Text by the artist Hsieh Jung-Wei
In a modern world where artificial light sources leave no room for shadows to hide, I believe that the aesthetics and spirituality of shadows still persist; they merely conceal themselves amidst the captivating glare of artificial lighting. These concealed hues of reflected light. Is it because our eyes cannot see the rays of light, and we are confined to the physical limitations of the light source, that we question whether the spaces through which light flows and the energy it carries as it flows can be considered a form of creation? Or is it that, because we cannot see it, it must rely on material entities? I contend that within such 'emptiness,' it unquestionably assumes a form of 'substance.' It's just that the particles of light are too minuscule for us to consciously perceive their existence.
In Junya Ishigami's book "Another Scale of Architecture," he mentions, "The expanse of an environment includes numerous invisible structures, extending far beyond spaces discernible in visible light. These invisible structures give the environment depth, a depth that extends to the furthest reaches of two extremes: the cosmic, and the subatomic. If we endeavor to deal with architecture and environment at the same level, perhaps we should design spaces of invisible dimensions just as we do those visible spaces."
If we transcend the limits of human scale, these invisible photon paths can be designed much like architecture. However, the 'objects' constructed in this series of creations ultimately serve to accommodate the physical limitations of the human body. The primary aim is not the 'object' itself but the larger research into the spatial dimensions shaped by these invisible paths of light. My research purpose is to use scientific methods to analyze its physical principles and attempt to reproduce these shadowy hues of light in a modern and purer form.
The enigmatic nature of shadowy hues of light arises from the 'distance' within the space. The balance between darkness and brightness must be precise; exceeding this balance can result in ephemeral colors, which is why this distance must be just right. Light can then infinitely reflect and flow within an enveloping space, creating a uniform illumination. These obscured hues of light do not convey a strong sense of energy; instead, they lean towards gentle coverage, much like the aesthetic of East Asian pottery and porcelain. They resemble the sacred architecture of East Asia, invoking inner spiritual energy through the sensory perception of the body. The intricate interplay of colors guides the viewer from the material distance into their inner thoughts, where the faint material world generates powerful psychological energy. It is because of this 'emptiness' that we have the freedom to immerse ourselves in it. Just as our bodies need architecture, our souls may need 'space.' I aim to design this space that both exists and does not exist in an architectural manner, like the field of light surrounding the series of color light works. The artwork, serving as an anchor for the light, establishes numerous invisible walls in space. As viewers move, they traverse these invisible doors, experiencing the numerical changes in the artwork's role as a carrier of the light field. I believe this space, which simultaneously exists and does not exist, connects to the space of the spirit, allowing us to sense energy on a spiritual level.
