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作品簡介

2005年
2005年我的作品著重在對於不同紋路與線條的觀察。
我從日常生活取題, 通常是線條複雜的物品, 像是傢俱或文具用品。
素描的方法也有所改變 。從傳統的鉛筆素描到嘗試用奇異筆塗鴉和墨彩等來畫出物品在日常生活中不會被看到的另一種感覺。
素描完成後再以影印還有部份切割來嘗試創造不同的形狀和線條。
之後再用這些主素材製作絹印版畫, 抽象的表現出日常生活物品的特質。


2006年
我認為語言是一套人與人溝通的密碼, 它是一個規律的的系統運作方式。 這一年的主題對我來說是對我個人背景的探討。
因為有兩種不同文化背景, 這對我來說是獨特但矛盾的。 我選擇英文字母和私人蒐集的東西當作2006年的創作題材, 想表現的是兩種文化的不平衡。 被部份切割的字母和折不起的紙盒平面圖有乍看之下熟悉卻無法解讀的感覺, 蒐集的家人來信和信封是我與另一個文化的唯一聯繫。我希望創造出關於我的作品。


2007年
我繼續發展2006年的主題, 但以比較鮮艷的顏色來創作。今年的作品我也嘗試加入新的題材還有素描元素。 素描的主題有我蒐集來的香煙紙盒, 信封和信件。
再次用紙盒平面圖還有印刷色標等元素表現出來的是一組比較活潑的作品。

Nicht_Hier

2005

My practice in 2005 was focused on drawing, mark-making and experimentation with different methods to achieve textures and surfaces. The result was a series of drawn imagery being photo-released (photocopy transfer) and screenprinted to produce abstract representations from life sketches.

Silkscreen prints, A1.








Cardboard Series
This series of prints was to experiment with combinations of marks, to create textures and surfaces depending on the interaction between medium and material.

Silkscreen print on corrugated cardboards, A2 each.




2006

Tracing the Process, group exhibition at SoFA Gallery on Campus, 2006

The main elements I incorporated in my works were photocopied imagery, language fragments(cropped, manipulated and abstractly arranged texts) and packaging netplan.
The concept in my work was to express my personal experience living in New Zealand and still being influenced by my Taiwanese heritage. By using motifs other than generic cultural symbolism and objects of personal significance, my attempt was to express an ambiguous cultural existence and explore the possibility of a middle ground.

Silkscreen prints, 60x60cm each.



Detail of works from Traching the Process.



Other works
Silkscreen prints, 60x60cm each.









2007

Just Vacant- catalogue designed by Chloe Geoghegan

A catalogue about my work was designed by my dear graphic design friend for her project.

Details of Just Vacant catalogue. Please enlarge image to read the supporting text.


Original works used in the catalogue

Original sketch of the cigarette packets I collected.




All silkscreen prints are 84x118cm each.


A set of silkscreen prints that continues to depict and explore visual concepts of packaging netplans.

1/100 Lithography

This is a continuing project from One in One Hundred.
I wanted to use the most difficult printmaking process to express the same idea.
Lithography relies on the nature of limestone chemically reacting with nitric acid (mixed with gum arabic to become the etching solution) to fixate the image onto the stone for printing.

This is actually my third attempt in etching my image.
The first etch went perfectly but I did not prepare the stone for cleaning properly.
The second etch I mixed up the order of some etching steps therefore it didn't work out.

Limestone absorbs grease therefore all drawing materials are oil based, and touching with a finger can create marks since there is grease on hands.
The advantage of using the lithographic process is the wide range of marks that can be achieved by using lithographic crayons, pencils, or tusche (for qualities such as water colour).
Once a stone is etched with the nitric acid solution, the grease is then absorbed into the grains of the stone, and at the same time the clear areas are desensitized.
Therefore the image(greased area) will attract grease when the ink is rolled on, but the clear area will reject it.

I traced the image from a stencil onto the lithography stone, then it was rendered to black with a lithographic pencil.

This photo shows the stone after it was etched and inked up, but still shows a faint tone from the rendition using a litho pencil.

















Here the pencil marks are clearly visible.
Some areas of the paper are ripped because the pressure from the press was too much.
As the printing process continues, the more ink you apply to the stone the darker the print will become as the ink layers build up.
I was told that the image on the stone will never return to have its original quality(the pencil marks) because the ink fills the grains on the stone.
I found it almost impossible to clean off the ink(that is how the first etch failed).
If the stone is only dampened and not sealed with pure gum arabic, turpentine(used to clean off the ink) soaks into the whole block of stone along with water, and diluted ink bits too, so grease begins to spread into areas that should be clean.

Even if the clean areas are sealed with gum arabic, it is only on the surface of the stone, and still difficult to know how much the turpentine affects the stone.
I have cleaned the stone once after sealing it, but the next time I tried to print again, other areas began to receive ink also, in tiny grease spot forms.

For some reason no one was able to answer my questions like
do I clean the ink off after finishing printing for the day? (or not?)
and how I do it

or

how do I avoid grease spots on clean areas?

Not even the biggest printmaking book in the Fine Arts reference library could help me.

But finally after a few adjustments, less pressure on the litho press, more linseed oil in the ink,
I managed to get one 95% perfect print!




Unfortunately it has lost the penciling quality since this is possibly my 10th print.
The ink layers built up and the original drawing was unable to be retrieved..

Repeating the printing process was tiring, it did get frustrating to an extent.
But every new piece of paper, a new layer of ink on the stone, a few new adjustments and new considerations to keep in mind, every time the process changes and the result changes.

The process was conceptual challenge for me. It was meticulous, and the work was purely monotone.

Documentation of One in One Hundred

First project I made about the numbering system used in printed works.
A body of one hundred prints. Each work is screenprinted on 50 x 50cm sized brown wrapping paper.

The number normally exists on the bottom-right corner of a print. It is to indicate the order each print that was produced in the process. I took the number onto the centre page. The number had always functioned as an indication of order.
I changed the placement of the number, in doing so I changed the function and position of what the number means.
It now becomes the subject, no more being the device that supports the system.

What drove me to make this work were concerns to my position as an emerging artist and my interest in exploring new methodologies and concepts on art-making.
I wanted to examine my background as an visual artist and the intuitive approach I took in making my previous works.

This work stands both conceptually and visually to express a common preconception of multiple artworks resulting in concept dilution.