2017/9/2~2017/10/31 Liou Chen-Chou / The Ceramic Art of Liou / Solo Exhibition

The theme of my artwork is often the endless-stretching mountains which portrays one's transcendental poise and magnanimous attitude; or the magnificent peaks that symbolize perseverance and an enthusiastic spirit. To me, the rolling hills best represents a pleasant state of emotion and a tranquil mindset. I like to use the imagery of floating clouds to convey an ambience of lightness and ease; reflective water to convey a cheery and lighthearted sentiment; or a flowing mountain spring to convey boundless vitality. The dynamics of ceramics are determined by the earthy, raw clay and the velvety glaze. Various shapes could be created beyond the restriction of physical space with wondrous and intricate interpretation of 3-dimensions. The sculpturesque curves and outlines are characteristic and robust, implying the vitality of life out of clay blocks. When producing the earthenware, I follow the characteristics and the property of the raw material, creating an affinity between the earth and human. For that reason, the potteries can be harmoniously fused into our modern living space.

When it comes to ceramic creation, natural scenery and phenomenon are my recurring themes. I would take a section of the landscape and render the magnificence and versatile sight into one unique piece. For pieces that portray natural landscapes, the simplicity of the silhouette, precise cut of the surface, and the gentle curved lines are the dominating traits. The different elements need to be tactfully fused in order to present elegance and tranquility. When handling the clay surface, I tend to keep the grainy texture and use only sectional glaze in order to maintain the subtle, earthy characteristics of the clay and to further reveal its inner spirit. Some clay work are cured in a wood fire kiln so the smoked mark or the ash-induced glaze would intensify the raw, earthy, aged characteristics.



2017/7/5~2017/8/31 Li Fen-Lan / Drift from Being / Solo Exhibition

Paintings are developed while we observe nature and escape from the reality, resulting in expressions of “existence of self”. The canvas is like a fracture from the body of self, containing part of broken imageries and memories out of the fragmented, mingling and descriptions of senses.

The formation and depletion of everything continue as the changing seasons move forward. Nature, in my memory, is a combination of countless segments and glances, and my artwork presents the result of such deduction, creation and rebuilding of my memory.

Drawing is a process to pursue the freedom and liberation, and to drift from essence and existence; imagination and physical objects; the visible and invisible. Someone who floats in the space of imagination and resonates with the spirit will release the power of emotions and the inner being of self.

One can express sense and sensibility or sub-create a world in another's perception by way of escaping the transformation of natural environment and substances. “Nature in all its vastness is truthfully reflected in my sincere though feeble soul,“ said Claude Debussy. The musician weaved the music notes and rhythm to present the landscape of nature in his mind, whereas I paint and disclose the splitting and impetuous soul, which is suffering anxiety and restlessness.



2017/6/3~2017/7/2 Joseph Wu / VISION / Oil Painting Exhibition

Vision –A Mutual Imagination Built upon Our Interrelated Visual Perceptions

My Vision reserves an empty space for Direct Visual Perception that allows Your Vision to fill in. It becomes a mutual imagination between the artist and the audience.

Direct Visual Perception is formed before the process of thinking like the birth of universe. It’s a chaotic status as the seawater rages and roars and as the primitive land initiates a canvas. Everything is back to the start of Visual Imagery. Together we establish the unreal Vision. Time and history elapsing, the imagination unlimitedly enlarges and extends.

My Vision uncovers an open field for your imagery to grow. Collectively we own an imagination that contains our imageries.

Led to a virgin imagination, you and I are processing an incredible adventure of imagery beyond our understanding. It’s a metaphysical call to the dream land out of greatness, profoundness, fantasy, detachedness, mystery and dynamics.


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I can never quit the endless pursuit of such material, which is simply made of pigments and linen fabrics.

What does an art piece look like if it’s free of thinking process while being created?

A non-existent world could be more truthful to the spirit than the real life.

Art originates from the motivation of my innermost but is created at ease with a peaceful mind.



2017/5/3~2017/5/31 Chen Chih-Fen / The Chi Arts and Inspiration / Crystal Glass and Oil Painting Exhibition

As the technology advances, the civilization doesn’t follow accordingly. When we stroll the trails in the countryside and see the changing light in a day, such satisfaction is so real that can never be replaced by anything in the virtual digital world.

The solo exhibition of Chen Chi-Fen tells her exploration about natural beauty and the reflection of her aesthetic sense. Now an art lecturer at a university, Ms. Chen used to be a music teacher for many years. Upon the experience in different forms of arts – music, oil painting and crystal glass art – she feels that life is like a piece of symphony that she could hypostatize the imagery of melody and her mental state onto artwork. The colors of notes become vivid oil paintings and glamorous crystal glass sculptures.

This exhibition – the Chih Arts and Inspiration – contains two themes. The oil painting series is about modern Impressionism. Chen Chi-Fen adopts the techniques of both eastern splash-ink and western automatism. The virtual and objective shapes combine and coordinate, conveying overwhelmed emotions. As regards to crystal glass, Ms. Chen fuses innovative techniques and materials, of which the knowledge of expertise was fostered at New York Pratt Institute and National Taiwan University of Arts. The spatial blocks and color displacement orchestrate a mysterious crystal glass work that reveals brightness with partial transparency.

Beauty is the source of imagination and its impact is boundless. The clarity of crystal glass projects our beautiful mind. The profoundness of oil painting explores the innermost of our hearts. In recent years, Chen Chih-Fen’s artwork is about her life and the retrospect of her career in arts. It’s a self-discovery to pursue the inspiration of beauty and an ambition to attempt new media and skills. Ms. Chen continues her dialogue with society and modern arts, ending up with plenty of aesthetic and poetic works.



2017/4/1~2017/5/1 Lai Dong-Tsai / Red Down the Way / Art Exhibition

Red Is a Format of Resolution While Burning

To draw something decently is never easy. A true artist presents outcry, compassion, or introspection of his or her life in an art piece, instead of a simple visual format of sweet and pleasure. I think ultimately artists will seriously take journey of life and death as themes when creating. They are asking questions such as“who am I?”,“where do I come from?” or “where am I going?” Answers are down in the paintings. Some come with weighted heart and emotional surges; some come with tears and bitterness; and others come with forgiveness, mercy and thankfulness. As a result, the artwork becomes believed and emerges the power of life, which touches the audience’s heart and passes through generations.

I have always been fascinated with Chinese calligraphy since I was young. Even in dark typhoon nights when the power was off, I continuously practiced writing until midnight with candles lit. There is a strong bond between the flow of ink and my life. The strokes reflect my delight, anger, sorrow and happiness, as if they dance with the melody of my soul and bring me to the top of the world. Furthermore, calligraphy art led me to fields of Chinese ink painting, western painting and sculpture, in which I feel belongingness in art and life.

In my early artworks, I didn’t use too many colors, which may distract and draw audience’s attention away. They are mostly mono ink paintings that tell stories purely in black and white. Then I attempted western paintings and learned to understand the diversity of color. I realize that color could easily influence one’s emotion, evoke one’s eagerness and revive one from being demoralized. I once saw a documentary about master painter Wang Pan-Yuan. He said he was born with talent in playing with colors. So glad that I am now more sensitive in applying colors to my work.

I am also exploring possibilities of shapes. An irregular object could break the balance of a picture, resulting in unexpected visual effect. Whenever my inspiration dries out, I will try something outside of the box and see if it can make a plain image interesting and impactful with tension that catches audience’s eyeballs.

Last but not least, it is critical for me to draw. Diligently I draw when I am in pleasure, anger, sadness and joy. The extension of my paintings opens a wide and pure utopian world and conveys various tastes of life. And I draw because drawing soothes the bitterness of my life.



2017/3/2~2017/3/30 Yeh Fa-Yuan / The Joy of Rural Life and the Celebration of a Bumper Harvest / Exhibition of Leather Sculpture Art

Yeh Fa-Yuan is talented for applying leather sculpture art to themes of nature and life, bringing vitality into cattle leather and making the figures vivid as real. “Art is rooted in lands and creativity comes from daily life” is the faith while Mr. Yeh creates his work.

The realistic style of Mr. Yeh is unique and opens a new page of leather art. He is the first artist to win the first prize of National Crafts Achievement Award and several other international awards. A mixture of craftsmanship and humanity, his works tell the stories of the rural culture and reflect his affection for his homeland Taiwan. Mr. Yeh’s outstanding works represent modern leather art and were once exhibited in the Louvre Museum, Paris.

Bill Gates, the founder of Microsoft, collects Mr. Yeh’s artwork and admires his marvelous techniques that even high-technology cannot achieve. Yeh Fa-Yuan’s leather sculptures are frequently selected as premium gifts for diplomacy or business purposes. “The Harvest”, leather figurine artwork, is the official present for the 2009 Cross-Strait High-Level Talk to Chen Yun-Lin, Chairman of Association for Relations Across the Taiwan Straits (ARATS). This honor speaks for the international reputation and popularity of Yeh Fa-Yuan’s leather sculpture art.


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2017/2/4~2017/2/28 Lin Tsung-Ming / Rooted on the Stones, Flying and Dreaming / Oil Painting Solo Exhibition

Mr. Lin Tsung-Ming is concerned with the land he is living as the theme of his works. He explores the simplicity and diversity of countryside landscapes with different view angles, distance and time. Carefully observing his paintings, we could discover various expressions in the composition of forms, colors and techniques. The magnificent mountains and endless ocean tell the spirit of perseverance and courage to challenge the unexpected. The delicacy of color variations further reflects rich emotions and sincerity artistically. This exhibition is a collection of Mr. Lin’s favorite idyllic scenery of Lanyang Plain. The rural tranquility, rice fields and farm houses are everywhere in his paintings. We look forward to experiencing how Mr. Lin Tsung-Ming is inspired by the countryside beauty and the pastoral life in terms of oil paintings. This is going to be a remarkable and heart-touching exhibition.


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2016/12/1~2017/2/1 Wang Hui-Jen / Mini Me / Ceramic Art Exhibition

Art inspired from daily chores is fascinating. Ordinary things can ignite sparkle as life experience can refine vitality. These are the origins of art creation. Creation records life. Good memory elapses as time goes by, but we can capture our expression of emotion through art creation. Creation is more than a piece of product; it is a thought, attitude and life.

Many people have aphasia when they exposed to avant-garde art. Art classification and sampling have become a game limited to a small group of professionals. In fact those arts we discuss are separating from our lives. However, art is still part of our soul. Our value and desire will not alter as long as our nature remain unchanged. Principle of art should not depart from human nature!

The world is dark, but our lives can lighten it up. Living in a modern world, people want more for everything, and a faster and more convenient way of life. Does it mean better? We definitely need to think about it. Can the shadow of information enrich our lives or accumulate as our wisdom? Art is my way of life as well as the mode to improve my life and make me feel better.

It is an optimistic message, a nimble imagination. Thoughts flow like river. We can turn invisible thoughts into reality, visualize abstract idea; erase rationality temporarily, emptiness lead to intuition – an entanglement of symbol and vision, as well as a liberation of emotion. We are bounded by walls, can we find our peace of mind without relying on power, achievement, money, sensual enjoyment .......? Creation is simply a communication of our dilemma and imagination of our lives out of the interaction with the environment. The process of creation stores our emotion and idea. It is also the way to find peace of mind.

My artwork is an expression of my life. I am an artist not good at writing, but through my works, you may discover many forgotten things.

I enjoy travelling and simple life in all seasons.




2016/10/1~2016/11/29 Hsu Yu-Jen / In Between Butterflies and Hallucination - of Colors, Shapes, Dreams, Chaos, and... and...  / Painting Exhibition

For me, the purpose of creating artwork is not about painting techniques.


The purpose of creation is to uncover one’s “true self” under the premise of freedom and emancipation. It is a creating activity to develop one’s “individualized self”, a state of architectural structure, or a spiritual journey to reach out one’s inner energy.


The symbols in my works can be extended inwards or expanded outwards at will, representing the whole concept as a projection of the inner force. With an attitude of freedom and emancipation, anything can be the source of inspiration. The point is whether a painter could be intuitive and sensitive to exercise the power of imagination.


During the process to create, only if you liberate your mind, you can let the “true self” speak aloud and act freely. And thus “autonomous creation” and “individualized style” would naturally appear.


I can do artistic creation anytime and anywhere, regardless of materials, forms, and contents. Although some ideas remain hidden in my mind, they would spontaneously emerge throughout the creating activities.


As the hazy chaos set before the dawn,

I gaze at the illusive skylight from the inside of the house,

Perceiving the essence of myself as my artwork approaches me and reaches out my spirit.




2016/8/2~2016/9/29 Tsou Heng-Te / Chinese Ink Painting and Caligraphy Exhibition

I have lived for six decades. It feels like a thousand voyages has gone through the river. After getting married and forming my family, I started to do Chinese ink wash painting and calligraphy at age 38.


As a family tradition, my father taught me rigorously to write calligraphy ever since I was a kid. I took many contests as a challenge and meanwhile broadened my vision through peer competition. One day near the market around my house in Taipei Beitou, I bumped into an artist drawing Chinese monochrome painting over the rock. I was so obsessed with the delicacy of the landscape. Thereafter, I am deeply involved in this traditional format of art.


For the first ten years, I practiced basic skills of ink wash painting. To acquire advanced techniques, I went back to school for academic art studies. In styles of traditional and then modern, I try to explore the natural expressions of ink-splash and ink-flow. With a focus of landscapes, I had eight solo exhibitions in cultural center nationwide.


I keep my hands busy, pursuing other interests in artisanal handicraft. Patchwork quilts, sock dolls, and clay figurine sculptures are some of my favorites. I am a licensed instructor for the field.


In June 2013, I had my Chinese color ink painting exhibition, Bie-Yang-Ching (the Other Emotion in Flow of Ink), in Taipei Cultural Center. The collection is about life drawing on flowers and birds. I learned from Nature, observed carefully, and pushed myself to the limit.


I dream, follow my dreams and enjoy. I would appreciate your advice sharing your thoughts in art.


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2016/6/1~2016/7/31 Hsiao Tzu-Ming / Circulation / Oil Painting Exhibition

The water buffalo is an emotional symbol for most people in Taiwan. In traditional art, drama or folk music, the water buffalo represents the characteristic of those who work hard growing plants in paddy fields. They are simple, humble, honest but introvertedly expressing their inner emotions.

When it comes to Taiwan’s art history, the water buffalo is a significant topic. Before Hsiao Tzu-Ming, there are many classics: Huang Tushui’s plaster relief masterpiece, Yen Shui-Long’s mosaic wall art in Jian Tan Park, as well as the amazing artworks by Lin Chih-Chu, Chen Cheng-Po, Ran In-Ting, Cheng Shan-Hsi, let alone Yang Yuyu and Zhu Ming. National Taiwan Museum of Fine Arts even named its major gallery as Water Buffalo.

As mentioned, the water buffalo positions a unique place in Taiwan’s art history and becomes a symbol that conveys the developing stages of regional art. Hsiao Tzu-Ming, moving to Vancouver for more than 20 years, is the first overseas Taiwanese artist who creates considerable artworks around this local emblem.

Let’s talk about the water buffalos in Hsiao’s works.

From the aspect of his methodology, Tzu-Ming follows the tradition to actually observe in breadth and in depth. He would spend a whole day conducting the fieldworks and monitoring the buffalos. “I watch few flocks of water buffalos, tracking their activities every once in a while,” said Hsiao. For his works «Sublimation » and «Circulation», Tzu-Ming has massive sketches of water buffalos, technically drafting their muscles, skeletons, movement and even emotions.

For Hsiao’s composition, it’s a fusion of reality and fiction like the trend in Renaissance period. The main characters are placed in a close-up with an imaginary background. This method is aimed to emphasize the role’s personality and feeling. The fictitious background is detached to the topic and makes the focus onto the character so that the indescribable mindset could be accentuated and observable. And so do Tzu-Ming’s water buffalos, such compositions reflect a sense of tameness and solemnity.

Finally, Hsiao Tzu-Ming takes the risk in colors. He abruptly applies contradictory colors, which require an artist with a sharp talent in color to combine favorably. In his oil paintings «Bluish Gray (Tsang) » and «Circulation», the contrasting colors are showy but successfully bring the images of water buffalo into a style of contemporary art. His adventurous courage is admirable that he creates a different space of his own.

This exhibition also includes several of his paintings depicting the scenery in Canada. The use of color explains Hsiao’s unique way of lyrical expressions. These artworks together with the portraits of water buffalos implicitly flow the theme - Circulation.


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2016/4/1~2016/5/30 Marlon Chen / In Dance with Plains and Dimensions / Solo Exhibition of Oil Painting and Ceramic Work

Marlon Chen attempts mingling multiple materials to create artwork. With his talents in dealing with different media, the works are tactfully presented in plains or in dimensions. Chen‘s oil paintings are colorful and structural, reflecting people’s ordinary life in terms of traditional glove puppetry and folk stories. Apparently influenced by Eastern Zen, his ceramic works are lacquered with low key pigments and shaped in simple forms. The fish and birds symbolize freedom while the eggs and bones imply the circulation of life and death. Besides, his skillful oil painting techniques seamlessly transition into porcelain glazing, making his works transboundary and unique.

Marlon Chen's childhood was filled with images of countryside, wilderness, rivers, oceans and boats. Such impressions, like the good old tunes, are deep in mind and inspire his creativity. Chen emphasizes local scenery and captures the sunlight onto the canvas. The paintings convey nostalgic emotions and tell stories about touching moments of life.

Under his strokes, plays of glove puppetry are more than performances on the stage. The figures themselves represent various personalities and confrontations - a metaphor of stage of real life.

Marlon Chen takes pure and sincere attitude for every single piece of artwork. Although he creates with multiple materials, Chen has his concept of visuals in line. His ceramic sculptures follow strict composition. He preserves the flexibility and texture of clays with limited lacquers. Besides, Chen has unique sense in structuring dimensional works by the use of drift wood, metal, rope or fishing nets. The fusion of realism and abstractionism speaks for his style and expresses the profoundness of circulation of life.


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2015/12/2~2016/3/30 Wu Yin-Hsien Exhibition of Formosa Pearl Antique Collections

Born in a poor rural family, I headed for Taipei for living at 16 years old. Time went by but my obsession with homeland never diminished. Memories in youth emerged from time to time.

I built my business when I was young. Due to limited income, my leisure activities were to collect stamps with postmark from discarded envelopes and put in albums. Gradually stamp collecting became my interest, satisfying my desire to collect. With some experiences, I started to collect new stamps released by the Post Office. Among various topics and patterns, I like the folktale series the most. Perhaps in the process of stamp collecting, these stories behind just soothe my homesickness as an immigrant in the city.

A retrospect of my career in manufacturing business, I did not move my investment to China in the 80s and 90s as most of competitors did. Instead, I stayed in Taiwan and developed further. I established a factory in my hometown, Yilan, to boost local employment. And then Formosa Pearl was founded on the land where I planted crops when I was a kid, now a place to promote fine foods, tea, and art. My mission is to make Yilan home to cultural and creative business.

Initially an outsider, I learn to comprehend the field of art increasingly as I get involved in and exchange ideas with professionals. Particularly, the antique carving pieces interested me. The delicate works are magnificent and tell the story of time. In such an age when light bulbs, electrical tools and computer graphic software were unavailable, the artisans created the pieces purely by hands from scratch. They shaped the stories with characters, plants, animals on the materials. The delicacy of tiny hairs, twigs, and wrinkles on texture speaks the effort and persistence that had been put to the artworks. The nameless craftsmen had long been gone but their spirits to pursue the ultimate beauty persist. I would like to share these cherished collections with you in the exhibit and hopefully you would feel moved as I do. Welcome and appreciate your advice!


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2015/10/2~2015/11/30 Lan Wen-Wan / The Uncanny Craftsmanship / Wood Sculpture Exhibition

Lan Wen-Wan, born in 1963 in Gong Liao New Taipei City, is a renowned wood carving artist. He was invited to exhibit in the Presidential Office Gallery many times. His series of “Extension of Life” in 2001 and “Hoe for Hope” in 2003 were collected by Sanyi Wood Sculpture Museum. Mr. Lan is the winner of National Crafts Awards and several wood sculpture competitions in 2007. The magnificent artworks themselves tell how patient and concentrated he is to create the lifelike pieces. Lan Wen-Wan is one of the masters in wood carving art with nationwide reputation.

Lan grew up in a mountain village surrounded by natural environment. In the days of his youth, he walked hours to school. After school, he assisted family agricultural works: rounding up cattle, raising chickens, and planting vegetable crops. The nature was part of his life, which nurtured his persistent and hardworking personality. Wen-Wan moved to Toucheng Yi-Lan when he was an eighth grade student. After graduated from junior high school, he first worked as a blacksmith apprentice and developed his skills of forging metal. Then he worked in a restaurant and practiced ice and vegetable carving. Lan eventually self-learned wood carving and applied all the acquired skills in creating beautiful stainless steel and wood sculpture artworks.

“Without learning the basic knowledge from teachers, I practice on my own.” Lan Wen-Wan said. He made his research on structure and style, and carefully observed objects to create each masterpiece. The Horsehair Crab is a symbolic icon to Mr. Lan. It requires patience and effort to carve a crab, especially every tiny hair on the body. His endeavor makes plain wood piece into almost real creature.

Lan Wen-Wan said, “People wonder if I draft in advance before carving. In fact, I just follow the raw material and observe the shape, texture and quality. My inspiration will direct me to a theme. Then I’ll carve it out according to the actual form of the material to its delicacy. This way will best reflect the spirit of the theme.” Apparently, Mr. Lan Wen-Wan is so proud of his works, which represent his passion and engagement in traditional wood sculpture arts.


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2015/8/1~2015/9/30 Lin Li-Chi / Stroll in the Wilderness / Exhibition of Vegetation Painting

I was attracted by the forest atmosphere at the moment when I walked into it. I like to observe the subtle lives in the wilderness - the dancing butterflies, the worms nibbling tree leaves, and the bouncing birds flying over the branches…… I discover the growth of creatures and paint the leaves, flowers, and pieces of deadwood in the wild. I feel the breath of plants. Wild life drawing is like a key for me to exploring nature, enabling me to experience all forms of life in the world.


I draw a fallen leaf in the process of withering. I draw a flower, feeling the growth of a plant – starting as a seed burgeoning hopes of new life. A row of bush and a corner of forest nurture on my paper. So much I appreciate the colorful change of seasons, feeling the moisture and aroma flowing in the air. Nature is the source of my inspiration. The pure and primitive sensation is aroused when I write down the flower and grass around.


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2015/6/2~2015/7/30 Lan Jung-Hsien / Rising Glory / Solo Exhibition

After leaving the glamorous life in Taiwan Television and getting back to basics, Lan Jung-Hsien focuses on painting and living a completely different life. Without spotlights, his current seaside lifestyle is ordinary and peaceful.

Away from social connections, Lan Jung-Hsien stays close to nature every day for new painting ideas, which are the partial result of this exhibition. He has many scenery works depicting the sea at the moment the sun rises. Very often he wanders along the coast of Yilan before the sunrise to catch the image of the rising sun that starts a beautiful day. Sunrise stands for hopes and the future, and rays of light brighten up his creations.

Rearranging the spiritual status is the motivation why Lan Jung-Hsien takes the sunrise as the theme of paintings. His life is used to be glamorous with the past title and high income at Taiwan Television. There is a question: how to get back to the start and to create a new painting style? Lan Jung-Hsien decided to start with a reborn phoenix - the “Fly” series. The firebird is placed in a huge picture hanged on the wall, with wings surrounded the whole frame. The character belongs to artistic vocabulary, generating rhythmic leaps and interconnecting emotions. The color is so showy and the strokes are so rough that make the image impactful and powerful.

Recently Lan Jung-Hsien demonstrates his tactful painting skills of suturing, overlaying, and scattering in his “Butterfly” series. He scatters liquefied acrylics onto specific zones of the canvas. With skills of printmaking such as rolling, pressing, and transfer printing, the unexpected stripes and patterns would be the background. Then Lan draws plenty of repeating and abstract butterflies in different sizes. The result introduces a new realm of random beauty: colors represent seasons; the concept of suturing implies merging of worlds.

Lan Jung-Hsien’s skillful techniques can be traced back to his youth. This exhibition also includes Lan’s excellent works when he was a teenager and competed in Taipei Art Exhibition or National Art Exhibition. At the time, his style was new and revolutionary. And now that he starts painting again, his artwork is even more mature and continues to break the limit.

It seems to be the harvest season in his life. Lan Jung-Hsien stays away from the city and stays alone, simplifying his work to only contemplating and painting. The more distance he is from the applause and the crowd, the more chances he has to be inspired by streams and waterfalls in the wild. The desire to capture the sound of the roaring wave and the whispering river motivates him to take various form of water as the main theme in his painting recently.

Water and the imagery of flying become Lan Jung-Hsien’s focus nowadays. He concretizes the sound of water and the uprising trace of flying onto the canvas. Both concepts are what Lan Jung-Hsien rediscovers after he picks up the painting brush again and starts a new page of life in his homeland Yilan.


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2015/4/1~2015/5/31 Chang Jin-Lien / In the Dark, Look at the View

If the human world is a garden, artists will be the planters of dreams. They bring extraordinary imaginations and wonderful flowers to the world. Through eyes and multifaceted artistic expressions of the artists, the observers are able to open their own vision and hear their inner voices and desires.

My artwork represents different expressions of my mental consciousness, which flows and interweaves each other. Photography is the tool that I set scenes and write poems. Through the quiet and speechless world established by the lenses, my curious eyes can see without boundaries. How beautiful and mysterious the scenery could be – only the simple and fuzzy patches of colors remain. I feel as if entering a form of light when I observe the flowers. Photography allows me to present the spiritual side of me. It’s pure and both concrete and abstract. Paintings, ink drawings, and calligraphies represents the streams of my consciousness. They are in terms of the known and the unknown, the novelty and the joy of the world. Sculptures concretize the unstrained and resilient flow of my life. My early sculptures mainly presented objective bodies. As age brought new understanding of life, I started to include what I learned from nature, what I thought and what I touched into my artwork. I try to understand how to turn stressful life into fresh buds and flowing water in spring. Even though days are constantly followed by shadows and stuck in bitter darkness, we should always face towards the sun - the blessing of nature that we could deal with difficult situations. In my works, human bodies contain elements of spring and philosophies of nature. I want to share my feeling that life is rich and cheerful. Since 1988, I have exercised self-fulfillment for more than 20 years every day without rest, doing whatever pleases me this way – to create something out of nothing and to accomplish the ideal and the joyfulness in my heart.

Arts leads me to an artistic field like a religion. I think artists are the decoders of the physical world, nature and inner the spiritual aspects. We see things that many other people cannot see or sense. We internalize and transform the information into written words or images – either realistic or abstract – honestly presenting the enchanting world we observe. There is no end. I continue to strengthen, open up new visions, and present to the world. This is what arts matters to me and what arts means to me –

I observe. I discover. I create. I disappear.

When the exhausted body quietly lies down, the soul wakes up.

The white nights and black days fly and extend.

It’s a joy to create –

I peep the profound thoughts of nature via human bodies, from which mountains, waters and flowers grow.

It’s why I am joyful to create -

To get rid of the old that are dead.

To rebel against the stale and tasteless realities and systems and to allow life to explore without boundaries.

To break the restrictions of time and space, traveling, floating and enchanting.


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2015/2/1~2015/3/30 Chen Hui-Mei / A Flower Is Not A Flower / Solo Exhibition

"A flower is not a flower; a fog is not a fog

 It comes at night, but goes at dawn

 Sweet dream does not linger

 It disappears without a trace."

 Tang Dynasty, Bai Ju-Yi


My face does not reflect my soul. However, worrying about the appearance is inevitable for everyone in this world.

A flower made of thread or leather is not real flower as it blooms forever and never decays.


Beauty brings along appreciation and tranquility. One flower is one world; one leaf is one Tathagata.

You are invited to appreciate the flower, which is not a flower, and to see through the fog, which is not a fog.


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2014/11/1~2015/1/30 Li Tsung-Ju / To Snow White Phoenix / Pottery Exhibition

The phrase “Snow White Phoenix” was introduced by a Hong Kong theatrical play in 1993. The play is based on the biography of Nan Hai Thirteen Lang, a Cantonese drama writer in the 1930s. There was a picture called “Snow White Phoenix” hanged throughout the show (a piece of blank white paper as a matter of fact), as a metaphor for the creator keeping a mind full of imagination and creativity even though in a tough time, and persevering without losing the original mind.


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2014/8/1~2014/10/30 Liang Chiuan-Wei / Reading Civilization / Oil Painting Solo Exhibition

Globalization sweeps away the culture’s uniqueness of all places in the world. Consumption consolidation has become the new world culture. As a result, material civilization overwhelms our mind, people think of desire all the time, and spending money becomes the only meaning in our lives. When infinite expansion of desire rules our spirit, we live insensitively like a frog swimming in slowly heated water and dying gradually in comfort.


I use desire as a perspective to observe the society and discover the true meaning of this ever changing world through desire. Through the view of animals, I perceive those big events of contemporary civilization and unveil people’s survival status, and psychological change. Everyone has desire which is reasonable, even animal has desire, as we are born with desires: materialism, appetite, sex, and power. However, giving animal a role to impersonate and express with emotion can bring forth a dramatic gaze and result in a picture with an unprecedented fantasy experience. Such a gaze may be sarcastic, but it helps revealing human’s civilization.


The exhibition “Reading Civilization” reveals nowadays deflected desire and ridiculous behavior and enables us to examine the true meaning of desire. Desire can work like opium - slowly destroy ourselves unconsciously in comfort. It can also drive us to satisfy ourselves through aggression and destruction. Conflict, war, disease, environmental pollution, and natural resources depletion are related to desire too. I want to emphasize the fact that desire has been altered completely. Desire never stops expanding while people become insensitive to amplify their ambition. While people satisfy their desire, culture vanishes on the other hand, losing spirit completely, and falling into depravity. The irony is that people’s desire is found on self-destruction and destructive aggression, while those extravagant clothes, gourmet dishes, skyscrapers, and so called modern development …are flattered as fashion and advancement. Although we have lesson learned, the game never fall short of newcomers. Such a drama makes us laugh with tear.


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2014/5/1~2014/7/30 Liao Shu-Chian / Make Good Things in Pairs / Bronze Sculpture Solo Exhibition

I spent a long time ruminating on different phrases, playing with the right wording without structure, and thinking constantly, “Where do I start?” Lifting one’s pen comes with heavy responsibility. It is just as difficult as lifting a sculpture knife, a grinder, or any other apparatus.


I love this piece of land, and I make creations based on everything I have seen and heard. Rural life starts early in the morning. You stay muddy until dusk, turning over soil to sow the seeds. Then comes the hard work of fertilization, irrigation, weeding, and working diligently until the arrival of the harvest.


Who said, “You reap what you sow?” They must have always used their most earnest attitude, spilling forth all their love. I want to be exactly like them: one with the mud, sowing cultural seeds, and eagerly awaiting the sprouting of seeds each day on this beautiful island.


This continual spirit of dedication and persistence, put forth by the people of our land, will endure forever.


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2014/2/1~2014/4/29 Shen Tung-Jung / Illusion / 2014 Solo Exhibition

“When he draws the curtain covering his picture, the grapes are so true to nature that birds fly to the picture and peck at them.” Pliny, a Roman historian, recounts the effect of painting created by Zeuxis. In the competition between Zeuxis’s grapes and Parrhasius’ curtain, their performance is exactly what Plato said – Illusionist. However, when art is crowned as metaphysics, image is no longer a simple imitation of reality. It’s just like Plato’s argument – art is only an imitation of truth; therefore, the relationship between image and reality becomes complicated.


Image, as a way to seek the truth, maintains an ambiguous relationship with the truth. Like flowers in the mirror and moon in the water, it holds certain truth but the truth is interpreted in different ways. Observing the camellia portrait from Sung Dynasty, we could see the precise lines drawn slowly and steadily, and feel the painter’s breath. In contrast, white flowers depicted in a 17th-century picture might be started with thin layers of pigments, then blended with stacks of color, and finished with abstract intensity of color, following every breath of the painter. Either by explicit ink lines or by epic classical painting, the truth can be expressed differently. Therefore, different images reveal how different cultures interpret aesthetic transformation of the real world.


Seeing flowers in a mirror may result in an unusual glamour; the moon in the water looks even elegant. Illusion comes and goes away. The fickle and untraceable image is also a state of conception.


We invite you to experience the beauty of Illusion.


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2013/11/1-2014/1/30 Marlon Chen / The Disparate Territory / Solo Exhibition of Oil Painting and Ceramic Work

Since 90's, civilization has been overexpanded. The innovation of digital devices makes people indifferent to the interaction with each other, indirectly influencing the way we live. Anyhow the advance in technology, the desire and curiosity towards nature will not change, especially our obsession with the homeland. Under the complicated culture shock, I prefer to observe quietly. It is my own way to think critically over the fast-changing world as an artist.


I have slightly changed my topic of works, less about hand puppet and folklore religion. Owing to my ear illness, I'm now in favor of a sense of tranquility. The peacefulness and open space in countryside become luxury for city residents. Look out on the ocean, the stand-alone vessel, the spectacular surf and reddish sunrise freeze in one image. It's difficult for modern people to experience such tranquility with harmonization.


In addition to oil painting in pastoral and nostalgia, this exhibition presents a collection of ceramic. I purposely include the clay from the farmland to my piece. It'll reflect something simple and native. With decoration of rope and floodwood from seashore, it's unique Zen, an expression of eastern philosophy. In modern art, Western trend leads the field. We can see the forefront edge flickers the reactionary of origin. Even the conservative tradition spreads the fragrance of novelty. When I was a kid, the folk temple activities and idyllic seaside deeply buried in my mind. Days in foreign cities inspired me with the concept of modern art. Eastern and Western cultures collide and I thus realize: The Zen Philosophy rooted in Taiwan is my muse of art and I'll keep pursuing.


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2013/8/1~2013/10/29 Lo De-Hwa / Walk with Me / Exhibition of Liuli Crystal

The eye is the container of image

The ear is the container of voice

The nose is the container of smell

The tongue is the container of taste

The body is the container of soul

The way you read is the container of how I think

The way you see is the container of sharing

The inspirational glass is the container of Zen

If you see it once and feel obsessed, that’ll explain me and contain the meaning of my life

At the specific moment, you witness the beauty of yourself

My glass will be the container of you

And the container to carry the world


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2013/5/1~2013/7/29 Huang Hung-Dao / Sunrise.People.Salamanca / Oil Painting Exhibition

For a long period of time, I have my focus of pondering and art creating on the idea of “crowd”. “Crowd” is like a silent language that specifically depicts the city. Whenever I face a group of people, I am so eager to freeze the frame that I can retrospect some day and recall the precious moment.


In the beginning of cold 1995, I came to an unfamiliar city, Salamanca in Spain. Salamanca is an old college town with 800 years of history. In the Middle Ages, it was an academic center and now locates several magnificent churches, classic buildings, plazas and narrow streets paved with stones – a place surrounded by historic and cultural atmosphere. Unless you witness, you can hardly imagine that people here are decently dressed but live leisurely. When I belonged to this city, I was part of the crowd strolling the streets. I realized that the residents were wholeheartedly involved in and truly enjoying such a seemingly insignificant activity. Thus, the relaxed walking crowd is the symbolic imagery of the city and inspires me so much.


There are images bearing in my mind: people in the remote Spanish city gather and scatter; unfamiliar faces emerge. Are my paintings simply about faces of strangers? My artwork explores the mentality that we human beings mutually have. Each piece of work doesn’t stand alone but interconnects. Together it’s an inward and outward space that allows the audience to walk in and reconsider the meaning of “crowd”. I hope that you can open a window you just missed after you pass by the “crowd of strangers”. Standing for a while, you may discover something surprised in the crowd.


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2013/1/24~2013/4/28 Quenten Lee / Blossoms in the Mountain - Dialogue between Zen and Flower / Exhibition of Chinese Ink Painting and Caligraphy

For artistic creation and research, Quenten Lee focuses on Eastern arts and philosophy. Besides arts, he is also interested in literature, psychology and religion and applies to Zen studies, writing and Zen drawing.


In his artwork, Quenten Lee conveys his understanding of Buddhism with the introduction of junior novices. At the corner of his paintings, he often writes down Buddhist texts in calligraphy to share meaningful stories. Although Lee explores serious themes, his paintings look unadorned and peaceful at first glance. They are actually profound and rich in vitality, enlightening the audience to stay grateful with contentment. The works also demonstrate Quenten Lee’s attitude about life, his elegant humor and unpretentious creativity.


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