In Daily Life of My Dear Father After 2004, the artist recollects the time when her parents were forced to move out of their military village and adapt to their new home. After the move, the artist’s father began the habit of paper folding. He would remove illegal advertisements in public places (electric poles, walls, and mailboxes), take them home, and start organizing them in order. He would then fold them neatly into squares and put them in paper boxes, as though folding these ads creates a sense of order and control.
〈2004年後父親的日常生活〉Daily Life of My Dear Father After 2004, 複合媒材 Mixed Media, 尺寸因空間而異 Dimensions Variable, 2017
In Daughter’s Daily Life After 2004, the artist uses images, media, and collected objects to explore the theme of time, memory, and homecoming. Here she welcomes us into a private area where pillows and rugs are laid out on the floor, TV sets on top of stacks of paper that show a glimmering flash of light or an old TV program, and a screen that shows a picture of a ship, and luggage. Looking at this space makes me feel that it is imbued with paralyzing nostalgia and longing, and that the person who comes home to this space is either contemplating to leave or stay.
〈2004年後女兒的日常生活〉Daughter’s Daily Life After 2004, 複合媒材 Mixed Media, 尺寸因空間而異 Dimensions Variable, 2017
The show Successive Contrast—Solo Exhibition of Chang Hwei-Lan runs from 17 June until 23 July at Museum of Contemporary Art (MOCA), Taipei.