Post date:2025-01-17
Updates:2025-01-17
60

- Event Time
- 2025-01-18~2025-02-23Tue. – Sun. 11:00-19:30
- Event Location
- No.10, shaoxing S. St.,, Zhongzheng Dist., Taipei City Taiwan, R.O.C
Black-and-white checkered floors, a white beast cloaked in an exquisite garment, glides gracefully through arches. The forest stretches with slender branches weaving through drifting mist, where wild grass bows low and shadows play, composing silent verses within a circular frame. Animals slumber, while the sun and moon reflect faint, mottled traces on the walls, like memories gently seeping through, imbued with both serenity and decay.……
Mobai continues her spatial explorations, constructing three-dimensional structures as a narrative of seasonal transitions. On these structures, she meticulously layers rice paper, allowing water-based pigments to seep through arches, window panes, and frames, revealing the subtle interplay between nature and the artificial. The walls bear the breath of time, where moisture and air leave behind vestiges of the past. Mist from mountain forests and river valleys flows between the painted surfaces and the plaster frames, dissolving the boundary between image and space. Each brushstroke, each texture, each wash of color is a poetic response to the silent conversation between time and space, finally settling in the void of mountains and seas.
The Philosophy of Materials: The Interplay of Texture and Brushwork
Mobai’s works begin with the construction of spatial structures using wood or plaster as the foundation, transcending the constraints of two-dimensionality. The surfaces are covered with rice paper, allowing pigments to seep in and fuse with pre-created textures, evoking a sense of materiality. On her architectural structures, saturated pigments harden into surfaces, simulating the solidity of marble or concrete. Dark pigments stretch along edges, casting shadows that accentuate their weighty substantiality, while the faint watermarks blooming into nebulous hues, creating a dynamic tension between heaviness and ethereality.
Her unrelenting passion for material experimentation leads her to constantly innovate. This time, she blends soil into her pigments, creating grainy, rustic brushstrokes. These earthy textures introduce an element of unpredictability, akin to the subtle traces of time whispering through the tactile layers—an intimate dialogue between substance and temporality.
Traversing Architecture, Embracing Emptiness
The arches, window frames, columns, and the staircase that Mobai constructs subtly reveal a sense of playful irregularity. These structures, unconstrained by rigid architectural logic, serve as guides for the eye, as invitations for perception. The gaze is drawn inward, traversing these structures into the spaces in between, where pigments transform into glimpses of nature beyond. Mobai’s architectural language crafts an infinite realm through spatial intersections.
In “Grant Me Perfect Joy and Jubilation,” she creates a symmetrical composition of an ancient structure, standing in silent contemplation of time, imbued with solemnity and grace. The way shadow is applied, the way aged textures are built up—all have fulfilled Mobai’s vision. Here, she paused: Should she fill the space between the columns with a natural scenery as usual, or let the emptiness embody the vitality of nature? Ultimately, she preserved emptiness, for the traces of antiquity already speak—of rain and wind, of passing years. Even without an explicit landscape, the trace of nature is already there.
Blending the Past: The Gentle Footsteps of Animals
Having trained in the traditional bird-and-flower painting discipline at the China Academy of Art, Mobai once briefly developed Birds dress in finery series, where her meticulous linework adorned birds with resplendent feathers and intricate accessories. Yet beneath this lavishness, an inner rebellion stirred quietly: “Rather than bearing the weight of jewels, it is better to crown oneself with fruit.” At the time, she found that adhering to the traditional techniques of gongbi (fine-line painting) was ill-suited to her nonconformist nature and sought to leave it behind, forging a new creative path. From the edge of blue series to her current spatial works, Mobai has consistently experimented, expanding her creative practice. Over time, however, she has come to see that tradition and innovation are not opposing forces, but rather the raw essence from which artistic creation is shaped. With technical precision and instinctive grace, she threads the past into the present, interlacing time-honored techniques with the fluidity of reinvention.
In works like “Nestled Beneath the Sea,” “Shimmering Light, Rising and Fading” and “Returning to Listen,” animals return to her work after a long absence. The animals emerge once more, infused with new spatial depth. The animals’ return seems to be inevitable—architectures often hold a sense of isolation, while creatures can serve as vessels of emotion. Here, she gently reintroduces delicate, decorative elements from her past, allowing her creatures to bear finely adorned patterns, merging detail with movement, tradition with reinvention.
In the Void of Mountains and Seas
Mobai’s solo exhibition In the Void of Mountains and Seas is a poetic exploration of spatial language. Through columns and arches,paintings and frames, mountains and seas, presence and absence, she captures the quiet essence of existence. In her practice, she seeks to diminish herself, leaving the work free of overt messages, inviting viewers to encounter their own resonance and discover solace within the void. In these voids, one finds the lingering traces of time and nature, where the dialogue between existence and the unknown continues, without end.
Mobai continues her spatial explorations, constructing three-dimensional structures as a narrative of seasonal transitions. On these structures, she meticulously layers rice paper, allowing water-based pigments to seep through arches, window panes, and frames, revealing the subtle interplay between nature and the artificial. The walls bear the breath of time, where moisture and air leave behind vestiges of the past. Mist from mountain forests and river valleys flows between the painted surfaces and the plaster frames, dissolving the boundary between image and space. Each brushstroke, each texture, each wash of color is a poetic response to the silent conversation between time and space, finally settling in the void of mountains and seas.
The Philosophy of Materials: The Interplay of Texture and Brushwork
Mobai’s works begin with the construction of spatial structures using wood or plaster as the foundation, transcending the constraints of two-dimensionality. The surfaces are covered with rice paper, allowing pigments to seep in and fuse with pre-created textures, evoking a sense of materiality. On her architectural structures, saturated pigments harden into surfaces, simulating the solidity of marble or concrete. Dark pigments stretch along edges, casting shadows that accentuate their weighty substantiality, while the faint watermarks blooming into nebulous hues, creating a dynamic tension between heaviness and ethereality.
Her unrelenting passion for material experimentation leads her to constantly innovate. This time, she blends soil into her pigments, creating grainy, rustic brushstrokes. These earthy textures introduce an element of unpredictability, akin to the subtle traces of time whispering through the tactile layers—an intimate dialogue between substance and temporality.
Traversing Architecture, Embracing Emptiness
The arches, window frames, columns, and the staircase that Mobai constructs subtly reveal a sense of playful irregularity. These structures, unconstrained by rigid architectural logic, serve as guides for the eye, as invitations for perception. The gaze is drawn inward, traversing these structures into the spaces in between, where pigments transform into glimpses of nature beyond. Mobai’s architectural language crafts an infinite realm through spatial intersections.
In “Grant Me Perfect Joy and Jubilation,” she creates a symmetrical composition of an ancient structure, standing in silent contemplation of time, imbued with solemnity and grace. The way shadow is applied, the way aged textures are built up—all have fulfilled Mobai’s vision. Here, she paused: Should she fill the space between the columns with a natural scenery as usual, or let the emptiness embody the vitality of nature? Ultimately, she preserved emptiness, for the traces of antiquity already speak—of rain and wind, of passing years. Even without an explicit landscape, the trace of nature is already there.
Blending the Past: The Gentle Footsteps of Animals
Having trained in the traditional bird-and-flower painting discipline at the China Academy of Art, Mobai once briefly developed Birds dress in finery series, where her meticulous linework adorned birds with resplendent feathers and intricate accessories. Yet beneath this lavishness, an inner rebellion stirred quietly: “Rather than bearing the weight of jewels, it is better to crown oneself with fruit.” At the time, she found that adhering to the traditional techniques of gongbi (fine-line painting) was ill-suited to her nonconformist nature and sought to leave it behind, forging a new creative path. From the edge of blue series to her current spatial works, Mobai has consistently experimented, expanding her creative practice. Over time, however, she has come to see that tradition and innovation are not opposing forces, but rather the raw essence from which artistic creation is shaped. With technical precision and instinctive grace, she threads the past into the present, interlacing time-honored techniques with the fluidity of reinvention.
In works like “Nestled Beneath the Sea,” “Shimmering Light, Rising and Fading” and “Returning to Listen,” animals return to her work after a long absence. The animals emerge once more, infused with new spatial depth. The animals’ return seems to be inevitable—architectures often hold a sense of isolation, while creatures can serve as vessels of emotion. Here, she gently reintroduces delicate, decorative elements from her past, allowing her creatures to bear finely adorned patterns, merging detail with movement, tradition with reinvention.
In the Void of Mountains and Seas
Mobai’s solo exhibition In the Void of Mountains and Seas is a poetic exploration of spatial language. Through columns and arches,paintings and frames, mountains and seas, presence and absence, she captures the quiet essence of existence. In her practice, she seeks to diminish herself, leaving the work free of overt messages, inviting viewers to encounter their own resonance and discover solace within the void. In these voids, one finds the lingering traces of time and nature, where the dialogue between existence and the unknown continues, without end.