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IMAGE OF DIFFERENTIATION

 

Artist:Hsu Hui-Hsuan Hsu Solo Exhibition

Curator:Huang Chin-Ying

Exhibition Time:Wed. 3rd May 2017 -  Sat. 17th June 2017

Art Forum:Sat. 20th May 2017

Exhibition Introduction : 

When reading Hui-Hsuan Hsu’s image works, beholders are hard to avoid the time scale set in. Under long take by micro lens, as if no one conducting, shot objects present micro but solid variations in foreign and ambiguous movements in images; these nuances of dynamic duration can even last for the large time scale as general narrative cinema (for example, the length of the work Rice is an hour, 26 minutes and 26 seconds). The extremely long duration only provides minimum and imperceptible frame pace, which is the most essential component of Hui-Hsuan Hsu’s works. For her works’ viewers, it is no doubt a challenge.

The pace control is always a basic syntax of contemporary image production. Compared to the pace mode in general narrative images which create dramatic reading climaxes, analogy or contrast to subjects’ inner sentiments, Hsu’s works after 2012 cannot easily be reduced to “slowness” in mental time or “gaze” in subjective state. Rather, she analyzed the image syntax by her works. Using low and few digital post-production, her works direct to the potential virtual power. Her works set out with some image preconditions—such as frames, lens, layers, and shooting/projecting optical instruments—and refracted in poem-like image crystals.

Frame

The main approaches of Hsu’s works in 2012-2013 are: creating respective “image collage” of individual period in the software interface of Final Cut Pro; emphasizing the frame of lens and cutting the scopes to abstract the places, and inter-composing the landscape, object and digital frames. The work Settlement cut and framed recording images beforehand, and sew along the shot objects (water surface, door board, blankets), rendering object parts into balanced or para-position composition. Owing to the special material motion created by largely modulating focal lengths and macro lens, these juxtaposed images generate a nearly “haptique” oscillation in differentiated speed flow. The work Blind-1 builds on frames of landscapes and objects (the grid of shutters) which compose plural grids. The revolving shutters create glittering lights and shadows, peculiarly mixing up the “outlines of objects’ selves” or “digital outlines of divided images”. The “digital outlines” in works sometimes immerse into images, turn out the depths of awareness and imaginations, but sometimes are occupied by their joint images. The folding of images are singular “non-plan”. Similar to the compositions and tonalities in Mark Rothko’s works, the work Blind-2 modulates objects’ selves in frames. The horizontal axes, which are continuously generated from object’s movements, blurs the depth of field and the geometric ratio relationship of spaces. The material texture vividly represented under lens’ convergence, eliciting imaginations to give pictures a certain depth, but the temporarily-made space were overridden repeatedly in image.

Lens and Layers

The work Rice uses stop-motion techniques which sets fade-in overlapping effect in digital software, creating the state of duration. Owing to light setting of original still pictures, the rice array moving forward or backward in equidistance is immersed in virtual movement of light, rendering distinctive individual color and gradient variation of quality. Sync-operated inner and outer setting (the rice array and lens modulations) reversely refers to the inner dimension of camera. Through focal lengths, aperture, shutter, and image sensors, the work projects the original existed potential vision of camera, the transcendental conditions, in macro proportion. The work Apple overlaps two nearly identical still photographs—the only difference is that the apple on upper layer is just taken from refrigerator and has a frost coat on surface. Utilizing the eraser function in digital software, the hollow area of upper layer reveals the under layer, and the frost and wax forms the melting and flowing “chronological variation”. The work Cup and Saucer truly operate the layer setting of digital syntax. The artist broadcasted pre-recording saucer on iPad, and put the real cup on slightly shaking saucer layer, and then recorded again. In this work, the cup and saucer display wired oscillation, this kind of oscillation as if comes from the layer in-between “image and image”, a virtual black zone.

Optical Instruments

The artist’s recent series Reflection Bodies (Cones, Lullaby, Litchi ) used translucent drops, agar beads, or jelly to represent the intertwining status of “image making” and “image itself”. Similarly played by stop-motion, in Reading Pipilotti Rist, different sizes of agar beads absorb the luster of Pipilotti Rist’s photographs, inter-reflect different inverted images simultaneously. Plural clusters of agar beads compose the macro “lens/screen”, sync-“recording/broadcasting” image, recalling us to Laszlo Moholy-Nagy’s hypothesis and imagination of sphere screen and projection in the beginning of the last century. By utilizing this kind of handmade optical instrument, “Reflection Bodies” series reflexively invokes a kind of tactile sense in image’s existence status in the digital age in which images tend to exist in pure visuality.

Different from contemporary image techniques in pursuing “simulated reality” by maximizing the frames per second, Hsu’s motion image series usually manages the extremely large time scale (every frame occupies several seconds) to abstract the “that-has-been” of photography rendering into a kind of singular virtual movement in image. Rice, chilled apples, drops, soap, shutters, tea cups, these daily objects which repeatedly turn up through years, become the entrance that Hsu enter to explore the singular potential of images. Her images are like a function with differential meaning. By operating the preconditions of image constitution, these works illustrate one’s perception and imagination on dynamic edges, pointing out the lurking virtual dimensions within contemporary visual experience and their accompanied differentiated movements.

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01 Rice, HD Video, Blu-Ray, 01:26:26, Mute, Loop ,Projection on custom wood board about 400cm x225cm x17cm (The size could be site-specific for different spaces.),2014.

02 Blind–2, HD Video 9'59'' Mute Loop Ratio 16:9 ,The size would be varied for different situations,2013.

03 Cup and Saucer, HD Video, 1'43'', Sound, Loop, Ratio 16:9, The size would be varied for different situations ,2013.

04 Reading Pipilotti Rist, 4K Video, 10'49'', Mute, Loop, Ratio 1:1 ,The size would be varied for different situations,2017.