Chin Chih Yang 楊金池
Art Show: 2020 NYFA Hall of Fame artist
Multidisciplinary artist Chin Chih Yang was born in Taiwan, and has resided for thirty-seven years in New York City. He studied at Parsons School of Design in Manhattan (BFA, 1986) and at Pratt Institute in Brooklyn (Master of Science, 1994). In 2020, he will be inducted into NYFA's Hall of Fame. In a 2009 review, Holland Cotter of the New York Times called one of his projects “a magical tunnel of love.” He has received grants from The New York Foundation for the Arts, the New York State Council on the Arts, and The Taiwan National Culture and Arts Foundation. He was awarded fellowships from the Vilcek Foundation, and in 2018 he was at Yaddo. His 2019 artist residency was at MASS MoCA Studio, and in 2020 he will be a Labor resident at Santa Fe Art Institute.
Chin Chih Yang claims a unified view of the interconnected segments of society and the physical environment in which it functions. Yang's work is related to politics, religion, art history, the environment, and global harmony. Starting in 2013, and still seeking a proper venue for this work, Yang has carefully planned a daring performance project named Watch Us! Together We Can do it for which he is seeking patronship. We request your loving contribution to enable Yang’s dream. Taken as a whole, this work articulates his vision of a world towards which we can strive.
Marlene Tseng Yu 虞曾富美
Exhibition: 2020 Cracking the icebergIn this dark period, we take you out to nature and invite you to breathe deeply. Today's artist to watch, Marlene Tseng Yu, has a solo exhibition at the Springfield Museums. The March 22 reception was canceled, but we are here to share this great Taiwanese artist and her art with you.
(top) Pink marble in Hot Spring, 2016, Canyon & Red Rock Series(bottom) Earth-Element of Life, 2004, Cave Garden Series
Inspired by the natural world, Marlene T. Yu (born 1937) creates monumental canvases using energetic brushstrokes and vibrant colors. Born in Taiwan and trained in ink brush painting as well as academic drawing, Yu came to the United States in 1963, where she was exposed to Abstract Expressionism. For over fifty years, the artist has synthesized Eastern and Western traditions to create immersive abstractions that evoke the power and beauty of nature.
Conversation with the artist:MTY: Marlene Tseng YuLL: Luchia LeeLL: For four decades, you have taken your artistic subjects from the nature environment. Visually, the paintings seemingly participate in abstract expression. During your artistic development, what changes have you seen or experienced?MTY: My fascination with nature derives from its constant change in form, movement, and color. In my mind, I have countless images of nature. My challenge is to project what's in my mind on to the canvas or paper. I do not distinguish between representation or abstraction. Neither do I intend to project a personal stylistic approach to perspective, composition, or imagery. Rather, my prime emphasis is to focus on the natural phenomena of rhythm and movement.
With the traditional Chinese and Western art training, together with my own experiments, I have sought to create techniques that can fully express my ideas and feelings. The techniques may vary greatly from painting to painting, as to embody the scope of my expression. The reference to nature is the focus of allmy paintings. I have found that painting in water media – acrylic demands an absolute control of the medium to achieve the various effects, textures, and transparencies. The scale of the painting is a challenge, but not a limitation for me. To produce on canvas or paper what I have in my mind, my ideas and feelings on the universe, is a great challenge.
Ming-Jer Kuo 郭明哲
Exhibition: Mass Production of Living Style: USA, 2018
Urban patterns in the United States reflect the historical and geographical complexity of a signature aspect of the American dream: cars, houses, and backyards occupied by nuclear families. However, the problematic nature of this life style includes unsustainable mass commutes, similarity of landscape, conformity, and consumer culture. To systematically respond to this mass-produced and standardized existence, I selected aerial views of houses in Levittown, New York, the first vast production housing project in America after World War II, abstracted them from their surroundings, and reconstructed them organically. I want viewers to see topographic patterns and to rethink their daily life.
Kuo (born in Taipei, Taiwan) is a New York-based artist. He worked as an environmental engineer for eleven years before coming to New York to create interdisciplinary visual art based on his lens-based media experience, urban living interests, and engineer’s analytic perspective. Kuo earned an MFA in Photography, Video and Related Media at the School of Visual Arts in 2014. He is a member of The Elizabeth Foundation for The Arts Studio Program in NYC (2017), participated in the New York Foundation for the Arts Immigrant Artist Mentoring Program in NYC (2015), and received the Paula Rhodes Award for Exceptional Achievement in NYC (2014). Kuo’s work has been exhibited in solo and group shows in New York City at Chashama Space to Present, QCC Art Gallery, El Museo de Los Sures, NARS Foundation, New York Hall of Science, Newhouse Center for Contemporary Art, and Gallery 456, as well as at Gallery Sejul in Seoul, Gallery Aferro in Newark, NJ, The 2 Gateway Center Gallery in Newark, NJ, and Art Factory in Paterson, NJ. Kuo’s work has been featured in numerous publications.
Pey-Chwen Lin 林珮淳
Eve Clone is a recurring figure in Lin’s art and an unholy product of 3-D computer animation and associated digital technology. The text below is a reference to the statue dreamt by king Nebuchadnezzar in the Book of Daniel – a statue that symbolizes human hubris challenging God. In the video Making of Eve Clone I, she superimposed the development of Eve Clone on the drawings of Vitruvian Man by Leonardo Da Vinci, in which he delineates his idea of the ideal human physique. For the video, Lin used a virtual camera to show from various angles how Eve Clone has been shaped and to emphasize her digital nature. The wire frame and skeleton, VU texture mapping, and pattern engraving not only serve as documentation but also underline how Eve Clone is a digital product of human desire. She elaborate on this theme in a series of two-dimensional works documenting the formation of Eve Clone. These are photographs to which she have added paint and then enhanced by AR techniques. All these works reflect on the relationship between humans and their technology.