Borders • Eruption001
Artist:YANG SHANG FENG
WorkSize:111cm x 80cm x 18cm
WorkType:Mixed Media
WorkYear:2023
現職
藝術與設計工作者
嘉義大學視覺藝術系兼任副教授
學習經歷
1970 生於台灣嘉義朴子
1993 實踐設計管理學院服裝設計系
1999 日本大學藝術學院美術科造形雕塑學士
2001 日本大學藝術學研究所造形藝術碩士
個展
2023
「 邊陲.浪尖 」 1 02 當代藝術空間
「湧動」大墩文化中心 大墩藝廊 一
「脈動」嘉義大學 人文 藝術中心
2022
「湧 EMERGING 」 上上下下材質劇場 小雨的兒子 台中
2021
「朗朗燦然:心神交馳的靈光」台南市立圖書館總館開館展
2018
「物競心擇」 中興大學藝術中心
2017
「形隨力轉」台新藝術基金會
2016
「形隨力轉」台南市新營文化中心
「境遷 沉思的時間」高雄市文化局 岡山 文化中心
2015
「複構的風景」嘉義縣文化觀光局梅嶺美術館
2012
「屈 從的張力」嘉義縣文化觀光局梅嶺美術館
2009
「靜.省 立體裝置展」佛山寺般若藝文講堂
2007
「城市變異 時空飛行=繪畫性與雕塑性的變奏結構」
高雄市文化局駁二藝術特區
2006
「 2006 楊上峰雕刻作品展」高雄名展藝術空間
「解體=再構」高雄縣文化局第一展覽室
2004
「變動中的結構」 嘉義縣政府文化局梅嶺美術館
1998
「楊上峰雕塑個展」 Art Design Gallery 東京 日本大學藝術學部
聯展
2023
「貳捌年華」新觸角藝術群創作聯展新觸角藝術群創作聯展 嘉義大學大學館嘉義大學大學館
「照見五蘊」當代藝術聯展當代藝術聯展 雄崗美術館雄崗美術館
2022
「微精神--在潮流之內逆流而上」 台北中山堂台北中山堂
2021
「非線性」新觸角藝術群聯展「非線性」新觸角藝術群聯展//新北市客家文化園區新北市客家文化園區
「非線性」新觸角藝術群聯展「非線性」新觸角藝術群聯展//滬水一方藝文空間滬水一方藝文空間
2020
「凜」真美花藝聯展「凜」真美花藝聯展//台北文獻館台北文獻館
「非線性」新觸角藝術群聯展「非線性」新觸角藝術群聯展 彰化縣立美術館彰化縣立美術館
「世代融融」「世代融融」--楊元太與楊上峰的雕塑對話楊元太與楊上峰的雕塑對話//東門美術館東門美術館
「非平行線」新觸角藝術群聯展「非平行線」新觸角藝術群聯展 大墩文化中心大墩文化中心
「東方.美學」東方設計大學美術工藝系教師聯展「東方.美學」東方設計大學美術工藝系教師聯展 嘉義市文化局嘉義市文化局
2018
「ANBD2018慕尼黑特別展」
「The 15TH Busan International Design Festival2018」
2017
「International invitational exhibition of the Korean society of illustration research」東方設計大學
「藝起東方」東方設計大學師生聯展/高雄市岡山文化中心
2016
「 Busan International Typoimage Exhibition」
「The 13TH Busan International Design Festival 2016」
「國際華文設計研討會研習營」國際海報設計展 東方設計學院東方設計學院
「亞洲當代陶藝交流展」國立台灣工藝研究發展中心
「國際袖珍雕塑邀請展-微物誌」高雄師範大學藝術學院
2015
「跨界.綜合」國際華文設計海報邀請展暨第四屆優秀設計作品展綜合 東方設計學院東方設計學院
「藝起東方」東方設計學院教師藝術創作聯展 美術工藝系美術工藝系
2014
「Contemporary Ceramic Art in Asia」當代陶藝邀請展 韓國金海美術館
「大器非凡-容器.藝術.跨界」新北市鶯歌陶瓷博物館
「亞洲現代雕塑家協會第2323屆作品年展」高雄文化局
「花蓮國際石雕藝術節聯展」國立東華大學
「我主張 NYLON25」 台南市政府台南市政府
「驚馬15×15」馬年創作展 高雄廣告創意協會高雄廣告創意協會
「跨界.綜合」第三屆優秀設計作品展 中國美術學院中國美術學院
「The 11TH Busan International Design Festival /Design-Talk to the creative city」Busan
「Members international invitational exhibition of the Korean society of illustration research東方設計學院
「新潮科技.創意東方 」國際海報設計展 東方設計學院
「陸軍軍官學校九十週年校慶埔光藝文聯展」
「藝起東方」東方設計學院教師藝術創作聯展 美術工藝系美術工藝系
2013
「國際設計工藝招待展」大韓產業美術協會
「我們前面是什麼?FORMOSAFORMOSA雕塑雙年展」高雄市整府文化局 東和鋼鐵公司
「The 10TH Busan International Design Festival /Design-Talking about the image of city」
「第十二屆台灣藝術家博覽會」 視覺藝術聯盟視覺藝術聯盟 台南文化創意產業園區
「名揚視海 東風再現」國際華文海報展 東方設計學院
「藝起東方」東方設計學院教師藝術創作聯展 美術工藝系美術工藝系
「Member's International Invitational Exhibition of The Korean Society of Illusration Research」Beijing industrial design center
2012
「Celebrating the 30th anniversary of The Korean Society of Illusration Research」Goi gallery Seoul
2011
「第十屆藝術家博覽會」視覺藝術聯盟 台北剝皮寮歷史街區 高雄駁二藝術特區
「百年陶情」中華民國陶藝協會 新北市立鶯歌陶瓷博物館
「台灣陶.生活情」行政院文建會 台灣陶藝協會 彰化生活美學館
「東方設計學院美術工藝系教授作品聯展」東方設計學院藝術中心
「2011國際華文海報設計展」東方設計學院
「Member's International Invitational Exhibition of The Korean Society of Illusration Research」Korea Culture Center in Vietnam
「設計.和平」釜山國際設計祭 釜山藝術協會 韓國釜山(The 2011 Busan International Design Festival 「Design,Say Peace」)
2010
「大高雄藝術與數位設計展」視海承風國際研討會系列活動 東方設計學院
「東方設計學院美術工藝系教授聯展」 高雄市文化局
「藝想ten開—See U Next 10」—2010視盟藝術家博覽會 台中創意文化園區國際展演館
「亞洲現代陶藝展」中華民國陶藝協會 中正紀念堂 新北市立鶯歌陶瓷博物館
「台灣陶藝展」台灣陶藝協會 台中縣立文化中心
「威德福海—新春藝術特展」佛光山金光明寺
「福到心田國際海報設計展」東方設計學院
「Asia Graphic Design Exhibition」 江南視覺設計會 日本佐賀市
「設計.與自然溝通」釜山國際設計祭 釜山藝術協會 韓國釜山
「自然與共生」 Asia International Graphic Design Festival亞洲國際海報設計展 東方設計學院福田繁雄設計藝術館
「台北/上海雙城文化創意產業博覽會 台灣跨界創意設計教育展覽」上海世貿商城
2009
「融合與共生」三鶯戲陶會造形探索聯展 台北縣三峽歷史博物館
「亞洲雕塑聯展」韓國光州美術館
「夏藝眺」視盟藝術家博覽會
2008
「台灣大專院校藝術風華系列展—國立嘉義大學美術系及視覺藝術研究所教授聯展」國立歷史博物館 高雄國際航空站
「2008現代陶藝展—中華民國陶藝協會會員展」臺北縣立鶯歌陶瓷博物館
「陶藝樂生活趣—現代陶藝展」新光三越百貨台中店文化會館
2007
「3C祭台灣多媒體藝術展」視盟藝術家博覽會
2006
「守望平安」台北縣政府公共空間美展 台北縣政府行政大樓公共藝廊
「東方造藝師生展」東方技術學院高雄鳳山國父紀念館
「95學年度國立嘉義大學藝術季師生美展」嘉義大學
2005
「2005台北國際藝術博覽會—台灣地方美術特展」台北世貿
「很土的傳說」陶藝主題策畫四人聯展 嘉義鐵道倉庫嘉義鐵道倉庫
「2005台灣聲勢好大」第四屆藝術家博覽會
2004
「華山論劍」第三屆藝術家博覽會 中華民國視覺藝術聯盟 華山藝文特區
「氣韻生動.美哉東方」東方技術學院美術工藝系教授聯展 台南市立藝術中心
「馬生角成員聯展」台北縣政府藝文大廳
「南方論藝 美在東方」東方技術學院美術工藝系教授聯展 高雄縣政府文化局
「請問國父……」東方技術學院美術工藝系教授藝術聯展 高雄縣政府文化局
「無欲幻境」馬生角畫會聯展 台北縣藝文中心
2003
「第二屆藝術家博覽會」聯展中華民國視覺藝術聯盟台北華山藝文特區
「92全國運動會裝置藝術展」GAGA gogo 台北縣政府
2001
「第二十四回東京五美術大學聯合作品發表展」日本東京
「日本大學大學院藝術學研究科造形藝術作品展」日本東京
2000
「兩代情」名展藝術空間聯展 高雄
1999
「第二十二回東京五美術大學聯合作品發表展」日本東京
「日本大學藝術學部美術學科雕刻作品展」日本東京
1998
「第三回台灣留學生藝術聯展」日本東京
「第十四回財團法人北野生涯教育振興會雕刻獎學生作品展」日本東京
1997
「金沢現代雕刻展」日本金沢
文宣記錄
2021
台灣陶藝聚落網站「朗朗燦然:心神交馳的靈光2021楊上峰雕塑個展楊上峰雕塑個展」
http://www.taiwanclayart.org.tw
2020
藝術家雜誌March538期 p164--165
2017
藝術家雜誌December511期「物競心擇」廣告
文學台灣 夏季號102期「形隨力轉」封面/p6
今藝術雜誌 APR 295期 p179
2016
藝術家雜誌December499期「形隨力轉」廣告
藝術家雜誌April491期「境.遷-沉思的時間」廣告
2015
藝術家雜誌March478期「複構的風景」廣告
台灣陶藝聚落網站「楊上峰的複構的風景雕塑」http://www.taiwanclayart.org.tw
2012
藝術家雜誌January44o期「峰迴路轉-楊上峰陶藝雕塑」p402--405
「A Concise History of Modern Taiwanese Ceramics」新北市立鶯歌陶瓷博物館
「台灣當代美術大系—材質藝術」行政院文化建設委員會
In his 2023 series entitled Borders●Crests, Yang Shang-feng brought his reflections on these topics - were gained over many years in working in fashion design, iron sculpture, synthetic wood, paper and mixed media. His experiences allowed him to create objects which could be strong but light, stable but also gracefully elegant: abstractions of his thoughts and inner world.
While from a distance, his work looks as if hard metal grasps tightly on wall in a flying motion; or on close examination, his sculpture looks like broken iron pieces, crowded together, resembling the crashing of water on rocks, generating broken waves, their peaks pushing and overlapping, one after another.
These materials call to mind not only notions of borders and peaks in the sense of geography, but also express the states of mind of both artists and spectators. And these minds are always changeable and reflective across different moments.(Wang I-Wen)
Artist:YANG SHANG FENG
WorkSize:111cm x 80cm x 18cm
WorkType:Mixed Media
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:110cm x 80cm x 10cm
WorkType:Mixed Media
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:111cm x 80cm x 14cm
WorkType:Mixed Media
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:111cm x 81cm x 22cm
WorkType:Mixed Media
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:25cm x 122cm x 67cm
WorkType:Sculpture
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:26cm x 106cm x 51cm
WorkType:Sculpture
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:27cm x 122cm x 79cm
WorkType:Sculpture
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:36cm x 33cm x 36cm
WorkType:Sculpture
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:36cm x 33cm x 36cm
WorkType:Sculpture
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:9cm x 41cm x 60cm
WorkType:Sculpture
WorkYear:2023
Artist:YANG SHANG FENG
WorkSize:57cm x 33cm x 35cm
WorkType:Sculpture
WorkYear:2022
Artist:YANG SHANG FENG
WorkSize:35cm x 21cm x 16cm
WorkType:Sculpture
WorkYear:2022
Artist:YANG SHANG FENG
WorkSize:40cm x 37cm x 19cm
WorkType:Sculpture
WorkYear:2022
Artist:YANG SHANG FENG
WorkSize:30cm x 21cm x 19cm
WorkType:Sculpture
WorkYear:2021-2022
Artist:YANG SHANG FENG
WorkSize:52cm x 21cm x 18cm
WorkType:Sculpture
WorkYear:2021-2022
Artist:YANG SHANG FENG
WorkSize:23cm x 16cm x 12cm
WorkType:Sculpture
WorkYear:2021-2022
Artist:YANG SHANG FENG
WorkSize:23cm x 13cm x 11cm
WorkType:Sculpture
WorkYear:2021-2022
Artist:YANG SHANG FENG
WorkSize:21cm x 18cm x 10cm
WorkType:Sculpture
WorkYear:2021-2022
Artist:YANG SHANG FENG
WorkSize:25cm x 23cm x 15cm
WorkType:Sculpture
WorkYear:2021
Artist:YANG SHANG FENG
WorkSize:31cm x 60cm x 40cm
WorkType:Sculpture
WorkYear:2021
Artist:YANG SHANG FENG
WorkSize:163cm x 113cm x 22cm
WorkType:Sculpture
WorkYear:2020
Artist:YANG SHANG FENG
WorkSize:20cm x 101cm x 81cm
WorkType:Sculpture
WorkYear:2020
Artist:YANG SHANG FENG
WorkSize:85cm x 29cm x 28cm
WorkType:Sculpture
WorkYear:2020
Artist:YANG SHANG FENG
WorkSize:25cm x 28cm x 33cm
WorkType:Sculpture
WorkYear:2020
Shang-Feng • Surging • New Benchmark
Professor HSIAO,Chong-Ray
Surging – YANG,Shang-Feng's solo exhibition held at the DaDun Cultural Center in Taichung City in July 2023, is a rare and remarkably impactful and groundbreaking success in the Taiwanese sculpture scene in recent years.
In modern Taiwanese sculpture, following in the footsteps of talents like HUANG,Tu-Shui, a constant flow of skilled individuals has persisted from one generation to the next in the art world. However, with the establishment of the “one percent” for public art funding system in the late 1990s, many young artists with an interest in sculpture began to shift their focus towards the path of participating in public art competitions. In addition, with the rise of installation and multimedia art, artists focused solely on traditional sculpture have become a minority. However, YANG,Shang-Feng stands out as a remarkable and exceptional example.
Born into a profoundly artistic family in Chiayi, YANG,Shang-Feng's father, YANG,Yuan-Tai (born YANG,Kuo-Hsiung, 1939-), is a renowned contemporary ceramic artist. Carrying on the family tradition, YANG,Shang-Feng graduated from the Department of Fashion Design at Shih Chien College (now Shih Chien University) in 1993. Afterward, he pursued further studies in the College of Art at Nihon University, completing his degree in Fine Arts (sculpture course) in 1999. He then continued his studies at the graduate school of the same university, obtaining a Master's degree in Fine Arts and Design in 2001.
After returning to Taiwan, YANG,Shang-Feng taught at the Department of Arts and Crafts at Tungfang Design University in Kaohsiung, while continuously pursuing his creative endeavors. Since his solo exhibition The Changing Form at the Meiling Art Museum of Chiayi County Government's Cultural Affairs Bureau in 2004, he has held solo exhibitions approximately every 2-3 years, including Destruction/Reconstruction, 2006; Changing of The City/ Time Travel:Picturized and Sculpturalized Variational Structure, 2007; Reflection: Exhibition of Sculptural Installations, 2009; Tension of Extension, 2012; The Scenery of Interdependence, 2015; A State of Transition:The Contemplation Occasion, 2016; Form Follow Action, 2016; and Humanistic Selection, 2018. From these exhibition titles, it is evident that Yang Shang-Feng's creations consistently resonate with the ebb and flow of personal or environmental emotions 8
and their mutual interactions, all within the realm of pure abstraction and form.
Surging, 2023 marks a significant outburst of artistic energy from the artist following the aftermath of the pandemic. Especially noteworthy are several pieces crafted from iron materials, such as Voyage 001 / Destruction and Reconstruction, 2007, the Boundary • Migration series, 2016, and more. These pieces, with their immense dimensions, skillfully harmonize seemingly contradictory and conflicting elements like curves and sharpness, stability and prominence, blending them seamlessly within their forms. Similar to how the pandemic, during its relentless spread, altered humanity's existing perceptions and habits, within the almost suspended realm of time, YANG,Shang-Feng's art prompted profound introspection into pre-existing values and actions. As the curator described, YANG,Shang-Feng's artwork is a “regeneration in place”, allowing one to sense the surging from within.
Contrasting the gravity, stability, and sharpness of the iron pieces are another set of artworks suspended on the wall, resembling drifting clouds. Examples include the Borders • Crests series 2023. The multi-faceted forms, sharp yet gentle, solid yet agile, are actually crafted using the technique of paper sculpture. From a distance, they resemble clouds adorning the horizon, while up close, they take on the semblance of tools from the ancient Stone Age. This showcases a method and mindset that are both conflicting and harmonious. YANG,Shang-Feng's abstract forms always manifest a certain level of material and structural contemplation through the interplay and coalescence of geometry and organic elements.
The exploration of paper sculpture techniques is a natural progression for YANG,Shang-Feng, who had a background in fashion design during his early years. Examples include the series from 2020, such as the Conceal series and Surge series, as well as the Borders • Eruption series from 2023. The interlocking, spiraling, twisting forms resembling weaving, along with the sensation of stitched curved edges, evoke images of clothing design. However, the materials he employs include paper fiberboard, E.V.A. synthetic resin, and waterproof coatings.
Coming from a family of ceramic sculptors, YANG,Shang-Feng’s familiarity with and fondness for ceramic sculpture are undoubtedly evident. The Coexisting Compound series from 2015 features sculptures crafted from mature clay that is coated with bronze glaze. This combination creates a piece that possesses both the organic and twisting movements of the clay along with
the metallic hardness of bronze, all atop a parallel wooden structure. The juxtaposition and coexistence of dualities are at the core of YANG,Shang-Feng’s creations, and these themes are prominently captured in the main visual artwork presented in this exhibition.
As a second-generation artist of exceptional talent, YANG,Shang-Feng shoulders a greater burden of creative pressure and psychological responsibility than most. However, from the very beginning, YANG,Shang-Feng displayed a distinct philosophical outlook and creative style different from the previous generation. This is especially evident in his 2023 exhibition Surging, which further demonstrates his remarkable achievements that live up to his father's legacy. I eagerly anticipate his ongoing dedication and growth, aspiring for him to stand as a prominent beacon in the realm of contemporary Taiwanese sculpture, representing another distinctive generation.
(The author of this article is a distinguished professor emeritus from the Department of History at National Cheng Kung University and a scholar in Taiwanese art history.)
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The Creative Mediums as Vehicles for Making Sense of the World
Professor TSAI,Hsien-Yiu
Department of Visual Communication Design, Cheng Shiu University
YANG,Shang-Feng grew up in an artistic family in Puzi City, Chiayi County, Taiwan. From an early age, he was immersed in and exposed to the artistic concepts and three-dimensional creative works of his father, the artist YANG,Yuan-Tai, whose influence became his artistic foundation. YANG,Yuan-Tai, a well-respected figure in Taiwan's art scene, has maintained a distinct and unmistakable creative style. Throughout his creative journey, he has remained steadfast in the realm of three-dimensional artistic creation, primarily using “earth” as his main medium. He crafted an art pinnacle through the firing of “earth”, a purified summit that stands as both an aspirational goal and a challenging peak for YANG,Shang-Feng to ascend in his personal pursuit. Deep within, YANG,Shang-Feng possesses the rebellious nature of an artist. Right from the start, he didn't opt for the straightforward path of inheriting YANG,Yuan-Tai’s legacy. His counterintuitive self-discipline led him to embark on a different path of education. He initially chose the Department of Fashion Design at Shih Chien College (now Shih Chien University). This seemingly parallel field to pure artistic creation eventually became a crucial source of nourishment for his three-dimensional artistic endeavors. It gradually formed a significant pillar in the context of his creative expression.
In his pursuit of excellence in the realm of artistic expertise, YANG ventured to Japan. In 1999, he earned his Bachelor's degree in Sculpture from the College of Art at Nihon University. He then advanced further by obtaining a Master's degree in Visual Arts from the Graduate School of Fine Arts at the same university in 2001, marking his journey towards a professional path in artistic creation. After returning to Taiwan, he not only tirelessly dedicated himself to artistic creation and participating in exhibitions both domestically and internationally, but also undertook teaching roles in various universities' art-related departments, nurturing young artistic talents. In 2010, he completed his coursework and examinations as a doctoral candidate at the Graduate Institute of Design Science, Tatung University. He has presented three papers focusing on the cognitive imagery and interactions related to public art design at international conferences, including the International Conference on Kansei Engineering in France (KEER 2010), the International Conference on Design Education in Singapore (Icsid 2009), and the International Conference on Design, Form, and Dynamic Semiotics in Germany (DeSForM 2008). YANG is truly an all-encompassing professional artist with a strong foundation in both academic learning and artistic practice.
YANG,Shang-Feng’s solo exhibition Surging, hosted in Gallery 1 at DaDun Cultural Center in Taichung City, showcased significant three-dimensional series of works spanning from 2007 to 2023. The artistic mediums used encompass steel plates, wooden boards, ceramics, bronze, fiberglass, and paper fiber boards. These materials are employed in either single-medium structures or composite structures, displaying the artist's mastery in shaping diverse sculptural mediums. The piece Voyage 001 / Disassembly and Reconstruction, 2007 is a multi-part iron sculpture installation. It stands at a maximum height of 325 centimeters, with the artwork spanning nearly 6 meters in circumference (Page 50). Steel sculpture was Shang-Feng's specialized major during his years of study in Japan. Transitioning from the paper pattern cutting and sewing of soft fabrics in fashion design to the cutting and welding of rigid iron plates might seem to involve disparate material qualities and be seemingly unrelated. However, they share the same underlying principles of sculptural structural thinking and the production process. Due to his experience in creating paper patterns for fashion design, iron and steel materials gained a degree of flexible transformation within the artist's creative imagination. In terms of the materials used, the works Coexisting Compound 010 – 013, 2015 (Page 58) and Boundary • Migration 001 – 003, 2016 (Page 58) incorporate both wooden structures and iron components. These two series consist of independent yet interconnected installation pieces. The combination of wooden boards and iron components in the structure is reminiscent of traditional architecture and interior furnishings. However, while these two series retain elements of solidity and void, light and shadow found in architecture, they both abstract the original concept of three-dimensional space. Through the artist's meticulous cutting and stacking of forms, space undergoes constant differentiation. Coupled with the rust-colored iron pieces that have absorbed a human touch over time into the wooden boards, viewers are enabled to transcend reality and enter the artist's realm of unrealized differentiated space.
Following the exploration of works using wooden boards and iron components, YANG,Shang-Feng continued by flipping the weight of heavy iron plates. Simultaneously, he employed paper patterns from clothing design and clay from his family tradition as mediums for three-dimensional sculptural creations. Paper and clay have long resided within YANG,Shang-Feng's soul,
intimately familiar, as he grew up watching his father shape clay, firing it in intense heat, and during his time at Shih Chien College, he designed clothing patterns. One could say that these mediums represent an emotional return for the artist in terms of creative materials. The works Surge series 01-03 and Conceal series 03 from 2020, as well as the Borders • Eruption series and Borders • Crests series from 2023, are all paper sculptures, although they still possess the visual strength of iron plate cutting and welding. Due to the nature of paper, the interwoven twists, turns, and raised surfaces contribute to a heightened tension on the surface. This dynamic tension brings greater freedom to the artist's creative process. YANG,Shang-Feng's ceramic sculptures are characterized by their primal simplicity in both form and color. They exhibit a fluidity of form, a surge of energy, and an inherent rhythm of life. The artist's hands give life to the clay, resembling seeds or embryonic forms on the verge of breaking through the surface. The intense flames of the kiln seal the chaotic shapes, resulting in a grand and expressive outcome—At this moment, the artist's choice of materials shifts from being otherness to becoming the essence of the material itself. “Iron”, “wood”, “paper” and “clay” are no longer mere mediums for expressing forms; rather, they serve as profound catalysts, prompting the artist to perceive and understand the world through a different lens.
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The Palpitation of a Seed: Exploring the Mind of Artist YANG,Shang-Feng
Professor HSIEH,Chi-Chang
Department of Visual Arts, National Chiayi University
At the Opening Day panel of Surging – YANG,Shang-Feng 's solo exhibition held at the DaDun Cultural Center in Taichung City, he mentioned: “The energy of a work is like the moment a seed bursts forth from the soil...”. The arrangement of each artwork on display at the exhibition is a manifestation of the artist YANG,Shang-Feng 's inherent way of thinking. Transitioning from the tangible to the transcendent perceptions of reality, it may seem abstract, yet it encapsulates the realism of nature. This form of realism presents things that are invisible to the naked eye. Within the simplicity of Shang-Feng's artworks lies intricacy. Through his unique perspective on the world, he unveils the subtle rhythm of “gathering” and “releasing”, quietly observing the delicate changes that emerge in his creations as viewers and the environment interact within them.
The Three Stages of Seed Cultivation
Throughout his journey of learning and growth, YANG,Shang-Feng was fortunate to have his father, the conscious sculptor YANG,Yuan-Tai, whose presence made working with clay and firing ceramics an innate part of Shang-Feng’s life. With such familiarity, the material “earth” became unnoticeable in its naturalness, having been integrated into Shang-Feng’s life. Due to a childhood inclination for dismantling objects, Shang-Feng naturally opted for the science track in high school. However, during that period, he helped a neighbor with drawing and painting while the neighbor was preparing for an art school entrance exam. This rekindled his dormant artistic spirit, leading him to switch to the humanities track and pursue art. He was subsequently admitted to Shih Chien College (now Shih Chien University), where he delved into sketching, diagrams, illustrations, samples, models, sewing, and the selection of fabrics, colors, and materials. Through working with soft materials, he gained an understanding of deconstruction and construction. Even in the meticulous seams of fabric edges, he discovered insights into the microscopic and aspects of self-healing. The geometric, irregular, and organic elements stem from the drafting process in Shang-Feng’s design. Through experimentation, pattern making, and the exploration of boundaries, Shang-Feng realized his affinity for sculpture. These components, subtle yet present, can be discerned throughout his artworks. Subsequently, he pursued further studies in Japan, focusing on steel sculpture. Apart from honing his foundational skills, during his time abroad, he mentioned, “Through the exploration of steel as a material, I realized that iron and clay share similar characteristics”. Invisibly, they connected with my early experiences in ceramic art. Iron needs to undergo high-temperature annealing to achieve the desired shape, while clay, containing a substantial amount of iron oxide, reveals a texture akin to iron when subjected to high-temperature reduction. Between the outward coldness of the steel forms and the inner heat they contain lies a process akin to the ‘trial’ and tempering experienced in ceramic art, similar to the heating and molding followed by cooling and shaping”. Suddenly, he realized the wellspring of his creativity. The contemplation of forms and the sensitivity to materials, it turned out, had been subtly ingrained in him from an early age through his father's artistic pursuits. Simultaneously, under the guidance and challenges presented by his professors in Japan, he learned to contemplate questions like, What exactly do you want to achieve? and What message do you want to convey? Moreover, his awareness of materials, love for them, and his ability to discover the subtle nuances in everyday life are all evident in his artistic concepts. This progression, akin to the orderly physiological and morphological processes of a seed's growth from absorption to expansion, slowly took shape.
The Moment the Seed Bursts Forth
Artist YANG,Shang-Feng 's experiences shaped by his upbringing have led to a transformation, where he understands that deconstruction is equivalent to reconstruction. His learning experiences in different stages have provided him with insights that reflect in his creative endeavors. By building upon the simple foundation of deconstruction and merging it with his latent visual impressions, he employs juxtaposition, transformation, and repeated reconstruction to explore the connection between abstract organic forms and the inner psyche.
Through his formative journey, he's material choices have become more diverse, encompassing clay, plaster, cardboard, plywood, veneer, natural elements, metal components, and more. He has conducted comprehensive experiments and trials with these various mediums. The forms that his artworks take on reveal sculptural languages such as geometric abstract lines in flow and organic shapes with surfaces that twist and turn. These forms portray the transmission of space, force, and energy, showcasing the expansion and outward-reaching force from within, along with the structural transformations of the objects. Through experimentation with textures, material qualities, and a sense of volume, he continuously explores various aspects. These extensive experiments vividly exemplify how artist YANG, amidst the transformation between homogeneity and heterogeneity, has constructed his unique way of perceiving. His most genuine approach is to respond to his current state, emotions, thoughts, and memories. Through the interplay of “object” and “self”, “internal” and “external”, “spirit” and “material”, there emerges a process of self-dialogue where these elements intertwine and engage with one another. By channeling his consciousness into the forms of his artworks, he presents a collection of intertwined lines and symbols that hint at the passage of time and the dimensions of space, with each piece becoming a quest to uncover his inherent essence. He molds the variations between subjectivity and objectivity that he experiences during his journey and encounters with diverse circumstances. These variations are shaped before the viewer through multimedia installations and sculptures, presented in contextualized ways that enhance the clarity of the overall imagery. Simultaneously, he challenges our preconceived notions about the material attributes of established mediums, allowing his works to convey the interplay of his cultivated microcosmic perspective and poetic sensibilities in the details. This process extends to form his distinctive artistic style.
Beyond the Age of 50
In light of the preceding content, we can observe that the artist YANG,Shang-Feng has been engaged in a long-term exploration of his “personal themes”, delving into various emotional nuances from a microscopic perspective. These explorations have unearthed many aspects of his inner world that he hadn't thoroughly considered before, yet have proven to hold significant importance to him. The objective of artist YANG is to fashion a restrained yet flawless condition, opening up new avenues for aesthetic appreciation. We can perceive his treatment of sensory materials transitioning from sensory perception to spiritual sensation. The interplay of density and concavity in the stitching of the artworks creates a myriad of rhythmic and healing sensations, constructing a unique form of Eastern sculpture.
After turning 50, Shang-Feng began to learn to let go and gradually feel a sense of creative freedom. His inner feelings also underwent a gradual transformation, as he mentioned in a discussion, “At 50, I let go a bit more and become more spontaneous. In the past, I worked hard to grasp many things, attempting to satisfy strict formality and completeness, thinking that was myself. Little did I know that was just a skilled individual. At 50, I should return to my true self. Though my approach to work remains the same, my heart has changed”. Deconstruction doesn't originate from the external world; instead, it emerges from within one's true self. Once we understand ourselves and go through experiences within ourselves, that's when the journey of self-awareness begins.Focus brings stillness, familiarity leads to relaxation, and relaxation allows the mind to find its ease. As the mind gradually settles, reality starts to reveal itself.
Artist YANG,Shang-Feng has achieved a state of “stillness” through extensive creation and focus, allowing himself to see his true essence. Just as his father responded in a discussion: “A creator must approach their work with sincerity and depart without attachment”.
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Sculpture as a Contemporary Technique for Expanding Materiality
Wang,I-Wen
An Advisory on Audience's Social Engagement
On the morning of the opening day, a visitor arrived at the second floor of the exhibition hall. Starting with the artworks within reach on the wall, he lightly tapped each piece with his fingers, clearly intent on confirming the material's nature. After verifying a few pieces, he seemed satisfied and hurriedly departed. I stood on the other side of the exhibition hall while the exhibition staff were on the first level near the entrance. This visitor clearly managed to find a loophole to satisfy their curiosity quite comfortably. Whether as a friend of the artist or a temporary custodian of the exhibition, I couldn't reach the role of safeguarding the pieces in time to intervene. However, having previously been a museum curator specializing in audience research, I've taken a mental note. The intuitive and passionate response from the audience in the central region of Taiwan is a characteristic we sensed right from the beginning. For several consecutive days, visitors have actively approached the artist to share their thoughts and curiosity about the artworks, providing the artist with direct and valuable feedback. At the same time, there were also instances of visitors using their fingers to gently tap the artworks, directly addressing their questions about visual and tactile connections without directly “touching” the artworks. This impulse to overcome the boundaries of exhibition norms out of curiosity piqued my interest. In the afternoon of the opening, the Deputy Director of the Cultural Affairs Bureau of Taichung City, began his speech by admitting that he had guessed the materials of the artworks wrong three times, truly embodying the intuitive and passionate sincerity of the central region's audience. Both artistic creation and appreciation are based on intuition, and art criticism and audience research similarly rely on intuitive judgment and clues provided by intuition. During the afternoon session of the opening event, the challenge of materials was also discussed in the panel featuring two professors and the artist. The questions raised by the live audience after the panel also echoed similar concerns. However, the author succinctly responded that this wasn't his initial intention for the creative process. All the conversations during the opening highlighted the idea of non-identification, which might serve as a new path for creative research or audience studies. This is one of the most socially engaging exhibition openings I've witnessed.
A New Path of Non-Identification: Borders and Crests
The most captivating piece of art in this exhibition is the artist's latest series Borders • Crests, 2023. The steel-like strength and visual texture of the pieces, suspended against the white walls, create a rhythmic undulation from top to bottom as the light plays upon them, while at the same time they appear to collide, intertwining like welded structures, evoking the image of overlapping waves. The fragments are detached yet interconnected, and the lines on the curved surfaces resemble both rivers and the veins that surge on an exerted arm. The fragmented associations lead one to wander amidst landscapes, industrial remains, and iron fragments. The hues and reflective textures lean towards iron elements, while the suspended arrangement evokes a deep sense of unease regarding the weight of the iron pieces. The naming of the artwork caters to the imagination of landscapes and surges, Borders • Crests; yet in reality, neither “Borders” nor “Crests” directly allude to geographical edges or the forefront of waves. Just as the artist's works are not merely the states seen on the surface, they often also metaphorically symbolize societal trends or the ebb and flow of human emotions. From the spatial compositions of iron and wood in works like Coexisting Complex, 2015 and Boundary • Migration, 2016 to the harmonious coexistence of forms in Borders • Eruption, 2023, where paper sculptures on the wall collide and interact, creating deep internal spaces with abrupt and urgent aspects of stitching. Then, in Borders • Crests, 2023, the interplay between pushing and joining reveals flowing lines and a romantic lyrical texture. Considering that the artist's creations are his response to the societal environment, in rigid materials, one can perceive the desire for harmony from the onlookers, while in soft materials, one can sense the collisions experienced within. In his recent works, the configuration of structures and the force of conflicts have melted together, reflecting emotional adjustments after clashes.
Melding and Welding the Distinctions between Disciplines through Academic Training
If approached with conventional linear thinking, creating a traditionally defined object from a certain material can indeed become confined by visual and cognitive pathways. The limitations of cognition and symbolic recognition narrow the possibilities of imagination and extension. The overall exhibition is not so much about using various materials to create sculptures, but rather employing the thinking and technical treatment of sculpture on different materials. Years of practice have turned the artist’s academic training in sculpture into a method. The forms the artist experienced while working with iron during university inspired the shapes for synthetic wood during his graduate studies. And his use of bending iron frames and composite boards is traced back to his familiarity with Taiwanese clay and paper fiber forms. Starting from the bending, construction, fusion, and welding of iron, this process transformed into structures across different mediums, spanning traditional crafts like clay, fiber, and wood. The forms achieved through technique and material are then further transformed into the next iteration of form and material, creating a dynamic interplay between form and medium. Through the synthesis of technique, material, and form, the artist has developed a unique philosophical approach to sculptural thinking. This Surging solo exhibition unveils the artist’s significant individual approach to artistic creation through the on-site presentation of his artworks spanning from 2007 to 2023. Not centered around or limited to sculpture as the core or objective, this approach doesn't categorize material forms to define sculpture. Instead, it integrates sculpture as a form of thinking and technique, exploring the interplay between material and space. This contemporary approach to sculptural thinking removes the framework of typological identification, allowing the essential and philosophical aspects of techniques and materials to mutually expand and engage in a new avenue of dialogue.
Surging: The Vitality of Uncertainty
The 2023 YANG,Shang-Feng solo exhibition Surging features a total of 31 artworks, employing a variety of soft, hard, natural, and synthetic materials. The primary actions involve cutting, assembling, condensing, applying force, and shaping. This process of deconstruction and reassembly, according to the artist's own recollection, originated from the need to create self-made toys during childhood— Collecting and disassembling various objects, then reassembling them into something he desired. Holding onto the limited pieces in hand, without giving up on the potential for expansion, waiting for the right moment to introduce new components, dismantling and seeking other possibilities again— this long process of waiting for opportunities, searching for new elements, and the observation and patience for the right material and medium alignment, perhaps serves as the foundation and the artist’s source of confidence in forming new shapes through recombination and reconstruction. Within the forest of object components, waiting patiently for the right moment, the artist spends most of his time sketching or creating models, much like a hunter unconsciously polishing their rifle or arrows. He waits for a sign, attuned to the slightest rustling of leaves, ready to dive into the concealed depths of the forest. After an uncertain passage of time, the artist emerges. Unlike a hunter who walks into a village with trophies to be celebrated and feasted upon, the artist presents creations that demand focused attention and a communion with the work itself. The evolution logic of abstract forms is hard to articulate, much like a century ago when Kandinsky attempted to deconstruct various elements and inner needs, yielding ineffectual outcomes, but it is also much like the revelatory instance Kandinsky had— Upon entering through the door one evening and discovering his own paintings placed upside down, he experienced an epiphany akin to a mysterious enchantment, radiating like a halo. In the realm that is difficult to express yet can be fully grasped by the body, space, and spirit, when a subtle inner awareness surges, it remains uncertain which switch leads to the beginning of that all-encompassing sensory experience.
The Vastness after Crossing Boundaries
Can we explore and even break the boundaries between materials and artistic genres, the distance between viewers and creators, and the internal and external aspects of technique and philosophy? From this exhibition, we can see an atmosphere of diverse materials coexisting harmoniously, conveying a sense of scattered stability and tranquility through their distinct characteristics and new facets. The underlying tone of the artist's personal style is unmistakably spreading throughout the exhibition. In the iron pieces, you can perceive the three-dimensionality of clothing patterns, in the woodwork, the curved surfaces reminiscent of iron, in the paper fibers, the tension resembling wood's strength and iron's texture, and in the ceramic clay, a sense of metallic presence. It's as if you're watching a young boy playing hopscotch on the water's surface, fearlessly stepping on any debris that surges forth from the crest of the waves, and thus he embarks on his carefree journey. The boy from the past, who used to be busy in the pottery studio arranging his next toy with a cookie box in hand, has transcended the dimensions and the pull of gravity. The training and constraints of the past have become invisible wings, accompanying him on his soaring journey.
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Preface
YANG,Shang-Feng
After studying in Japan for 7 years and returning to Taiwan, I have dedicated myself to artistic creation and research. In the early stages, I held solo exhibitions such as The Changing Form in 2004 and Destruction/Re-construction in 2006, focusing on experimental explorations of form and space. The solo exhibitions Tension of Extension in 2012, The Scenery of Interdependence in 2015, and Form Follow Action in 2016 focused on mastering cross-media creative forms. Continuing this journey of artistic exploration, the recent exhibitions Humanistic Selection in 2018 and Surging in 2023 further expand the horizons of my creative endeavors through the medium of exhibitions. Over the course of approximately 20 years of creative accumulation, my exhibited artworks reveal a gradually evolving stylistic context, establishing a sense of perceiving changes in the external environment while also addressing attitudes towards my inner emotional states. Adopting the perspective that all things are children of the Earth, while confronting the Earth's overall environmental changes and the fleeting moments of shifting circumstances, within the interplay of human-nature-regional environment dynamics, I’ve sought a delicate equilibrium in the heart and contemplated how to translate this into material reality. Through the creative process of observing, exper iencing, documenting, reflecting, and dialoguing, the sensations in my personal life that correspond to the environment, as well as the choices made after emotional settling, are echoed in my exploration of self-expression and showcased through my creative practice that integrates dialogue with materials. Simultaneously, this attitude and practice are further integrated into my teaching of art and design.
This year, the exhibition Surging, hosted in Gallery 1 at DaDun Cultural Center in Taichung City, showcased the cumulative results of my years of training and self-practice. By integrating various mediums such as iron sculpture, paper sculpture, ceramic sculpture, and wooden structures, the artworks encompass a range of forms, from bas-reliefs and three-dimensional sculptures to visually interconnected celestial and earthly structures. These take the shape of spatial installations that adapt and extend based on the variations in the exhibition environment. In the creative process, my focus lies in thoughtful contemplation of structuring forms with a conscious exploration of issues. This approach extends to a spiritual interaction resonating with the passage of time, aligning with abstract perceptions and tangible explorations of the changing societal environment. This reflective journey is woven together by a series of evolving cues present in the progression of my artwork. With regard to the stylistic framework of the artwork, this exhibition unfolds along several interwoven pathways: the composition of geometric abstraction, the coalescence of composite or contrasting mediums, the sculptural language segmented into spatial installations, the tactile reinterpretation through deconstruction and reconstruction, and the exploration of dynamic shifts and flows. Simultaneously, within these forms, there is a continual challenge to dimensions, sensations, the impact of force, and changes in shape, as well as the transmission of energy between motion and stillness.
From a holistic perspective, my life background and educational experiences exist in a state that interweaves the realms of modern and postmodern art environments. Consequently, my influence by both elements extends beyond mere conceptual comprehension; a significant portion is derived from genuine experiential feelings rooted in the living environment. Through self-directed creative research, I have observed numerous manifestations of postmodern art concepts within their work. While experimenting with contradictory or conflicting forms of artistic expression, I seek to naturally generate coexisting imagery that possesses both the dissonant forms of postmodernism and the harmonious aesthetic structures of modernism. By observing the fluctuations in external environments, whether they are natural or cultural, I confront the diverse uncertainties, conflicts, contradictions, and opposing circumstances. This exploration delves into the intricate interplay of internal sensitivity, rationality, and emotionality. Within the collaborative construction of various mediums, I have discovered a means of expressing self-affirmation and formulating balance, while aspiring to transmit an artistic energy that embodies positive spirit. This endeavor facilitates the convergence of experimental explorations and the evolving foundation of aesthetic experiences, thus integrating and expanding the diverse dimensions and potential facets of my creative expression.
I sincerely appreciate the support and assistance provided by the exhibition committee members and the entire staff at the DaDun Cultural Center in Taichung City, whose efforts were instrumental in bringing the Surging exhibition to life. Additionally, special thanks are extended to Professor TSAI,Hsien-Yiu, Director of Exhibition/Performance and Culture Education Section in The Office of Art and Culture at Cheng Shiu University, and Professor HSIEH,Chi-Chang from National Chiayi University, for their presence and participation in the Opening Day panel, adding brilliance to the inauguration of the exhibition. I am profoundly appreciative of the opportunity to publish an exhibition catalogue, and I am greatly honored that Professor HSIAO,Chong-ray has contributed a special article for commentary. Along this extensive artistic journey, I have been fortunate to have the support of my family, like-minded mentors and friends, and fellow art enthusiasts. I look forward to continuing this beautiful journey with all of you for many years to come.
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