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曾建穎:木與夜孰長 Tseng ChienYing: Skin Depth
Each Modern is pleased to present Skin Depth, a solo presentation of new works of Tseng ChienYing, created during the direst time of COVID. Tseng reviewed, reflected, and ruminated about his arts in the past decade, and develops a new stage through self-dialogues. Skin Depth presents how Tseng finds the proper position with his oriental aesthetics in the dominant art world and portrays the mysterious flesh and blood of man's spirit.

The Chinese title “Wood and Night, Which’s Longer?” derives from Mozi, which initially refers to incomparable things that create a sophistry of the paradoxical comparison between “different” and “same.” But the artist only takes the concept of a discrepancy between “Wood” and “Night” as an approach to embracing more possibilities created by the differences coexisting between “East” and “West,” as Tseng said, “Accepting the status quo of the difference between two dimensions rather than moving in between, then pull out another dimension, so as to understand how one’s perceptual experience is expressed.”

And the word “Skin Depth” could easily be reminded of superficialness, moreover the Skin Effect in electromagnetism — A phenomenon in which an electric current is concentrated on the surface of a conductor by centrifugal force caused by kinetic energy — which also subtly echoes Tseng’s question about “surface” and “inside,” as well as what is the essence of the body.

“Portrait cannot accurately define my figure painting, what I depict is not a single individual, but the mental profile of a larger collective consciousness.” —Tseng ChienYing

In Blush and Threesome, more neon-like colors picture urban people’s psychological state, allowing the viewer’s five senses to shift into the paintings by only staring at them. The painting leads people into a psychedelic space of nothingness that conveys emotions and some unspeakable minds, just like the flashes of light radiating on a dance floor; The smell of alcohol mixed with vague vibes filled the nostrils and sticky sweat on the skin. Furthermore, in The unbearable lightness and Precious, Tseng enhances the unique “visualized tactile” of his works by applying different materials, along with the technique of surface heightening, making viewers feel the unbearable lightness of being by extending the sense of dissimilarity while Bikini line putting a smile on their face. And elegant as Dream a Little Dream presents not only contemporary women’s spirituality but also a look-back that pays homage to the beauty and sadness of the women in the early years of Taiwan. Tseng’s ceramics, on the other hand, shows how the artist lets the body take the lead in a playful way, sculpturing another possibility of expression for spiritual consciousness as an extension of the painting.

The body is the carrier of spirit, through which the mental state is figurated and expressed, while the painting presents the unity between the two. Tseng’s works, as a result, provide an innovative path that profiles a dissimilarity-transcending contemporary spirit for people to stroll among his Oriental aesthetics.


About the artist
Tseng ChienYing, one of the most representative Taiwanese contemporary ink artists, born in 1987, Nantou, Taiwan. Graduated from National Taiwan Normal University, M.F.A. from Taipei National University of the Arts, and currently lives and works in Taipei. Tseng’s recent selected solo exhibitions include Cacotopias and The Daydream of Delusions at Red Gold Fine Art, Taipei, Taiwan in 2020, 2017, selected group exhibitions include Retrograde at Galerie du Monde, Hong Kong in 2022, 2020 Taiwan Biennial: Subzoology at National Taiwan Museum of Fine Arts, Taichung, Taiwan in 2020, New Relics I : Crossing Over at Each Modern, Taipei, Taiwan in 2020, Spectrosynthesis II at BACC, Bangkok, Thailand in 2019, Memories Interwoven and Overlapped—Post-Martial Law Era Ink Painting in Taiwan, Dreams Habitations-NTMoFA Young Artist Collection Exhibition at NTMoFA, Taichung, Taiwan in 2017 and 2015, Collection and Dialogue—Taiwan’s Contemporary Ink Painting at Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan and A Database of Living Bodies: The Production of Image Variations with Color Ink, Aki Gallery, Taipei, Taiwan both in 2014. Moreover, in 2020 Tseng was nominated for “The Best Album Design” of The 31st Golden Melody Awards, and in the same year, his works were featured in Taiwan Biennial; he also was awarded the 2017 Asian Cultural Council fellowship
2022-11-18

Information

URLhttps://eachmodern.com/en/exhibition/tsengchienyingskindepth/

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