My recent works constitute a collection of futuristic paintings, which summarize my exploration in the past four years. They can be divided into three series: Scene with Nuclear Explosion, Scene with Tentacle, and Linescape. Collectively, these series thread together an epic science fiction novel that leads to a larger series: Post-Anthropocene World. These works depict a future landscape or parallel universe where the human race no longer dominates. The creation of each new painting leads to more images in an endless cycle and eventually constitutes an infinite world.
The endless greed of mankind has led to severe damages to the environment causing irreversible changes to ecology. What is the fate of the human race in the future world? Will humans eventually run themselves into distinction? We often refer to the destruction of human civilization as the end of the world. However, the world goes on after the fall of human civilization. So in the “Post-Anthropocene” world, how will the landscape become and what creatures will roam the earth?
Over the centuries, we have been destroying our own world bit by bit, leading to the eventual doom that initiates the rebirth of our earth. A new world has emerged. Everything that we cherished, valued, and worked hard for has become the past. It is a past not written into the history, but exists in legends or myths. Or it is simply ignored or forgotten.
Scene with Nuclear Explosion
I use nuclear explosion as a symbol for a distorted world. However, it refers not only to nuclear pollution, but also other environmental issues. A female human figure appears in many of my works to unveil the story.
Scene with Tentacle
Major disasters have led to dramatic changes to the environment. Skyscrapers have been replaced by unusually shaped mountains. Various monstrous creatures are the new species dominating this futuristic landscape.
The inspiration for this series originated from a faint memory of my youth. It was an installation at a brand new arts gallery in Taipei. I no longer remember the name of the artist and how exactly this installation looked like. I only remember that there were a bunch of cobblestones precisely placed in a row. The grain on each of them connected and formed a remarkable line. This image has stayed with me after all these years. I have been inspired to create a number of series exploring the image of lines. In recent years, the “line” inspiration has led to abundant number of works lending itself to different series, dealing with different subjects.
Zen in the Square
The series includes over 50 miniature acrylic paintings. In all these small squares, the works show the unlimited possibilities to viewers. They are introverted and wild, rich and simple, structured and improvised. In additional to the Chinese ink painting techniques, they fuse with the Japanese and Korean traditions, intermingling between the contemporary aesthetics of the East and the West.