EXOTICA by Crystal LupaPost date：2024-05-23
Updates：2024-05-23
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- Event Time
- 2024-05-11~2024-06-30Tue.-Sun. 10:00 – 18:30
- Event Location
- Asia Art Center (Taipei), Zhongshan Dist., Taipei City Taiwan, R.O.C
Asia Art Center (Taipei) is delighted to present Crystal Lupa: EXOTICA, which will run from May 11 to June 30, 2024. The exhibition marks a vital turning point in the artist’s creative journey and the debut of multiple new works. Featuring two-dimensional paintings, three-dimensional ceramic sculptures, and animated works, the exhibition embodies the rich visual diversity of the artist’s work.
To create this new body of work, Lupa revisits her memories of traveling in the exotic lands of the Sahara Desert, combining them with spectacles and fantasies from the inner world to convey her resonance with and evocation of the self and human feelings. “Evocation” is the central idea to EXOTICA. It is also a vital element to generate the visual depth of her work through the multi-layered viewing experience. Take The Sleepless Square Djemaa el Fna for example, a painting based on a photograph taken by the artist during her travels: the blurry atmosphere engendered by the brushstrokes and the effect of a soft glow posits the image between reality and fantasy, soliciting more imagination on what lies behind the work. In Winter Wonderland, the skaters’ movements and a sense of speed are recreated by Lupa’s skillful application of brushworks. The artist also utilizes blurred brushstrokes and the physical interstices between the brush marks to create more temporalities, thus evoking the spectator’s inner space and association of experiences.
Furthermore, Lupa also blends memories and her own feelings, encoding them into a range of symbols, such as images, brushstrokes, and colors through her approaches to painting. Examples can be found in the blank wall in Tanning or the roadside piles of fabric in Nomadic. These large areas of blankness, which remind the spectator of overexposed images, form a semiotic lack intended by the artist as a way to evoke memory, engaging spectators to complete the works by projecting their own feelings and emotions. A similar example is Fragments of Memory, a set of eight paintings completed with an animated short film based on the narrative depicted in the paintings. This sign of blankness is transformed and extended in the display of the work: the space between the pieces on the wall are like blank film frames, whilst the animated short film appears to imply that the audience can fill in the blanks to form continuous images in their own minds.
To create this new body of work, Lupa revisits her memories of traveling in the exotic lands of the Sahara Desert, combining them with spectacles and fantasies from the inner world to convey her resonance with and evocation of the self and human feelings. “Evocation” is the central idea to EXOTICA. It is also a vital element to generate the visual depth of her work through the multi-layered viewing experience. Take The Sleepless Square Djemaa el Fna for example, a painting based on a photograph taken by the artist during her travels: the blurry atmosphere engendered by the brushstrokes and the effect of a soft glow posits the image between reality and fantasy, soliciting more imagination on what lies behind the work. In Winter Wonderland, the skaters’ movements and a sense of speed are recreated by Lupa’s skillful application of brushworks. The artist also utilizes blurred brushstrokes and the physical interstices between the brush marks to create more temporalities, thus evoking the spectator’s inner space and association of experiences.
Furthermore, Lupa also blends memories and her own feelings, encoding them into a range of symbols, such as images, brushstrokes, and colors through her approaches to painting. Examples can be found in the blank wall in Tanning or the roadside piles of fabric in Nomadic. These large areas of blankness, which remind the spectator of overexposed images, form a semiotic lack intended by the artist as a way to evoke memory, engaging spectators to complete the works by projecting their own feelings and emotions. A similar example is Fragments of Memory, a set of eight paintings completed with an animated short film based on the narrative depicted in the paintings. This sign of blankness is transformed and extended in the display of the work: the space between the pieces on the wall are like blank film frames, whilst the animated short film appears to imply that the audience can fill in the blanks to form continuous images in their own minds.
