2016.07.09 - 08.21
“ The ideal is nothing else than the material world reflected by the human mind, and translated into forms of thought. ”
– Karl Marx
Our patterns of hoarding in the daily routine reflect distinctively individual and multi-layered attitudes of sentimental attachments towards imaginations and memories of the material. Lin Chien-Chih and Liao Chao-Hao, two young artists featured in Artificial Series, present their installation works which reify how human beings conceptualize and actualize an object. Through the process of realizing, observing, speculating, and filtering/stranding memories, these two young artists scrutinize the how the material element has been negatively portrayed as the toxic environmental retention caused by the greedily manipulated discourse.
Lin Chien-Chih’s recent artistic approach has gradually moved away from a sense of human touch by extrapolating the meaning of dialogue from a residue of life in the process of accumulating objects. Instead of creating works through an identifiable technique, Lin reappropriates that debris left over from the process of creating works in the complete sense. Through his action of installation addressed to the enveloped sense of sense, he enables the audiences to wrestle with the dominant ideology and open the new perception of reading the aesthetics of object in order to introspectively respond to the fate of objects in the era of over-consumption.
On the contrary, Liao Chao-Hao's work incorporates an extraordinarily realistic technique. For Liao, a texture of human touch represents a constant conversation between corporal rhythm and an object. The collimation error caused by his deliberate mimicry of industrial objects such as cement and iron sheet, which he makes out of paper pulp and other soft fiber, are remarkably true to nature and therefore provide a humorous encounter towards audiences. In the meantime, the architectural environment, which consists mostly of iron sheet, suggests suspicions shared by both sides of the walls. His re-articulation and alternation of a given material is not to win admiration from spectators but to explore how those products being manufactured in the name of civilization have suffocated our daily life and have directed human beings to an absurdity to naturalize such insentience.
The division between material and non-material forms the dichotomy of the living experience of modern civilization, which traps the exploration of what the progress of human culture is in a contradiction. These two artists’ works mirror a relative perspective in the correlation between the perspective of subjectivity and the thoughts of the Other. Liao Chao-Hao produces a subjective object from scratch, and the debris of such a subjective object becomes Lin Chien-Chih’s subject of collecting. The parallels between these two bodies of works guide the audiences from the exhibition venue to encounter the industrial remnant in the Artificial Series, where mimicry and its origin play a role to interrogate and to reflect upon the material desire in our daily life.