Microsoft Paint Fang Wei-Wen, Tsai Tsung-Yu Dual ExhibitionPost date：2024-06-21
Updates：2024-06-21
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- Event Time
- 2024-06-22~2024-07-20Tue.- Sat. 11:00-19:00
- Event Location
- 1F., No.2, Alley 45, Lane 147, Sec. 3, Sinyi Rd., Da'an Dist., Taipei City Taiwan, R.O.C
The era in which the world, the internet and AI is comprised of zeroes and ones is already upon us, with computer calculations, duplication and creation gradually extending and flattening the availability of images, so much so that the physical sensation of material media is increasingly rare. Form and media are no longer themselves, while philosophical, historical and cultural issues have been swamped.
Microsoft Paint is positioned firmly in this movements where media, physicality and digital alter. If we return to the screen of Microsoft Paint, the question is how within the medium and material world to best render and approach the possible of painting? When we look at the many twists and turns in form, the fill up of colors in space, are there still gaps for images and symbols to possibly casually move beyond the calculations of zeroes and ones? In the conversations on issues of philosophy, history and culture can we explore the threads and tips of this make up form and media?
Tsai Tsung-Yu has repeatedly responded to the history of painting, like a needle penetrating the expansive past of painting, one needle after another piercing the space, while also opening up the fields of self-vision and imagination. He says “Painting has its own inherent characteristics and as long as it gives voice to its own character, it owns a scope.” He asks what lays there other than the intellectual sense of art. If it can speak from different places, there is possible for painting can expand itself. “It is not exactly perfect but also a little perfect” Tsai exclaims, and “When the imperfection in the painting is accepted, it becomes his perfection”, which is exactly how his art takes shape in painting.
In addition, he has consistently been aware of the existence of a “system”. He once said “The system always takes various things and imposes regulations about how they should exist! Even the methods by which art can be expressed and the art issues to be discussed.” What kind of form can water take? A car can be what form of vehicle? A forest can be what kind of forest? What kind of form must colors take? What themes are allowed? What kind of aesthetics can be aesthetics? For Tsai when he sets out on a journey there is no fixed direction, the perfection of imperfection decides each step and the trajectory of the painting.
The joyful journey of working with one’s hands, physical sensation and material possibilities can be used to explain the paintings of Fang Wei-wen. His painting is leisurely and carefree, with no particular desire to be different to other artists, he languidly says “Painting is an exploration and the work takes me to those places. I might start something but later the work asserts itself. In the beginning perhaps these are my images but thereafter certain things take shape and these then lead me, as part of a process or extension. They take me on a journey and sometimes I stop there. I am just the start of the process.” The appeal of creating can involve breakthroughs but for him it is like “surprisingly, suddenly going to a place you didn’t know you were going, where there is no one else”.
To work with his hands, as part of a journey on which only Fang can embark. This is the continuation of a physical sensation and being in contact with the material nature of a medium, an exploration of the space between collage and found items. In the digital age when the body is in continual retreat, the artist’s hands are source Fang Wei-wen trusts. He believes: “The hands-on part of painting is the most essential, and this can be primitively and stubbornly connected to the body, whether the material simple or complex.” Moreover, this image exploration is not based on the rational image production methodology of the Western perspective approach, but is more akin to the paintings in ancient cultures, and this is the cosmic journey on which Fang sets out between material and manually creating art.
Microsoft Paint is positioned firmly in this movements where media, physicality and digital alter. If we return to the screen of Microsoft Paint, the question is how within the medium and material world to best render and approach the possible of painting? When we look at the many twists and turns in form, the fill up of colors in space, are there still gaps for images and symbols to possibly casually move beyond the calculations of zeroes and ones? In the conversations on issues of philosophy, history and culture can we explore the threads and tips of this make up form and media?
Tsai Tsung-Yu has repeatedly responded to the history of painting, like a needle penetrating the expansive past of painting, one needle after another piercing the space, while also opening up the fields of self-vision and imagination. He says “Painting has its own inherent characteristics and as long as it gives voice to its own character, it owns a scope.” He asks what lays there other than the intellectual sense of art. If it can speak from different places, there is possible for painting can expand itself. “It is not exactly perfect but also a little perfect” Tsai exclaims, and “When the imperfection in the painting is accepted, it becomes his perfection”, which is exactly how his art takes shape in painting.
In addition, he has consistently been aware of the existence of a “system”. He once said “The system always takes various things and imposes regulations about how they should exist! Even the methods by which art can be expressed and the art issues to be discussed.” What kind of form can water take? A car can be what form of vehicle? A forest can be what kind of forest? What kind of form must colors take? What themes are allowed? What kind of aesthetics can be aesthetics? For Tsai when he sets out on a journey there is no fixed direction, the perfection of imperfection decides each step and the trajectory of the painting.
The joyful journey of working with one’s hands, physical sensation and material possibilities can be used to explain the paintings of Fang Wei-wen. His painting is leisurely and carefree, with no particular desire to be different to other artists, he languidly says “Painting is an exploration and the work takes me to those places. I might start something but later the work asserts itself. In the beginning perhaps these are my images but thereafter certain things take shape and these then lead me, as part of a process or extension. They take me on a journey and sometimes I stop there. I am just the start of the process.” The appeal of creating can involve breakthroughs but for him it is like “surprisingly, suddenly going to a place you didn’t know you were going, where there is no one else”.
To work with his hands, as part of a journey on which only Fang can embark. This is the continuation of a physical sensation and being in contact with the material nature of a medium, an exploration of the space between collage and found items. In the digital age when the body is in continual retreat, the artist’s hands are source Fang Wei-wen trusts. He believes: “The hands-on part of painting is the most essential, and this can be primitively and stubbornly connected to the body, whether the material simple or complex.” Moreover, this image exploration is not based on the rational image production methodology of the Western perspective approach, but is more akin to the paintings in ancient cultures, and this is the cosmic journey on which Fang sets out between material and manually creating art.
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