Wandering practice - Jhouyu HSIEH

 

Wandering practice

Draw on Paper, resin, plastic, readymade, inkjet print, card

1050x1890x100mm (200x200mm x 40pieces), 120x700x5mm x 30pieces, 110x90mm x Quantity variable 

2020

In 2020, because of the global outbreak of new coronavirus, I returned to my hometown Taichung, Taiwan. I left this land for a long time because of my art work. After I came back here again, I couldn’t help thinking about a vacation many years ago. I went to Taichung's  Beigou former site with friends from the art history department to explore. It used to be a temporary residence for those chinese precious historical relics from Imperial Palaces of the Ming and Qing Dynasties in Beijing to Taiwan, before moving to the National Palace Museum in Taipei. Although the area is already overgrown of grass and weeds, the atmosphere, memories and scenes of the expedition at that time, overlap with all those historical relics archives from art history in my mind and extend new stories. It still brings me a beautiful world of pen and ink composed of the landscape motif.

This series takes the blue-and-white porcelain archives collected in National Palace Museum as the main topic, combines blue-and-white porcelain of different periods into alternative narrative landscapes, and draws them into a series of landscape paintings that are digitally modulated by the archives; On the landscape constructed from the blue-and-white archive images, the trajectory of rock texture and plant-like strokes are drawn. For me, the process of the migration of cultural relics has also projected my feeling of wandering around in various countries over the past few years on a certain spiritual level. Using this as a concept, I completed this artwork of the wandering landscape composed of cultural relics.

2020年，因為新型肺炎病毒的全球爆發，我回到了我的家鄉台中，因為藝術的工作，我離開這片土地很久；再次回到這裡，不禁遙想多年前的一個假期，我和幾位藝術史系上好友一塊到台中的故宮北溝舊址探險，這裡曾經是故宮的文物從北京紫禁城遷徙來台灣的時候，在搬遷到台北故宮前的一個暫時居留的處所。雖然當地已然荒草漫佈，但當時的探險的氛圍、記憶和景象，與我之後在藝術史領域陪伴的文物在腦海裡不住的疊合，又延伸出新的故事，仍帶給我一段美好的以山水母題構成的筆墨世界。

這個系列的作品以故宮所蒐藏的青花瓷文物資料為主要的文本，將不同時期的青花圖像結合成另類的敘事風景，並繪製為一系列由檔案數位調變的山水風景畫；再於這些由青花檔案圖像建構的風景之上，繪製了穿梭其間的皴法與類植物的筆觸軌跡。對於我來說，故宮文物遷徙的過程也在某種精神層面上投射了我這幾年來在各個國家到處漂泊的感受，以此為概念，完成了這件由文物構成的山水漂泊意象。