Exhibitions Now On
"Fractured Poetic Realm" (斷裂詩境) - Chang Kuo-chih Solo Exhibition
At the beginning of the 2026 Lunar New Year, I received an unexpected invitation for an exhibition, which I accepted due to a special connection.
I thought about how it has been one year and four months since my solo oil painting exhibition "Light Through the Chinks" at Gallery M in 2024. Since then, I have strived for breakthroughs and new horizons in my work.
Building on the beliefs brought by "Light Through the Chinks," in recent years I have felt the patina of time, the subdued inner radiance, and the beauty of imperfection in the cracks of ceramics from my collection of ancient artifacts. I have felt what Taoism calls "natural perfection" and "following nature." I sincerely face the loneliness, alienation, bitterness, and void of existence, as well as the shattered, turning, and crushing physical and mental trauma, yet I continue to question and inquire of life, using each solo exhibition as a personal manifesto.
From the ensuing dialectics, I strive to construct my own artistic vocabulary and core philosophy. Although in this cruel art market where capital frequently enters and operates, artistic subjectivity was completely hollowed out in the last century, art for me is a core issue that has long been unrelated to the market but deeply related to myself. I no longer use lofty phrases like "art is the final redemption of the individual" for comfort; instead, it is a proposition of how to reconcile with my inner self. I can no longer wander in the cruelty of the era's lack of subjectivity, and I refuse to depend on speculation or live in an era bound by artistic discourse. I obscurely believe that the possibility of constructing a new subject only exists within the cracks, and I am moving step by step toward the difficult journey of constructing an artistic language.
The light revealed from the chinks has, over time, formed my exploration of the term "fracture." Over the past year, my canvases have contained not only more creative fragments and color particles but also techniques for expressing texture in ink wash rocks. The overall image has more divisions and fractures, and its endpoints continue to expand, crossing traditional perspective or the "three distances" of traditional ink wash painting. From simulation to transformation, between resemblance and non-resemblance, it is the reconstruction of a realm and the gliding wings of poetic imagination beating against the artistic soul.
I use the term "fracture" to show my unbreakable connection with painting and art. I use stitching to bridge the fractures and link them into a structure. At the turning point of the era's reality, I declare my current poetic nature, realm reconstruction, and manifesto of existence.
I thought about how it has been one year and four months since my solo oil painting exhibition "Light Through the Chinks" at Gallery M in 2024. Since then, I have strived for breakthroughs and new horizons in my work.
Building on the beliefs brought by "Light Through the Chinks," in recent years I have felt the patina of time, the subdued inner radiance, and the beauty of imperfection in the cracks of ceramics from my collection of ancient artifacts. I have felt what Taoism calls "natural perfection" and "following nature." I sincerely face the loneliness, alienation, bitterness, and void of existence, as well as the shattered, turning, and crushing physical and mental trauma, yet I continue to question and inquire of life, using each solo exhibition as a personal manifesto.
From the ensuing dialectics, I strive to construct my own artistic vocabulary and core philosophy. Although in this cruel art market where capital frequently enters and operates, artistic subjectivity was completely hollowed out in the last century, art for me is a core issue that has long been unrelated to the market but deeply related to myself. I no longer use lofty phrases like "art is the final redemption of the individual" for comfort; instead, it is a proposition of how to reconcile with my inner self. I can no longer wander in the cruelty of the era's lack of subjectivity, and I refuse to depend on speculation or live in an era bound by artistic discourse. I obscurely believe that the possibility of constructing a new subject only exists within the cracks, and I am moving step by step toward the difficult journey of constructing an artistic language.
The light revealed from the chinks has, over time, formed my exploration of the term "fracture." Over the past year, my canvases have contained not only more creative fragments and color particles but also techniques for expressing texture in ink wash rocks. The overall image has more divisions and fractures, and its endpoints continue to expand, crossing traditional perspective or the "three distances" of traditional ink wash painting. From simulation to transformation, between resemblance and non-resemblance, it is the reconstruction of a realm and the gliding wings of poetic imagination beating against the artistic soul.
I use the term "fracture" to show my unbreakable connection with painting and art. I use stitching to bridge the fractures and link them into a structure. At the turning point of the era's reality, I declare my current poetic nature, realm reconstruction, and manifesto of existence.
Event Details
- 2026-03-04 — 隱藝術