To see the light of the hope in the dark

​85 x 50x 3 CM,

mix media,

installation, 10.2019

​This work is an installation of mix media, specially made for ‘Crypt Gallery’ in London, the space for ‘ IMMUREMENT’ exhibition. ’Crypt Gallery’ was originally a bomb shelter during World War II, which was later used as a tomb and eventually transformed into a contemporary gallery. 

People who are imprisoned, the heart that wants to break free, the exit that is extended (the light), people wish to find hope. To see the light of the hope in the dark, get salvation

Idea/concept

When the pupil of the human eye sees the light in the dark, it will produce an aperture. In this way, the concept of the aperture and the concept of the circle are used to bring out the golden light between the dark black and the indigo, and the response can be seen in the darkness.

In the underground gallery of the church, in response to this historical space (explores the meaning behind the word 'immurement' and the history of the crypt beneath London's St Pancras Parish Church)

Device art intervention space

The gold nuggets are laid on the steps, and the nuggets symbolize freedom( Freedom is as precious as the gold )

For the souls that have been injured in the past history, the imprisoned soul can be guided the footprint of the hope from light, and hopes that the audience can see the light of the church window step by step, to guide the exit, find freedom.

Wassily Kandinsky in the Introduction to Concerning the Spiritual in Art:

And yet it is a dream of the artist that has not forgotten us and a light in art that the darkness cannot finally comprehend

Inspiration / Research

Japanese architect Tadao Ando is good at using plain water concrete as the primary building material. The facade is multi-screen in addition to gorgeous exaggerated vocabulary, and the natural elements such as light, wind and water are integrated into the surrounding environment, creating a space atmosphere full of Zen and stepping into its architecture. The works not only get visual feelings but also bring visitors a heart experience.

Under the manipulation of light and shadow, Fuji Takao's works have radiated Zen and poetry, which has become an eternal characteristic. For example, for the "Church of Light" created in the original size at the exhibition site, people can truly appreciate the tranquillity in the shadowy atmosphere. It is a profound experience through light to explore how light becomes a critical spatial element and brings to the building Soul characteristics. Primarily through the introduction of view, it allows the interior of the building to depict various spatial expressions and postures at different times. It is a "praise of light". Therefore, deeply influenced by him, I also guide the concept of light Guide my work, guide the audience to see the light on the stairs, integrate natural light into this space.

 

Osaka: Church of Light

The "Church of Light" in Ibaraki City, Osaka Prefecture was initially called the "Ibaraki Kasugaoka Church". This church is the only church building among all the church buildings of Tadao Ando. The building itself is made of clean water, and the elevated interior space is quite dark. Only the cross carved into the light source is introduced. Unlike the space for ordinary church groups, Tadao Ando hopes to use the "cross of light" to create a private Religious experience field.

Inspiration / Research

Anish Kapoor’s fascination with the void has led him to create some of his best-known works. It has also caused someone to fall into an eight-foot pit, a 60-year-old Italian man fell into a hole that was part of the artist’s installation Descent Into Limbo at the Fundação de Serralves, Museum of Contemporary Art in Porto, Portugal.

The work is on view as part of “Anish Kapoor: Works, Thoughts, Experiments,” the artist’s first Portuguese museum survey, where the wall text notes that “the sculpture is an expression of Kapoor’s interests in the formal and metaphoric play between light and darkness, inside and outside, the contained and the infinite, which underpins his sculptural oeuvre.”The work is a dark pit, about 8 feet deep and 10 feet across, entitled Descent Into Limbo. Painted in Vantablack, the “darkest man-made substance”—a black so black it's not even a colour, it's actually a series of nanotubes that is Kapoor’s medium of choice—it reflects so little light as to give the impression of a bottomless portal into the earth. 

This inspired me to think about the relationship between light and darkness, inside and outside. Also, the colour and space of how to coordinate with each other. Mostly, the safety issue is to consider in the installation. According to Kapoor’s site, a “space full of darkness, not a hole in the ground.” Hopefully, a space full of darkness offers a softer landing. This also let me decide to use the hole or circle to the concept in this work. 

 

Artist Anish Kapoor next to “Descent Into Limbo” at the opening of “Anish Kapoor: Work, Thoughts, Experiments” at the Serralves Foundation in Porto, Portugal, July 2018.

MIGUEL RIOPA/Getty Images

Gold with human

1 / 2019,sculptures with wood and stones140 x 23 x18 cm

 

Woodgrain gold | Originated from nature and attributed to nature

​This work is an installation of mix media, specially made for the Laid-Back exhibition
.According to Laid-Back's curatorial concept, based on leisurely living the hustle and bustle of cities, we live fast-paced lives. Spurred by materialism in a global world, this heady pace makes us frustrated, self-closing, anxious and fretful. We would rather not live in a hurry, and find ourselves caught in a trap with the mundane requiring attention, like arriving on time. 

I explored the relationship between humans and materialism, using gold elements and human faces to echo. The work implies that a person is sleeping in gold (metaphorical people indulge in materialism).

Concept/Process

This is the first time I try to make sculptures, add composite media, use wood as a base, then make clay sculptures to combine, and finally add stones for decoration, together with golden paint, my purpose is to explore different Mixture between media.


The use of gold paint is to explore various applications of gold media, gold powder, gold paint, gold foil, etc., and explore the multiple possibilities of gold craftsmanship, and reflect it in my works.

Inspiration / Research

The original idea was inspired by "Mokume-gane or Mokume", which means "texture of trees". It is a unique metal technique that uses multiple layers of metal of different colours to overlap and weld, and after forging and stretching, the surface has a wood-grain pattern. Its "Mokume-gane" name is also derived from this visual effect similar to the texture of wood. The idea of ​​Mumu gold craftsmanship originated in China, but it first appeared in Japan. China's Zuizhu lacquer art is its original prototype. Ancient painters applied lacquer layers to the utensils, and then carved various patterns and lines, which revealed the continuous patterns with overlapping layers of gorgeousness. This kind of Zhuzhu craft spread to Japan about 1192 AD during the Kamakura era, and is locally known as "Qulun". While accepting and inheriting their skills, Japanese craftsmen created "Kimome Gold" on metal materials by the same method.

I am not using metal in this work, but to combine the concept of lacquer art and gold with wood, combined with his original visual effect of wood texture, in response to the gold craft of Mokume.

The Japanese language of wood grain metal craft is "Mukome Gold",

Can be understood as: wood eye metal.

English is "Mokume Gane", Moku means "wood", me means "eyes", wood eyes are the texture and nodules of wood, Gane means "metal"

China's Zuizhu lacquer art

Mokume-gane

Felix Gonzalez-Torres

González-Torres used hundreds of golden candies gleam upon the grey floor. The toffees composing the piece shine like an expansive sea, shaped into a rectangle bounded by nothing but the grey floor.

From Untitled(Placebo landscape for Roni), this lets me think about why we always typically see art as untouchable and are required to keep a physical distance, if not an emotional one?

Therefore, this inspired me to think about how to present a no distance way for audiences to visit exhibitions with viewers only feel comfortable taking pieces from the exhibition.

untitled

(Placebo landscape for

Roni) 

© 2020 copyright Yi Chiao Chen. All rights reserved. 

CONTACT: chenyichiao761002@gmail.com

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