War in 1954. Gutai, which literally means “concrete”, was formed to raise awareness that art is a manifestation of spiritual freedom. And this freedom is evident in Maekawa’s abstract paintings. His paintings consist of drips and splashes of paint, which reminds me of action paintings. To add texture and dimension, the artist adds burlap or hessian fabric, a woven fabric usually made from skin of the jute plant.
The pieces collected here are included in an ongoing show titled I Love Taiwan (Part 3) at Whitestone Gallery, in Taipei.
You can view more of his works on Artsy.
Tsuyoshi Maekawa是日本具體美術館協會(Gutai Art Association)的成員，這個協會是1954年第二次世界大戰後成立的前衛主義，Gutai日文的意思是”具體”，協會是為了提升藝術是精神自由的表現意識而成立的，這個“自由”在Maekawa的抽象畫中是很明顯的，他的畫作中同時有水滴樣式和飛濺的油漆，讓我聯想到行動繪畫藝術。為了增加質感和維度，藝術家在畫布上貼上了粗麻布，然後在上面刷油漆，粗麻布是一種織物通常由黃麻皮做的。
Untitled 141258 (1999), Oil, burlap on canvas, 230 x 185 cm
Untitled (1999), Oil, burlap on canvas, 230 x 185 cm
Nanameni (1963), Oil, burlap on canvas, 162.1 x 130.3
Park Seung Mo put together layers of stainless steel mesh to form the face of a woman he has never met in person. The woman, as the story goes, surfaced in his dream and he can’t seem to forget her face. The edges of the portrait are frayed. Some parts are meticulously snipped off to simulate the light that is being cast onto the face. The piece is a little more than an inch thick and the wire mesh loosely attached to each other, giving the artwork a three-dimensional quality. As part of the Maya (meaning ‘illusion’ in Sanskrit) series, this artwork is a good introduction to the artist’s oeuvre.
You’ll see how the artist works in this Youtube video. The piece below is currently being exhibited with other artworks from Korea at Art Issue Projects in Taipei.
You can view more of the artist’s works on his website.
Park Seung Mo 把不銹鋼網層疊在一起，形成一個他從來沒見到過的女性，這位女性據說是Park夢到的。肖像的邊緣都鬚化了，為了表現出光線投射到他的臉上，Park把不銹鋼網的一些部分剪掉，這個作品比一英吋厚一點，賦予作品立體的質量。此作品是Maya系列（梵文：幻想）的其中一個部分，對藝術家的作品一個很好的介紹。
Chu Fang Yi’s ceramic art invites viewers to look closely. The stoneware pieces on the canvas board look like symbols that need deciphering. These symbols, when viewed from afar, begin to merge into a kind of scenery–an ocean, a sea of clouds, a shore full of sea shells, forest floor with dead branches and flowers. Sometimes, they invite the viewers to see them as a new kind of alphabet.
Chu recently exhibited these works as part of a solo show titled Instinctive Reading at Kalos Gallery, in Taipei. You can see more of his works on his website.
Hou Chung-Ying sees the hand as the extension of the body, a bridge that joins our inner self to the world. His hand paintings reveal his borderline obsession with recreating this body part figuratively. Each print and crack on the palm can’t be missed. The hands in his paintings take on different forms–an iceberg, an island, a tunnel, a crevice, showing man’s interaction with his world.
To keep yourself up to date with his latest projects, you can take a look at his website.
God Bless You (2016), 181 x 120 cm, Oil on canvas