Hsieh, Chi-Chang

Land Flavor: Hsieh Chi-Chang Abstract Creation Exhibition

    The concept and work-foundation of “Land Flavor” was formed by Hsieh Chi-Chang as a recap after his previous artwork series “Natural Overture” and “Travel Trace”.

    By going through all the working experience and process repeatedly with the personal life experience which he had been through, he was able to unleash a true side of his feeling toward the nature and reevaluate the gap between him and the environment as a human being but not as an environmentalist.

    The ideas of his art work are based on freedom and self-intuition. In every artwork of him, a pure focus and simplicity were expressed by interaction between the nature and harmony to wake every hidden part of how the humanity might have based on what they saw at their surroundings. The mix between Calligraphy and graffiti were combined and used as one on the paintings is to demonstrate the balance and connection between Eastern and Western art, and also to show the ideal “inner map” for everyone based on the way they look at the nature.

    There are couple thing which the audience could discover from the exhibition. For instance, the writing and symbol that based on random graffiti and calligraphy etc. They stood out as the trace and inner memory that humanity and the nature ever shared. Each brash stroke shows the multiple combinations between how human life is intertwined with what they have experienced through natural and how and what they seek to perfect their work for the nature or environment. In other word, it is like viewing an ambiguous vibe from everything that has been existing for a long time to “How” they are perfected to be a better piece of art work.

Sin Titulo- Hsieh Chi-Chang Solo Exhibition

   “Sin Titulo: Hsieh Chi-Chang Solo Exhibition” is the display of a series of works inspired by my living aesthetic abroad and life experiences after returning to Taiwan. As the creative process unfolds, simple scribbles and graffiti transform into energies of abstract plastic arts, attempting to construct realistic space and document memories using symbols, abstract calligraphy, and incidents of everyday life.

    In general, western philosophy tends to stress the discussion of concepts and the analysis of language, viewing philosophy as pure speculation and discourse. Chinese philosophy, however, focuses on personal experiences and the cultivation of body and mind, interpreting philosophy as a way of life. In other words, Chinese art emphasizes metaphysical beauty, while western art is a series of pursuits aimed at changes in form. Noting this difference, I have combined the concepts and expressions of Chinese and western art in my works. Professor Liu Feng-Jung reviewed my works in his article as: “a unique annotation of form and color that conveys the artist’s accomplishments in ink and wash paintings, western aesthetics, abstract paintings, and the artist’s training and education in Spain. Hsieh applies the western concepts of instinct, emblems, symbols and forms, imaginations and psychoanalysis, and Kant’s theory of play, while also stressing the arrangement of illusion and reality, black and white, or the configuration of the subject and background, movement of brushstrokes, and the flow of curved lines. Geometric boats, buildings that symbol the home space, or floating shapes that are both semi- and non-figurative are seen within the abstract works of the artist, giving the viewers a sensation as if merging into the vast and void world of ink and wash paintings…”

    This exhibition presents the “Travel and Architecture Series,” “Calligraphy and Nature Series,” and “Abstract: Sleep Diary Series.” These works were completed between 2013 and 2016. Some were finished after on and off work; some works took months to complete, while others took up to one year. After going through construction, destruction, and reconstruction, the memories of the manuscript undergo recollection and free coverings. Ultimately, the artist’s subconscious usually becomes the source of inspiration. This drawing pattern born through intuition and playful expression results in mixed lines and symbols that hint to time and space, intertwining and forming into “quasi-maps.”

    Diaries and unconscious graffiti drafts remind the artist of past events. Without planning and arrangements in advance, everything gradually comes to form along with the creation process. From the moment the paintbrush touches the surface, the small portion gradually extends into shape, slowly growing at will in space. With calligraphic graffiti and shapes that form occasionally and automatically, I pay attention to the nuances throughout the creative process, hoping that the final work will be able to present the painting process, just like the scene of an ongoing march.

    With silhouettes of boats, houses, and ladders that resemble the shape and form of written characters, I attempt to create an atmosphere that involves symbolic elements. These are symbols of memories and emotions, also documentations of emotional traces. The black silhouette designs, calligraphic graffiti, mechanic lines, and contrasting colors, scatter randomly on the image as if a moving map. The spilling of oil-based liquids creates an ambiguous dialogue with space. This mystical atmosphere quietly motions and continuously extends through the density, size, and color of lines, continually stretching and covered with mingled images and lines, naturally displaying the motives of the artist. The strong emotions carve deep into the works, growing and spreading, giving missions to the symbols of the scene.

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