Art Central 2020 X Artsy

Insight; Borderlines in Space

Art as a vehicle that across time yet parallel to time, it creates all kinds of spaces at will；Art reflects the changes of the world by interpret ingenuity in society through formal integration and the remodeling of consciousness patterns, to tell the consequence of individual in history while response to globalization and localization.
This curatorial proposal focus on the references to space span generation from Chang Yung Tsun and Chan Keng Tin, observe the insight refer to the symbol and imprint formed by their own borderline.

Chang Yung Tsun grew up in Taiwan's martial law period, the desire for freedom and action under oppress is eager to express. Inspired by the concept of "painting is dead" in 1984, he attempted to approximate the authentic existence status of human with the theory “being and changing”. Blend between three dimensional-spaces by the ongoing orientation and recombinant of color and objects, taking materials as media to combine with surroundings at the moment. Cross-domain links to artistic actions, space, and environment, determined to break the rules of pictorial.
"Ink" series is the spiritual pointer of Chang, transformation of traditional media with continuous variation and exercise in tridimensionality, Chang never stop to present his own circuit in the experiment of space.

Born in 1979, Chan Keng Tin growing up with scene full of buildings tower over the landscape. To response to the detached city, Chan operates Chinese painting techniques such as rendering, flat coating or white space to conflate a mirror like effect. The hills form an inexhaustible pulsating relationship by stacking in various angles while continually radiate the cracking lines which add the surreal situation in a diaphanous picture. Through the distant painting techniques and the process of forming space to modeling context, different spatial structures and geological systems (city and nature) of Chan present a trajectory of the landscape from "image" to “imaging". Chan free himself from regular concept of space and traditional techniques in physical and aesthetic aspects, taking the unprecedented view to create a montage of alienation and rationality. Break away narrative or proximity purpose in Ink painting; complete the formation form "external viewing" to "self-figuring".

The dimension overturn of Chang Yung Tsun from Taiwan and the spaces that Chen Keng Tin remolding in Hong Kong, both formulate two’s own demesne under different societies and living traits through the separated making of space；Becoming the driving force which pushes them formed to be one of the Asian art representatives. To think about the intrinsic of painting in their time when two exploring the future of Oriental philosophy Chang and Chen then establish their own cultural borders to shape the contemporary spiritual world. The works of Western phase in Chinese painting retain the epiphany of ink, the sempiternal pursuit of existence in spaces. Integrate the individual consciousness with critical thoughts into creation through the subversion of physiological and psychological borders they build.