Biography

Artist Statement

The artist believes, art comes from life and is created by the people who live in it. Her life is governed by emotions, which leads her subjective artistic expression as an exploration of emotions: her own inward emotion, the outward emotion emanating from others that she perceives, and the emotion she expresses in her work of art as the two merge. These three are a constantly flowing closed loop, influencing each other.

Emotion is naturally present, while human representations of emotion are conscious. She continues to work on how to visualize raw emotion in her artwork. In her practice, she has found her medium for this expression, creating art on paper with ink and acrylic paint. She will strive for further experimentation with media in this direction. It's to be noted, the perception regards this visualization is open. - everyone, including the artist herself, can only perceive it as a bystander, and each person's emotion at each moment will reshape this perception.

There are two cores in her artwork: her own subjective artistic expression of emotions and others' perception of the emotions in her artwork. The artistic creation, which is meant to be true to the expression of her own emotions, is raw and direct, while the artist's raw emotions, which are influenced by her personal life, are often intense and sad. She believes that the expression of emotions in art influences the perception of others, which in turn stimulates the bringing forth of other emotions. Self-expression in art can be destructive. However, she hopes that after fulfilling the desire for self-expression, her art will ultimately have a therapeutic effect on the emotions of others. The overarching message she wishes to convey is that a sadness still holds hope. After all, there is nothing more truly artistic than to love people.

Artistic Practice

The expression of her art is transient. The emotions that are continuously embraced inward and outward will reach a critical point of explosion when they are stacked up, so the emotions poured into the paintings at this point are raw and pure. In order not to compromise the expression of emotion in her art, she creates art on paper using ink and acrylic paint as her medium. The dabbing of ink simulates the unpredictability and fluidity of emotion, while effectively capturing the 'transient nature of emotion'. The acrylic paint represents the concentration and complexity of emotion somewhere in the process of transformation. All the pigments gradually change from their initial form as they dry on the paper, taking on a new form when they are fully air-dried - as if the raw emotion of transience were to be titled and retained in fragmentary memory as it settles.

In order to achieve the shared perception of ‘a sadness still holds hope’ mentioned in the artist statement, the artist sought an add-on expression, an artistic vehicle that could carry the raw emotion and convey a sense of healing at the same time. For now, she develops this add-on expression in two ways: 1. the integration of painting methods and mounting art, and 2. the importance of literal expression in her visual expression art.

In addition to painting with dabbing ink and acrylic paint on watercolor paper, she chooses to apply a special liquid to a designated area of the paper, which allows the painted area to glow in the dark when illuminated. In this way, the artist hopes to make the pain in her expressions still breathe light. For the mounting art, her two main materials of choice are white tite foam and gauze. As seen in the finished work so far, the frames are covered with tite foam for a cloud-like weightlessness. When the paper is fixed on the gauze, which is larger than the size of the paper, the distinctive see-through effect of the gauze combined with the foam frame gives the paper a visual impression of being floating in the frame, while the framing method also ensures the visibility of the paper on both sides. When the frame is finally finished, it can be hung to give a sense of floating in the space. In this way, the artist's raw emotions are framed and conveyed to others in a gentle manner, in a way that actualizes her particular claim of sympathy - a sadness that holds hope and may be healed.

After the painting is completed, the artist re-experiences the emotions in the painting as a spectator. But the emotions that occur during painting are inherently intertwined and evolving, they are abstract perceptions that are not physical in nature. When the abstract emotions are attempted to be recorded by the artist in a visual object, the object is also abstract in nature. When the artist reflects on the painting, even if the visual object stimulates her senses, she can only speculate on the emotion at the creation of the painting with her current perception. In the process of speculation, she finds that she writes brief phrases with broad implications to help her sort out her emotions, of which Chinese characters are a good accompaniment to her paintings. The pictorial essence of the Chinese characters and the wide range of connotations are well suited to articulating the abstract emotions expressed in the paintings. In this way, both the artist and others can establish a communication channel with the painting without compromising their own subjective perceptions. This is to help the artist and others to be aware of the emotional expression in the work, but the viewer's interpretation of this expression is absolutely in the open.

In the artist's future artistic pursuits, she will continue to explore the nature of emotion. Starting with her as an individual subject of study, she will perceive her emotions in different encounters as she lives her life. Taking others as the subject of study, she will experience the emotional fluctuations of others. How to express this emotion in a visual art form? How to convey this expression to others and oneself in each instant? The infinite potentials and uncertainties of emotion as an abstract subject make this exploration an infinite exploration.