The first exhibition of Telling Arts in spring "In Search of Lost Time" is going to be launched in this Saturday. This exhibition is co-performed by two outstanding new generation artists, Shiu Sheng-Hung and Wen Meng-Yu, who actively participate in international exhibition stages. This duo exhibition is named after the memoir novel “In Search of Lost Time” by the French writer Marcel Proust. This is a metaphor to point out that this exhibition has a flowing narration style, the past, present and future are going to crossover. There is no person in a scene, not a complete narration. We pick up the scattered memory fragment, we intercross our life experience with mental activities, and we stack up reality and memory. We reappear and replay to revisit the lost time.

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“The source of image of this landscape painting series mostly comes from my photos in my trips or travels.

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To me, painting is a media. I paint in front of the photos that I took in the past. I do not draw to reveal these scenes, but the imagination that came from my reflection on my state during painting, my living environment and the scene that had already changed. Through painting, I connect the past to the current time and mix them on a canvas. It then becomes an image that is about to be shown in an upcoming moment. Some connections connect to unknown, and painting is the initiation of this digging process. Painting these landscape paintings is like gathering the scattered life experience here. Painting is a task to painters that they handle their relationships among themselves, space and time continuously.

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As a metaphor, every forest has its ecosystem that functions in its own way. Sometimes we just briefly passed. For every brief moment that we meet, landscape remains the same, yet personnel and situation are no longer and vanished. And we continuously travel among different systems, to find our own places through interaction and communication. There is not a single person in a landscape scene on purpose, and every scene is a mark that people leave when they meet different people in different time.” ── Shiu Sheng-Hung

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“My creation focuses on the delicate emotion in life. In the daily life atmosphere, I thoroughly depict the inner situation that is constructed by space and items. I use the method of situation stacking to arrange the scene fragments on the physical area of a canvas, and to reorganize the space that is constructed by feeling and scene. I use especially those indoor scenes that surround and close to the face of daily life to become my main theme of emotional projection during creation.

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Among all, an observable topic of creation is the relationship among items. No matter graphics, the placement of furniture and items, the arrangement of print patterns, or the previous emotion and marks that are hidden under graphics, they all become the details that I elaborate in my paintings. I try to make items to become a metaphor of the relationships among people. The metaphor implies the distance of watching and the existed location. Through an intimate and familiar perspective, they are all settled in a creation.
 

The space in the creations is constructed by plain and patterned style. It is made by the thickness of color and the texture quality to stack up the style about indoor area. The use of print patterns condenses its complicated creation time. I converse those flatten layers into the delicate texture on a canvas, and through replication and transformation, they are granted for meaning. The use of technique is displaced by the style that I observe space, and in the process there are staged appearances and differences created.

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The basis of my creation is daily life. During the time that I repeatedly depict and mix color, I expect that I can transform the private daily life into a commonly shared scene, and build up the links other than emotion.” ── Wen Meng-Yu