古老的大鐘 My Grandfather’s Clock｜台北當代 Taipei Dangdai 2022
For the 2022 edition of Taipei Dangdai, YIRI ARTS will presents a two-person presentation of new and significant works by Yuichi Hirako, and Shih Yung-Chun.
The personal selection, made by YIRI ARTS and titled ‘My Grandfather’s Clock’, draws inspiration from a 19th century American nursery rhyme. The song depicts an ancient pendulum clock which has lost its function due to the successive deaths of its two owners and the pendulum stopped swinging eventually. Correspondingly, this presentation brings together two artists with a strong emphasis on ‘time’. It seeks to explore the multiple meanings and historical relationships between objects and people.
Japanese artist Yuichi Hirako’s paintings draw attention to the constant shifting of time and space between the urban city and the wild forest, presenting the distinct behaviour and psychological register of human beings. Taiwanese artist Shih Yung-Chun’s works have a deep perception of the flow and unexpected changes of time.
Yuichi Hirako, during his studies in the UK, started focusing on recording the various types of greening habits among different cultures and nationalities. Humans stepped out of the jungle and entered the city, and return to the jungle during the holidays. The city in time has not affected the biological instinct of human beings in terms of the pursuit of their natural instincts. Somehow, the constant shifts taking place between the urban city and the wild forest have reached a distinct balance for modern people in his works.
Shih Yung-Chun, his father was an army officer from China; under his father’s influence, Shih experienced the cultural fusion and reorganisation of regional alienation. He underwent the process of collecting vintage pieces, combining them into an installation, staging the scenes, and documenting them in photography and paintings. From three-dimensional to two-dimensional all-media creation, he uses his unique style to record the flow of time and the traces of life.
平子雄一 Yuichi Hirako
Yuichi Hirako, born in 1982 in Okayama Prefecture and now working primarily in Tokyo, has been producing art for which themes include the uncertainty and questions raised by coexistence between humans and the natural world. He intentionally portrays a vague representation of the boundaries between the internal (human society) and the external (the natural world), such as a human with a plant head or the inside of a room filled with overgrowing plants. A situation in which people and man-made objects coexist at the same level with nature could be a utopian world or a chaotic one.
We have various relationships with plants. We live together with house plants indoors, or we longingly re- create quasi-forests in gardens or parks. Some of our ancestors also gave special meaning to them. In my country, Japan, even plants have been given a God-like symbol of worship called “Shinboku.” Although plants live so close to us and share our living space with us, we might not be as conscious of their presence compared to other living beings that coexist with us. We do not share a bed with plants, nor do we directly communicate with them as we might do with other living beings. Despite their close presence, there is a clear boundary between humans and plants in the physical world.
The forests have been identified as both a place of sacredness and a habitat for devils. They have been viewed as uncivilized, barbaric objects of hate in Christianity and as holy sanctuaries among Animists in my country Japan, although such associations might not be as prevalent today. Nevertheless, these associations have something to do with the supernatural, something that transcends our human understanding.
If the plants are the children of the forests, they might really be the incarnations and more easily accessible versions of spirits, the Divine, or the Devil. Since plants are so unconsciously part of our daily life in our modern society, I see a lot of instances where the relationship between the plants and us humans is very ambiguous. The ambiguity stirs up my imaginations and imageries of various rich contexts between the human beings and the plants, and it inspires my works a great deal.
時永駿 Shih Yung-Chun
The uniqueness in Shih Yung Chun’s works is the sense of vicissitudes of the fleeting time. Shih Yung Chun not only skillfully lays out three-dimensional spatiality in a two-dimensional space; further, by using techniques of abrasion, mosaic, color-gradation and rubbing, he creates an association to fourth-dimensional space. He discards the vivid surface of reality; instead, he deliberately digs the fear from blurred memories buried in humanity. Such bewildered gloom is hidden deeply inside every horror in the middle of the night. It emerges unconsciously yet can never be totally grasped, much less captured of its clear contour.
Shih Yung Chun conceals his fanciful interpretations in the vagueness of the most trivial things appearing in his works, setting up irrational plots we often overlook in real life. This coincidentally corresponds with the interpretations of dreams from the surrealists in last century. From his unique perspectives, Shih Yung Chun expresses “life” in various quirky and grotesque ways. “Painting” is his exit for fleeing from reality. Here, he is able to rationalize every fantasy and fictional creation. The thrilling plots hidden under ordinary materials in his works are more like the mystifying tricks in horror movies, and are more deviant than from the surrealists’ dreams.
古老的大鐘 My Grandfather’s Clock ｜台北當代 Taipei Dangdai 2022
平子雄一 Yuichi Hirako
時永駿 Shih Yung-Chun
Booth | D10
Venue | 台北世界貿易中心展覽一館
Exhibition Hall 1 of Taipei World Trade Center