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.
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
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
The first time I saw this series of paintings was at the Art Taipei last November. Huang Cheng Yuan uses ink wash painting techniques to interpret Western artistic thoughts. No wonder his works clearly show an amalgamation of the traditional Chinese painting and the modern Western abstract painting.
His works are full of electrifying lines–straight, bent, jagged, unpredictable–forming human figures in constant state of motion. In his paintings, you might see people swimming across the dark water, or a person lying on the sand or a flat surface. Huang’s works resemble sketches made of acrylic and charcoal, and sometimes coffee. For him, the movement found in his paintings is reminiscent of the physical labor he experienced as a child. After school, he would work in the field. This inner energy has been translated into his paintings over the years. Working on his paintings is like painting his inner self until it is revealed, or perhaps provoking the viewers to take a look at the inner language of their subconscious.
To learn more about his works, you can visit Yes Art or take a look at his Facebook page.
Photo courtesy of yesart.com.tw
Photo courtesy of yesart.com.tw
Chen Yun’s works mostly comprise of two or three works put together that form a dream-like narrative. Her paintings are like poems, enigmatic in their ways. A metaphor that needs to be interpreted. Her paintings of women in a state of longing for the past are at times haunting, even more so when juxtaposed with flowers, plants, or symbols.
You can see more of her works on Artsy.
Collected here is a selection of the artist’s works included in a show at Lin & Lin Gallery, Taipei.
Address: 1F, No.16, Dongfeng St., Taipei, Taiwan (Google maps) Tel: +886 2 2700 6866
Stephen Wong Chun Hei and Kenichiro Fukumoto explore the relationship of man and nature in their paintings.
Collected here are works available for viewing at Project Fulfill Art Space, Taipei from 20 May to 24 June.
Address: 1F., No.2, Alley 45, Lane 147, Sec. 3, Sinyi Rd. Taipei 10658, Taiwan (Google Maps) Tel: +886-2-2707-6942
At first glance Wong Chun Hei‘s works are about nature–forests, mountains, and trees looming over and dominating the landscape. However, after giving each work some time, one notices that they are dotted with people who seem to be on a pilgrimage, in the middle of a ritual or celebration, or simply on a trip to escape urban living. The brush strokes are soft and short, giving off a feeling of stillness. Life, indeed, is slower when spent outdoors, in nature. You can find more of his works on Facebook.
Kenichiro Fukumoto‘s paintings of plants set in urban setting stand in sharp contrast to Wong Chun Hei’s works. Years ago, Fukumoto went on a trip to Southeast Asia to visit some wild forests. The chaos found in nature inspired him to focus on nature as his subject, gradually shifting to ornamental plants found in urban areas later on. Looking at his works, one can feel that these plants represent our attempts to bring nature back to us. For more of his works, visit his website.