The exhibition starts from a question: How do we settle down in the world’s endless evolution? In the irreversible change of time, every consciousness and perceptual complex rendezvous, reorganizing the understanding of the current time and space. Bergson’s ” durée ” advocates that there are infinite angles and endless moments in things, and the artist captures the piece or material in a certain passing moment, and mix its consciousness into the works. For this reason, the flow of time leaves palm prints in that moment. This exhibition brings together three local and foreign artists who translate their perceived relationships with their surroundings into artworks, and their work can therefore be seen as a clue to the restoration of time and space.
In Taiwan, Yeh Chu-Sheng is the first person to explore environmental and ecological issues with his abstract paintings, from “Order and Disorder” to the introspective “Eco-Spirit”, and to recent years, he discards cautious protection of issue, with time as a sequence, returning to the pure performance of living life. This exhibition presents Yeh Chu-Sheng’s artworks that cover 30 years of representative paintings of various series, encouraging the reverse viewing—to understand the artist’s movement in the trajectory of each branded symbol, material, and brushstrokes and paints on the canvas. Change the situation in the middle of the heart, and the relationship between the dialogues with the environment will be merged into the real process of creative performance.
The Finnish artist Josefina Nelimarkka, who exhibited for the first time in Taiwan, integrated the philosophies, rhetoric and atmospheric sciences, trying to express time and existence. The “Kairos” series consists of huge silk installations, paintings and sculptures. It records the changing seasons of a forest, and the material flow in the long process of the structure, poetically showing the moments of existence. In addition to the identification of the history of suspended particles, “Cloud Momentum” visualizes the air particle data of Taoyuan in the past year, in order to surpass the surface of the visual and current moments, and to project consciousness into an unpredictable future under climate change.
Liu Chih-hung, who is good at transforming experience and memory among various language forms, whose “Sound Print” that appears in the series ” Sound Geography” is only the starting trace of interaction with the environment, as its wavelength spreads to the readers, that is, a deeper perception of a place. The project in Taoyuan focuses on mining the history of ethnic groups and industrial ecology in specific areas, either by writing them in abstract/figurative sketch lines, or transferring the sound texture of story chapters into pottery/ceramics, which precipitates a great history. With trivial but fascinating process fragments, one by one deconstructs /constructs the imagination of the original sound and the local appearance.
In addition to restoring the passage of time, these unique imprints respond to the environment with clear consciousness, thus resulting in an complete image of a rich and organic life process. When one look at these creations of times, one will be truly aware of the places where the aura resides, such a gap may be the place where modern human beings can stand.