Venice Homecoming Exhibition

Yuan Ru Gallery, Taipei
December 31, 2019 - January 4, 2020

From May 11th to November 24th this year, Yuan Ru Gallery was invited by the European Cultural Center to exhibit at Palazzo Bembo in the context of Venice Art Biennale and received excellent praise for our 3 artists: Chien-Hsing Lien, Yen-Fu Kuo and Julie Hsieh. Now the artworks have made a long journey and returned to our gallery in Taipei. Thank you for your support to make this exhibition successful! Before the artworks are delivered to their new owners’ homes, we will hold a short-term homecoming exhibition. Welcome everyone to visit us!

Exhibition Photos

Artists

Chien-Hsin Lien
Julie Hsieh
Yen-Fu Kuo
Meditation Island
Meditation Island
Chien-Hsin Lien
2019
oil on canvas (112 x 194 cm)
Take a canoe and come relax in Meditation Island. Roam freely around the island to explore its treasures. The simple and exotic scenery has been cherished by many longing souls in the island of their imagination. You can do yoga, bathe, walk, meditate, and appreciate a place where people are united, animals swim freely, and the unconscious dreams.
A Journey to Mining Island
A Journey to Mining Island
Chien-Hsin Lien
2019
oil on canvas (112 x 194 cm)
This painting is part of Chien-Hsing Lien’s “Desolate Magic Realism” series and traces the romantic memory of the coal and copper mining industries of the long-since prosperous Jinguashi area in the northeast corner of Taiwan. Through these subjective recreations of the lost images of real landmarks and imagined environments, Chien-Hsing Lien recreates the industries and the emotions of the time. He also analyzes the contradictions and reflections between the development of material resources and the protection of the natural environment. You enter the flying island by a spaceship from the left side to explore various visions of the memory. The visual memories include Shueinandong Fishing Port, the unpopulated mining village, Elephant Trunk Cave, the 13th century ruined mine of Jinguashi, Golden Falls, Golden Temple, Teapot Mountain, Jiufen, Taipei 101 in Taipei Basin, and finally the circular island chain of Keelung Port. In addition to these memories, on the right side outside the oil refinery, there is an alien sitting alone in their flying saucer, trapped in thought. It is the arrangement of these designs that tell the story. Finally, if we return to the front of the painting, we see the mining tracks on the ground, the male deer pushing the mining cars, the outline arrangement of the underground track facilities under the tunnel, the deer hiding in between to extend its head, the wild leopard stretching on the stone step in a cave and so on; all of these successively perform a play of wonder that takes us on a spirit journey on the mining flying island.
Gossamer
Gossamer
Julie Hsieh
2018
ink on paper (132 x 100 cm)
In the ink paintings of Julie Hsieh, we see a female artist who revels in her study of music and art. She enters the world of ink in a direct and charming way by injecting a simple musicality that provides her work with a sense of rhythm. She uses a soft, hand-made brush like a mop—which has a similar look as the strands of her hair—to drag the ink on large rice paper. The vortex action of her sliding brush on the surface of paper is free and has the feel of creation. Explosive, like a whirlwind and a dazzling movement, it appears as a momentary projection of the huge cyclone in the universe. This is as much a dance as a painting. Sometimes she draws directly with her fingers to produce subtle marks to better realize her vision. There are two types of traces that contrast to form the defining linguistic features of Julie Hsieh’s paintings. First, she forms fine gossamers lines by the swift movement of her brush across the paper. What Julie Hsieh consciously pursues are thin lines that can breathe. It is like the natural reverberation of the ancient Chinese technique of “yóu sīxiàn”: the carving of curves as thin as gossamers on jade. It is conveyed, however, by action rather than calligraphy. These thin lines seem to breath and yell as they run in on their own swirls and reverberation. They echo like the soul’s desire to share its mood and meaning with the universe. Second, there is the gravity of the thick ink, which focuses on its explosive power and force. This type of stroke seems to make the picture sound, as if you can hear explosions. The explosive point of gravity and the swirling feelings of the filament in her artworks are like the contrast between pureness and musical tension, lightness and gravity, fragment and heaviness, concentration and scatter; her art seems to echo with this endless power and sound waves. This is the swirling of the rhythm and the perfect connection between both senses of vision and hearing. The ink paintings of Julie Hsieh are the paintings of life’s dance with rich black-and-white blooms as well as the vivid and majestic contemporary expression of black-and-white art. This painting style emphasizes the painter’s movement in the process of creating. It expresses the artist’s emotions, energy, and spirit. It is through this that her paintings acquire a graceful and majestic life.
Ink Forest
Ink Forest
Julie Hsieh
2019
ink on paper (148 x 79 cm)
From Here to There (A)
From Here to There (A)
Yen-Fu Kuo
2019
mixed media (190 x 170 cm)
From Here to There (B)
From Here to There (B)
Yen-Fu Kuo
2019
mixed media (190 x 170 cm)