Aura ˙ Punctum: Tai Ming-Te & Tai Hung-Lin Joint Exhibition
Exhibition： 2020.03.10-2020.04.26
Opening Reception： 2020.03.14 2:30PM
Aura ˙ Punctum: Tai Ming-Te & Tai Hung-Lin Joint Exhibition
A creative dialogue between father and son, compensating for the silent spaces in their conversations and relationship.
Tai Hung-Lin published a selection of works centered around “90’s Anxiety” in the past, and his photography works capture fleeting moments of light and shadow. The abnormal, wild, and exciting moments represent the generational anxiety among the 90s in the face of fast-changing information. The blurry images of female bodies hint to fear and sex, creating object symbols that form a sense of eeriness and abruptness, inciting sensual stimulation, and provoking restless and acute nervous sensations. The still life image installation series builds a dialogue between blank spaces and chaos, intertwining his own bodily hair with complex emotions.
Throughout more than 30 years of his creative career, Tai Ming-Te often refers to himself as having “transformed into a drawing machine that documents the times through sentiment and unremitting creativity.” Tai’s “Self-portrait” series refers to memories that are parallel to the times, forming autonomy through self-reflection and self-mumbling. The series is different from previous works that avoid the self and depict scenes of dilemma and reality and finally returns to creating artworks for the self, just like the return to authenticity. These works, which are born through in-depth conversations with the self, have become a message board and memorandum for the future self. The artist believes the honesty of the works will surely evoke resonance among viewers.
The drawing intent is linked with the self and society through pictorial transformations and practices. Layered with life memories and political parallax, these works are a response to the formation of the land’s cultural dynamics and atmosphere. Self-portraits Solo, Recovering the Emperor’s New Clothes, Data and Portraits, and Masquerade uses the human face spider as a metaphor for the self. At the same time, the amusing alterations in personality and limbs become ineffable visual punctum and issues. (Article by Tai Ming-Te)
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