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'Geometric Abstraction' is a state of mind

By Diana Freundl
STAFF REPORTER
Sunday, Aug 29, 2004, Page 19

Shiy De-jinn borrows Taiwanese folk art motifs in his work, as shown in his Abstract Painting No. 78.

Walking around the geometric abstraction exhibition at the Taipei Fine Arts Museum, one explores the varieties of Taiwanese abstract art, as well as examining the melding of Western concepts with Eastern philosophy that created a unique movement in Taiwan.

The Lyricism of Form: Geometric Abstraction highlights more than 50 pieces from 14 Taiwanese artists and spans the history of the movement in Taiwan from its onset in the 1960s to the present day.

Near the entrance of the exhibition is Chen Shiu-ming's (陳世明)State of Mind. The canvas, which is in eight brightly colored segments, is a delight to the eyes. A few steps away is Lee Shih-Chiao's (李石樵) Metaphysical, which provides a contrast to Chen's pure color scheme, employing more washed-out colors and divisions of shapes and patterns.

Hu Kun-jung's (胡坤榮) paintings from the mid-1990s into the early 21st century create a feeling of rejuvenation. Hsu lived in France for several years, the vitality of Paris is reflected in his works, which are rich in vibrant color and geometric shapes. His Parisian Music Festival breaks down several different-sized canvases and arranges them to look almost like a piano.

Artists such as Richard Lin (林壽宇) and Chen Ting-shi (陳庭詩) seem to have taken more of a minimalist approach to their work. Both explore oriental concepts, such as yin and yang, such as that illustrated in Chen's Stellar Symmetry #5. By employing a woodblock technique, Chen contrasts rows of symmetrical black circles on white with a fragmented white circle on black. This simplistic imagery is similar to Lin's use of a single gray line on a large white canvas.

Images of folk art are also rich in Shiy De Jinn's (席德進) paintings, particularly Abstract Painting No.78, which uses bright colors and shapes to blend contemporary forms with patterns common in traditional Taiwanese furniture.

From a postmodern perspective, Chang Cheng-jen (張正仁) seems to be dealing with urban society in his works. In the World of a City, Chang uses images of nature (trees) and industry (construction sites) pieced together in a geometric form with a large white cross in the center.

When viewed as a whole, there doesn't seem to be a common thread underlining the exhibit, nor is it arranged in any particular order, chronological or otherwise. It does, however, examine the numerous influences -- both Western and Chinese -- that lead to a variegated abstract movement in Taiwan. The exhibit also provides an impressive overview of the group of artists who constructed the movement.

Equally interesting is how these pieces, which were originally influenced by works from the late 19th century, have become commonplace, mass-produced interior designs in bars, clubs and local homeware stores around the globe.

Exhibition notes:

What: The Lyricism of Form: Geometric Abstraction
Where: Taipei Fine Arts Museum (台北市立美術館) 181 Zhongshan N Rd, Sec 3, Taipei (臺北市中山北路３段１８１號).
Telephone: (02) 2595 7656
When: Until Oct. 10, Tuesday to Sunday from 9:30am to 5:30pm. Closed on Mondays
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