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Artists:Chang Chia-Chen/ Chen Shiau-Peng/ Chi Chien

Curator:Chang Ya-Ting

Exhibition Time:Wed. 8th March 2017 -  Sat. 22th April 2017

Art Forum:Sat. 11th March 2017

Exhibition Introduction : 

“...such a distinction would have no operational impact in the field of the semiology of art, a discipline in which it probably makes more sense not so much to construct hypothetical models of different systems of plastic expression, but rather to address, in its own terms, the very question of the system.”

Meaning is always derived from the definition of an object, how to link resemblance and affirmation has therefore dominated Western paintings for ages. When an image resembles to a physical object, the resemblance turns to be a norm and etches into the painting repeatedly, telling the viewer “this” is what you see.  To break free of this rigid frame, artists must put more effort into dealing with visual spaces, rather than interpreting the three-dimensional illusion.

Making painting flat gets to be artists’ chosen expression. A painting lives in the same dimension with us thanks to the artist. According to Greenberg, paintings possess no inner context and turn to be outerspace. Audience can no longer jump into the sphere of a painting from their current location. DuChamp’s interest to the geometric perspectives intentionally introduces paintings to another phrase. Juxtaposition of words, collage of ready-made, entitling painting with unique visual effect in “The Large Glass,” and etc., all suggest that the idea of space becomes a part of life, and way more than that. That events and visual elements blend into geometric patterns in “The Large Glass” empowers paintings with dual identities. In this context, it is scientific and mathematical perspectives reveal themselves, not that of the reality.

Geometric spatial theory has been widely discussed since Ancient Greek to Descartes’s era. Carolus Fridericus Gauss (1777-1855) even suggested that though our eyes could not pick up the non-Euclidean geometry, it could be deduced by theory. In Descartes’s theory, “existence” is an extensional and imaginary world, rather than the physical world; while Martin Heidegger (1889-1976) proposed “being,” which is closer to the artists’ realm, not the world inferred in Descartes’s imagination. The abstract “existence” resembles to the “hidden dimensions” introduced by the artists. Literally, hidden dimensions has two definitions. One, an uncertain dimension which has yet proven to exist; another, according to Mandelbrot (1924-2010)’s How Long Is the Coast of Britain? Statistical Self-Similarity and Fractional Dimension, the Fractal Geometry existing in the nature, such as the coastline, shape of the mountains, boundary of clouds, etc.

Fractal geometry is a dimension of fractions; while Euclidean geometry uses whole number as its dimension. For instance, coastline is 1.25 in fractal geometry rather than 1; 0.25 in this way, is the hidden dimension of coastline. Hidden dimensions get to be clearer with a more precise scale, it’s characterized by the repeated, extensional, and self-similar patterns. The smaller part is the miniature of the whole object, and it is composed of its even smaller structures. Self-similarity gives it a wholesome idea, which makes it possible to inferred the much smaller structures by the known structures. Same, artists present the smaller part in the art world, theirselves; meanwhile refer to the objective society, others, the hidden dimensions. A subject confirms itself by others, an inner part of the subject, that makes oneself others.

Composition is the basic issue in paintings. The alienation of a subject and its name makes it possible to see the extension of the subject. Artists disclose the hidden dimensions by similes, transformation, or implants, but have it different from the unrealistic illusions. They create hidden dimensions using the visual vocabulary in their artistic lexicons and leave them open to the audience. Objects become a media changing the singular and linear narrative stated by the artists by involving the audience and their thoughts into the story. Coastline is endless in Mandelbrot’s fractal geometry, but how much it is measured depends on the observers, observant, and the chosen scales.