I'm interested in place and relationships it produces between people. I'm curious about how the ownership of culture power in Taiwan has progressed in painting domain, landscape, especially.
This research is my observation of how contemporary 'Landscape-like' painting in Taiwan is, and how it has been shaped by its insider/outsider political status. I will be looking at how artists shape the field of painting in Taiwan and also how they and myself are shaped by the history of society, national/ local culture and are determined by the current ideology of consumption, which is important as it affects aesthetic judgement.
I use 'Landscape-like' instead of just Landscape painting because I feel the need to emphasize the peculiar starting point for Taiwan's painting in this subject which influences me throughout my practice. The 'like' here (I hope) indicates a sense of otherness that visualizes the gap between classical western landscape painting categories, Taiwan's circumstance and the notion of Shan-Shui when referring to landscape thus opening up discussion in the possibilities of re-imagination, re-appropriation and curiosity of the ambivalent visual languages in its context. Moreover, it is literally pointing out the forever failure of painting as representation of objects. A painting with a landscape is always about other things.