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2024 Artist
Chien-Hsing Wu
《When The Metallic Cicada Sings》｜2023
AKI Gallery
Chien-Hsing Wu was born in Taiwan in 1987. WU received his MFA from National Taipei University in 2017. His work spans multiple artistic mediums, including painting, mixed media, installation, video, sculpture, and performance art. WU often utilizes everyday objects in his work, stimulating discussions around their external forms and internal energy as well as their potential for transformation and preservation. His early artwork was in dialogue with the concept of “home,” constructing interpersonal networks, and value systems, taking these as his main points of creative departure. Through the means of artistic expression, WU singles out parallels between the transformation of Taiwan’s industrial landscape and the course of his own life, over which he watched his family’s business deteriorate with the decline of traditional industries. Through his work, the artist seeks to find an alternative for these withering industries, making them shine again.
Chien-Hsing Wu was born in Taiwan in 1987. WU received his MFA from National Taipei University in 2017. His work spans multiple artistic mediums, including painting, mixed media, installation, video, sculpture, and performance art. WU often utilizes everyday objects in his work, stimulating discussions around their external forms and internal energy as well as their potential for transformation and preservation. His early artwork was in dialogue with the concept of “home,” constructing interpersonal networks, and value systems, taking these as his main points of creative departure. Through the means of artistic expression, WU singles out parallels between the transformation of Taiwan’s industrial landscape and the course of his own life, over which he watched his family’s business deteriorate with the decline of traditional industries. Through his work, the artist seeks to find an alternative for these withering industries, making them shine again.
Willy VERGINER
《 Rayuela (Moongirl) 》｜2019
AKI Gallery
Willy Verginer (b.1957) was born in Bressanone. He attended the Art Institute of Ortisei, where he studied Painting. Willy Verginer lives and works in Ortisei Italy. After graduating, Willy Verginer worked in various wood sculpture studios in Val Gardena. In the 80s, by means of autonomous learning, he tried to distance himself from conventional methods. Later in the 90s, together with Walter Moroder, Bruno Walpoth, he formed the art group Trisma. After ten years of research, and crises, 2005 marked a turning point for Willy Verginer. His works were shown in Galleria Castello in Trento with a radical change of style and showed figurative sculptures developing an original plastic language combined with acrylic paint with shades of artificial colors. He was later invited at the 54th La Biennale di Venezia in 2011 to represent Trentino Alto Adige. Willy Verginer carves his masterpieces out of lime tree wood and covers them with detail-less tint areas of acrylic paint and gold. Each piece from Willy Verginer is extremely realistic, almost creating an illusion of body painting of living statues, ready to come to life. Touching or viewing, they leave no one indifferent. The sculptures gestures are elegant and their poise is calling to serenity, whilst avoiding the sensation of inertness.
Willy Verginer (b.1957) was born in Bressanone. He attended the Art Institute of Ortisei, where he studied Painting. Willy Verginer lives and works in Ortisei Italy. After graduating, Willy Verginer worked in various wood sculpture studios in Val Gardena. In the 80s, by means of autonomous learning, he tried to distance himself from conventional methods. Later in the 90s, together with Walter Moroder, Bruno Walpoth, he formed the art group Trisma. After ten years of research, and crises, 2005 marked a turning point for Willy Verginer. His works were shown in Galleria Castello in Trento with a radical change of style and showed figurative sculptures developing an original plastic language combined with acrylic paint with shades of artificial colors. He was later invited at the 54th La Biennale di Venezia in 2011 to represent Trentino Alto Adige. Willy Verginer carves his masterpieces out of lime tree wood and covers them with detail-less tint areas of acrylic paint and gold. Each piece from Willy Verginer is extremely realistic, almost creating an illusion of body painting of living statues, ready to come to life. Touching or viewing, they leave no one indifferent. The sculptures gestures are elegant and their poise is calling to serenity, whilst avoiding the sensation of inertness.
Zan-Lun HUANG
《Annie》｜2013
Avocado
Born in Yilan, Taiwan in 1979. Huang now lives and works in Yilan and Taipei. Huang holds a BFA fromTaiwan National University and a MFA from Taipei National University of the Arts in the field of fine arts. As a young emerging artist in Taiwan, Huang has held solo exhibitions in MOCA Taipei, Kuandu Museum of Fine Arts, Taipei Artist Village. And his works have been shown in a five-year international touring exhibition organized by Vitra Design Museum in Germany as well as in Asolo Art Film Festival in Italy. Huang’s works focuses on the mixture and hybrid of biology and machine, which unfolds a multilayered dialectic discourse between human self-awareness and the external environment.
Born in Yilan, Taiwan in 1979. Huang now lives and works in Yilan and Taipei. Huang holds a BFA fromTaiwan National University and a MFA from Taipei National University of the Arts in the field of fine arts. As a young emerging artist in Taiwan, Huang has held solo exhibitions in MOCA Taipei, Kuandu Museum of Fine Arts, Taipei Artist Village. And his works have been shown in a five-year international touring exhibition organized by Vitra Design Museum in Germany as well as in Asolo Art Film Festival in Italy. Huang’s works focuses on the mixture and hybrid of biology and machine, which unfolds a multilayered dialectic discourse between human self-awareness and the external environment.
Nick Dong
《Auspicious 88 - Treasure Vase of Blessing》｜2021-2023
CHAMBERS FINE ART
Nick Dong is a conceptual metalsmith, mixed-media sculptor, and socio-commodity engineer. From a multidisciplinary maker/craftsman practice he founded studioDONG, and leads a team to produce experiential sculptures, objects, and installations combining an advanced knowledge of materials and techniques with a goal of engaging an audience’s experience beyond the optical.
As a Taiwanese-American, Dong identifies himself as a 21st-century continuation of Wen-ren, the Chinese cultural lineage of intellect-scholars, in which each work is a quest of self evolution, a vehicle of sharing philosophy.
Nick Dong is a conceptual metalsmith, mixed-media sculptor, and socio-commodity engineer. From a multidisciplinary maker/craftsman practice he founded studioDONG, and leads a team to produce experiential sculptures, objects, and installations combining an advanced knowledge of materials and techniques with a goal of engaging an audience’s experience beyond the optical.
As a Taiwanese-American, Dong identifies himself as a 21st-century continuation of Wen-ren, the Chinese cultural lineage of intellect-scholars, in which each work is a quest of self evolution, a vehicle of sharing philosophy.
Shu-Kai Lin
《The Balcony City Civilization Series- Carrying capacity》｜2023
Der-Horng Art Gallery
Born in 1983 in Tainan, Taiwan, Shu-Kai Lin graduated from the Department of Fine Arts at National Taipei University of the Arts in 2007 and completed a master's program in Fine Arts at the same university in 2012. Currently residing and creating art in Tainan, Lin perceives the evolution of cities as an organic process.
For Lin, the city's formation is akin to an organic process, where he envisions small figures narrating the memories of the urban landscape within the island. Through the imaginative construction of the city by these small figures, a web of interconnected memories emerges, weaving together space, time, and events. Lin naturally views space as a substance, even transforming it into tangible objects, drawing inspiration from the materiality of memories. Confronting unique memories of growth and the continuum of time and space, he incorporates his father's profession into his "Balcony City" series, reflecting his father's firsthand experience in a traditional mold-making factory. Lin transforms and repurposes wooden boxes and molds used for industrial purposes to create works like "Balcony City Quotations - Block City," expressing the connection and dialectics between the Balcony City series, sunset industry, and family memories.
Born in 1983 in Tainan, Taiwan, Shu-Kai Lin graduated from the Department of Fine Arts at National Taipei University of the Arts in 2007 and completed a master's program in Fine Arts at the same university in 2012. Currently residing and creating art in Tainan, Lin perceives the evolution of cities as an organic process.
For Lin, the city's formation is akin to an organic process, where he envisions small figures narrating the memories of the urban landscape within the island. Through the imaginative construction of the city by these small figures, a web of interconnected memories emerges, weaving together space, time, and events. Lin naturally views space as a substance, even transforming it into tangible objects, drawing inspiration from the materiality of memories. Confronting unique memories of growth and the continuum of time and space, he incorporates his father's profession into his "Balcony City" series, reflecting his father's firsthand experience in a traditional mold-making factory. Lin transforms and repurposes wooden boxes and molds used for industrial purposes to create works like "Balcony City Quotations - Block City," expressing the connection and dialectics between the Balcony City series, sunset industry, and family memories.
Yu-Jung CHEN
《Across the Unreal Oceans》｜2023
Der-Horng Art Gallery
He was born in Tainan, Taiwan. He holds a MFA in Institute of Music from National Chiao Tung University, and he majored in multimedia composition. His artworks mainly focus on contemporary composition, performance art, experimental improvisation, and mixed media installations. Now he is enrolled Ph.D. in Art Creation and Theory from Tainan National University of Art.
Most of Chen’s recent artworks spring from the space, individual emotion and the experiences involved in such. Currently, his focus is on the interaction of visual and sound associated with space. His artworks often include ready-made objects, which become part of a self-emotional narrative. In the process of developing works, he used a lot of materials through the collection and analysis as a basis for the concept of creation. Because of his interdisciplinary experience, he would not be confined to the use of certain media. Therefore, He will deliberately amplify subtle changes in daily life, and then reproduce the hidden signals through sound and visual means in space.
He was born in Tainan, Taiwan. He holds a MFA in Institute of Music from National Chiao Tung University, and he majored in multimedia composition. His artworks mainly focus on contemporary composition, performance art, experimental improvisation, and mixed media installations. Now he is enrolled Ph.D. in Art Creation and Theory from Tainan National University of Art.
Most of Chen’s recent artworks spring from the space, individual emotion and the experiences involved in such. Currently, his focus is on the interaction of visual and sound associated with space. His artworks often include ready-made objects, which become part of a self-emotional narrative. In the process of developing works, he used a lot of materials through the collection and analysis as a basis for the concept of creation. Because of his interdisciplinary experience, he would not be confined to the use of certain media. Therefore, He will deliberately amplify subtle changes in daily life, and then reproduce the hidden signals through sound and visual means in space.
Atsushi Mizutani
《Phantom landscape》｜2022
Dynasty Gallery
Atsushi Mizutani was born in 1975 in Sakai, Japan. He obtained his Bachelor's degree in the Department of Fine Arts, Sculpture Category, from Tokyo Zokei University in 2000, and his Master's degree from the Graduate School of Fine Arts at Okinawa Prefectural University of Arts in 2002. In addition to his own creative works, he has organized several exhibitions promoting cultural exchange between Taiwan and Japan and has participated in various public art projects.
Atsushi Mizutani was born in 1975 in Sakai, Japan. He obtained his Bachelor's degree in the Department of Fine Arts, Sculpture Category, from Tokyo Zokei University in 2000, and his Master's degree from the Graduate School of Fine Arts at Okinawa Prefectural University of Arts in 2002. In addition to his own creative works, he has organized several exhibitions promoting cultural exchange between Taiwan and Japan and has participated in various public art projects.
Julia Hung
《21g》｜2024
Dynasty Gallery
Julia Hung having lived in various countries since childhood and being influenced by diverse cultures, she chose to create sculptures using the technique of three-dimensional weaving, inspired by the skilled craftsmanship passed down from her grandmother. Hung combines this traditional technique with vibrant copper wires and incorporates the play of light, allowing her artworks to visually entwine in space, evoking a poetic atmosphere reminiscent of sunlight filtering through trees or the shimmering waves of the sea. Her works often explore and experiment with different possibilities through various media, utilizing rich colors to contemplate the perspectives of artificial reality, consumer culture, and the dual nature of things. Through dialogue with others, she seeks to find her own mission and meaning as a human being through art.
Julia Hung having lived in various countries since childhood and being influenced by diverse cultures, she chose to create sculptures using the technique of three-dimensional weaving, inspired by the skilled craftsmanship passed down from her grandmother. Hung combines this traditional technique with vibrant copper wires and incorporates the play of light, allowing her artworks to visually entwine in space, evoking a poetic atmosphere reminiscent of sunlight filtering through trees or the shimmering waves of the sea. Her works often explore and experiment with different possibilities through various media, utilizing rich colors to contemplate the perspectives of artificial reality, consumer culture, and the dual nature of things. Through dialogue with others, she seeks to find her own mission and meaning as a human being through art.
Teng-Yuan CHANG
《Future Tree》｜2023
J. P. ART CENTER
Born in 1983 in Kaohsiung, currently operates a studio in Taipei. Chang Tengyuan was awarded the First Prize at the 2008 Kaohsiung Awards and received an Honorable Mention at the 2009 Taipei Awards. In 2016, he was selected for a residency program in New York by the Ministry of Culture. Since 2012, he has been using the concept of "apocalyptic archaeology" to create a virtual narrative of the apocalypse through fictionalized means. He employs various mediums such as paintings, animated installations, and mixed media to convey his conceptual ideas. Chang Tengyuan extracts elements from both Eastern and Western paintings, symbolizes them, and reconstructs them to create a visually mixed and innovative artistic style. He enjoys cross-disciplinary collaborations, incorporating inspiration gained from these collaborations into his artistic creations. In recent years, he has been exhibiting new works in Osaka, Tokyo, Taipei, Paris, Hong Kong, Busan, Madrid, and other cities.
Born in 1983 in Kaohsiung, currently operates a studio in Taipei. Chang Tengyuan was awarded the First Prize at the 2008 Kaohsiung Awards and received an Honorable Mention at the 2009 Taipei Awards. In 2016, he was selected for a residency program in New York by the Ministry of Culture. Since 2012, he has been using the concept of "apocalyptic archaeology" to create a virtual narrative of the apocalypse through fictionalized means. He employs various mediums such as paintings, animated installations, and mixed media to convey his conceptual ideas. Chang Tengyuan extracts elements from both Eastern and Western paintings, symbolizes them, and reconstructs them to create a visually mixed and innovative artistic style. He enjoys cross-disciplinary collaborations, incorporating inspiration gained from these collaborations into his artistic creations. In recent years, he has been exhibiting new works in Osaka, Tokyo, Taipei, Paris, Hong Kong, Busan, Madrid, and other cities.
Chung-Kun Wang
《Field》｜2022
Project Fulfill Art Space
Born in 1982, Taipei-based Chung-Kun WANG works across media art in the development of sound, sculpture, video, kinetic art and installation. He has created various forms of machinery that have consistently maintained an intriguing purity and peculiar sense of beauty. As viewers approach the work these machines operate on their own – making sound, switching on and off, exhaling, spinning or twinkling – each creation with its own variation of rhythm and multiple actions.
The sound art of Chung-Kun Wang possesses a musicality, consciously liberating the abstract nature of sound and converting it into a more concrete form of music. For the artist, sound serves as a means to convey concepts; one must start by comprehending its meaning and implications. And the emotive expression of music is able to incorporate real scenarios, which we are able to feel. Viewed at a psychological level, through the interflow between sound and music, the listener grasps the sound rationally and logically yet also feels the music viscerally and experientially. Thus, an experiential perception exists within the work. Yet this is nothing other than the implication that sound cannot be translated into language, but can only become the thing it intrinsically is. The work causes visitors to sense the presence of shapeless sounds within a space, and sounds express the materiality of the space, which has a shape. When visitors move around in the vicinity of the work, they can feel with their own bodies an aural space, which in fact comprises a dynamic sound image.
Born in 1982, Taipei-based Chung-Kun WANG works across media art in the development of sound, sculpture, video, kinetic art and installation. He has created various forms of machinery that have consistently maintained an intriguing purity and peculiar sense of beauty. As viewers approach the work these machines operate on their own – making sound, switching on and off, exhaling, spinning or twinkling – each creation with its own variation of rhythm and multiple actions.
The sound art of Chung-Kun Wang possesses a musicality, consciously liberating the abstract nature of sound and converting it into a more concrete form of music. For the artist, sound serves as a means to convey concepts; one must start by comprehending its meaning and implications. And the emotive expression of music is able to incorporate real scenarios, which we are able to feel. Viewed at a psychological level, through the interflow between sound and music, the listener grasps the sound rationally and logically yet also feels the music viscerally and experientially. Thus, an experiential perception exists within the work. Yet this is nothing other than the implication that sound cannot be translated into language, but can only become the thing it intrinsically is. The work causes visitors to sense the presence of shapeless sounds within a space, and sounds express the materiality of the space, which has a shape. When visitors move around in the vicinity of the work, they can feel with their own bodies an aural space, which in fact comprises a dynamic sound image.
Tomohiro Kato
《anonymous-grid human #6 》｜2023
TEZUKAYAMA GALLERY
Born in Tokyo, in 1981. Finished a master’s degree at Tama Art University (department of ceramic, glass, and metal works). Trying to define the borderline in society by using metal. Recently working on a series named “anonymous” in which Kato scans the people who have criminal history or weapons with 3D scanners and form a complicated iron structure that has the burly and strong mood of iron and visual effects caused by this unique structure. Also, Kato is working on a series called “iron oxide painting” in which he uses original paint made of medium with crushed oxide iron and it is hard to define if it is a real iron or not. As it is described as mimicking iron itself. Kato is currently working on these two series.
Born in Tokyo, in 1981. Finished a master’s degree at Tama Art University (department of ceramic, glass, and metal works). Trying to define the borderline in society by using metal. Recently working on a series named “anonymous” in which Kato scans the people who have criminal history or weapons with 3D scanners and form a complicated iron structure that has the burly and strong mood of iron and visual effects caused by this unique structure. Also, Kato is working on a series called “iron oxide painting” in which he uses original paint made of medium with crushed oxide iron and it is hard to define if it is a real iron or not. As it is described as mimicking iron itself. Kato is currently working on these two series.
Jung-Wei Hsieh
《obscurity wall 02》｜2023
YIRI ARTS
Hsieh Jung-Wei was born in Taichung, Taiwan in 1991. He received a BA in Fine Arts from Tunghai University in 2014 and obstained a MA in Architecture Program from Shih Chien University. Hsieh uses the ballpoint pen as a medium to create a rational sense of order through regular and densely layered strokes on paper. Between his paradoxical arrangement of shades, deliberate one moment and completely unintentional the next, a visual rhythm is generated within which his paintings attain a greater resonance that is fluid and shifting.
Hsieh Jung-Wei was born in Taichung, Taiwan in 1991. He received a BA in Fine Arts from Tunghai University in 2014 and obstained a MA in Architecture Program from Shih Chien University. Hsieh uses the ballpoint pen as a medium to create a rational sense of order through regular and densely layered strokes on paper. Between his paradoxical arrangement of shades, deliberate one moment and completely unintentional the next, a visual rhythm is generated within which his paintings attain a greater resonance that is fluid and shifting.
Xin Qi
《 "Landscape biopsy" Construction - Cutting Light - Regeneration》｜2023
Voices Featured Artist
Born in 1993, Graduated from the Department of Fine Arts at the National Tainan University in 2015, One of the founders of the “Fake Fire Atelier” Curator and artist for the Longci Light Festival “VOID MOUNTAIN”
Xin Qi’s childhood was marked by memories of “oyster farms in Xinyi District.” Upon arriving in Tainan, she discovered that it was actually an oyster-shaped art installation in Taipei City. At that moment of realization, the boundary between the falseness and reality of art was shaken. After participating in the experience of mass co-creation of art, the “Lightworm” series began to transform into environmental art. Fluorescent lines using traditional ink painting techniques appeared in the banana forest; then the reproduction of “large-scale fields” became the main theme. The slices of time and space recreated in “The Lost Residence” include collapsed giant trees, evaporated rivers, waterfalls lacking water, bare stalactite caves, etc. Metal threads with “traces of time” are used to weave into the past time. The landscape that once existed in a certain fragment; this series by Xin Qi is like cutting time and space into fragments, putting them on glass slides, compressing them, illuminating them, and seeing them.
Born in 1993, Graduated from the Department of Fine Arts at the National Tainan University in 2015, One of the founders of the “Fake Fire Atelier” Curator and artist for the Longci Light Festival “VOID MOUNTAIN”
Xin Qi’s childhood was marked by memories of “oyster farms in Xinyi District.” Upon arriving in Tainan, she discovered that it was actually an oyster-shaped art installation in Taipei City. At that moment of realization, the boundary between the falseness and reality of art was shaken. After participating in the experience of mass co-creation of art, the “Lightworm” series began to transform into environmental art. Fluorescent lines using traditional ink painting techniques appeared in the banana forest; then the reproduction of “large-scale fields” became the main theme. The slices of time and space recreated in “The Lost Residence” include collapsed giant trees, evaporated rivers, waterfalls lacking water, bare stalactite caves, etc. Metal threads with “traces of time” are used to weave into the past time. The landscape that once existed in a certain fragment; this series by Xin Qi is like cutting time and space into fragments, putting them on glass slides, compressing them, illuminating them, and seeing them.
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