CHEN Sung-Chih: Comparative - Deep - Hues features several new site-specific installations inspired and derived from the space of Crane Gallery in Kaohsiung. The color "gray" denotes a spectrum of hues between black and white. For most people, gray refers to an indefinite, transitional color gamut. The formation and existence of gray are not clearly defined by the two opposites of black and white, but rather rely on visual perception that allows one to form comparisons. In the qualitative and quantitative sense, gray can also be viewed as a subset of colors when black and white are mixed. In this elongated gallery space, natural light seemed to create a series of unusual spaces with different visual depth and shade as time progressed. When observing the changing light in the space, I realized that my visual perception could hardly differentiate these almost identical, pure spaces. However, my sensory awareness was conducting subtle and delicate perceptual comparisons throughout the inside and outside of the space as well as from its ceiling to the floor, which led me to detect its unusualness. CHEN Sung-Chih: Comparative - Deep - Hues aims to demonstrate a series of dialogues between two opposites. I specifically create this artistic site to offer a journey of discovery that features sensory perception and experience. In perceptual comparison and with deep meanings, this exhibition adopts a minimalist scale to display my lasting theme of stimulating people's senses with non-visual elements, bringing out the color of imagination unlimited by space and prompted by various materials.


Five installations are featured in this exhibition, including End of the Show, Comparative-Deep-Hues, Untitled 2017, Untitled-Room 4 (Drawing), and Inverted Syntax. Together, these works construct an "unusual site of daily life" with readymades invested with our collective memory as well as smell, sound and lighting specifically created for and in the space. With simplified techniques and through ordinary materials, I look for obsessive ideas and confusions implicitly associated with our physical awareness through tactile, olfactory and audio senses. The senses prompted by various materials are mixed with the effect of actions, concepts and memories, and consequently lead to new perceptual understanding as well as entanglement of personal likes and dislikes. Meaning becomes meaningless here, and is replaced by a recurring, dialectic thinking process that de-emphasizes on meaning. What the viewers see is no longer an imagined representation of defamiliarized materials; instead, the residual beauty in humanity and scattered (and regenerated) materiality is ushered in through a comprehensive representation of all the connected and remaining materials. In between the physical forms and thoughts, the exhibition prompts viewers to re/conceive readymade materials, art exhibition and living space in an artistic way.


In our life, there are many boundaries that are clearly perceivable yet indescribable. Based on this idea of making comparisons, CHEN Sung-Chih: Comparative - Deep - Hues looks in between the black and white and examines these boundaries from the past to the present, hoping to give an outline to those blurry gray areas from the residuals of daily life. Through the repeating process of exploring materials in between their "artistic value" and "value of meaning." From this process, various personal narratives are introduced and extended to discuss the boundaries of identity, event (object), time and place that are sometimes permeable and sometimes blocked. Therefore, the exhibition reveals the irreplaceable 'drawings' created by time at each moment as well as the enduring 'sketches of sensibility' that capture deep, inner feelings.


The inspiration of CHEN Sung-Chih: Comparative - Deep - Hues comes from simple yet incomprehensible spatial incidents. Through comparing and searching for changing materials, I have combined these fragmented and non-representable psychological segments into a meaningful journey that allows me to experience life and art while subtly portraying the implicit social psychology and stirred individual perception. Such ideas are inspired by the unique space of Crane Gallery. Although these spaces created the exhibition will eventually disappear, the paradoxes of feelings and meanings will always remain. 

Text / CHEN Sung-Chih

Translator / HUANG Liang-Jung