[Writing in the Hazy Sun] Fan Zi-xiang & Pu Hsin-hsien Duo Exhibition

Exhibition Title｜[Writing in the Hazy Sun] Fan Zi-xiang & Pu Hsin-hsien Duo Exhibition
Exhibition Period｜2026.02.05－2026.04.26
Opening Reception｜2026.02.08 Sun. 15:00
Opening Hours｜10:00－19:00 (Closed on the 1st and 3rd Tuesday of each month)
Venue｜Light Spot Art Center 3F Exhibition Hall
Address｜No. 18, Ceramics St., Yingge Dist., New Taipei City
Exhibition Hotline｜02-2678-6577

Exhibition Introduction｜

Mist rises in the afternoon; the light is not bright, but crumpled by time.

Tree shadows on the street corner gently overlap, like sentences that haven't decided on their tone.

I write in the hazy sun, strokes not rushing to reach meaning,

Letting the blank spaces breathe first, letting the unspoken parts complete it for me.

Memory becomes soft—yesterday and today permeate each other,

Boundaries blur, yet it feels closer to reality.

It turns out some clarity must be seen through haziness.

So I write down 'slow', write down 'light', write down the hesitation of light falling on paper.

When the mist clears, the words have already awakened in the heart.

"Writing in the Hazy Sun" depicts a world that hasn't taken a final shape and is constantly changing. Perception and existence are always generated amidst uncertainty. Pu Hsin-hsien searches while walking; some unseen places must be touched to be real. Within the texture and randomness of the frame, she gradually finds where her heart belongs. Fan Zi-xiang makes choices through visual gaze, carefully placing his self-established reality. Eventually, the mist causes a loss of direction, leaving him to continue writing with his brush until a way out is found.

Pu Hsin-hsien's work focuses on viewing as an unstable act of perception. Using natural landscapes as the starting point of visual experience, she treats trees, flowers, and light/shadow as media for generating perception rather than objects to be reproduced. Through layered brushstrokes and atomized visual processing, the images weaken the clear outlines of scenery, causing the gaze to lose a definite focus and instead point to the flow of perception itself. Nature here no longer constitutes a figurative landscape but becomes a visual field, allowing the gaze to linger in a time-state like the hazy sun.

Fan Zi-xiang, from the perspective of an urban observer, ponders the dimension of existence through painting. For him, urban change is a slow and continuous process of qualitative transformation, much like the displacement of bodies and viewpoints. In the "White Night · Mountain Dwelling" series, he constructs space with stones and stream water, using blocks to symbolize man-made buildings, creating a fantasy scene between reality and the subconscious to respond to the modern person's desire for seclusion and placement in a noisy life. The "White Night · Mountain Dwelling · Travel" series uses the juxtaposition and white space of oil paint and ink on raw canvas to create a trance-like and wandering state, like a glimpse of scenery during a journey, posing questions about memory, forgetting, and existence.

In the hazy sun, both the world and the viewing become uncertain. What "Writing in the Hazy Sun" leaves behind is not clear answers, but the traces of perception and existence continuously being generated.