Artistry — The Distance Traversed on the Path of Exploration

A compelling work of art must give rise to intentional imagery. Such imagery becomes the core of the work, whether it embodies the artist’s conceptual assertions or reflects their response to the spirit of the time. The generation of imagery is essential, for only through it can viewers form their own intentional engagement with the work. Even in conceptual art, where no visual image may be explicitly presented, the generation of imagery remains indispensable. If a work fails to produce imagery, it signifies an absence of content, and thus cannot be considered a work of art.

Sep 12. 2024

A Brief Reflection on Artistry

The pursuit of art can be imagined as a journey through a dark, misty forest. This path of exploration is a solitary one; creation is often a private and lonely process. The places not yet reached remain unknown, and only through the journey itself can the artist perceive the surrounding landscapes—perceptions that only the creator can fully comprehend. Each individual traverses a unique path, just as every artist’s pursuit of creation differs. The variations in creative experience shape differing artistic perspectives. No one can fully grasp the entirety of art; the distance traveled alone is the only measure of artistry. Across all eras, artists face this mysterious forest on equal footing. It is a journey of insight and exploration, a path of cultivation. Should one one day reach an untouched realm, they may attain greatness as an artist.

Sep 12. 2024

On the Collectability, Preservation, and Circulation of Artworks

Before purchasing an artwork, collectors often consider three subsequent attributes: <b>collectability, preservation, and circulation</b>. Simply put, collectability emphasizes value and price, preservation focuses on sustainability and maintenance, and circulation concerns liquidity and efficiency. Although each addresses a different aspect, they are interdependent and together shape a collector’s judgment. The following discussion addresses these three attributes in turn. <h2>(I) Collectability — Balancing Value and Price</h2> Collectability refers to a value judgment based on the artwork itself and the significance of the artist. Such judgments may be divided into <b>scientific, artistic, market-based, and subjective</b> evaluations. <b>Scientific evaluation</b> involves the use of scientific tools to authenticate and assess value, such as testing gemstones and jade, analyzing the materials and age of paintings, or examining production processes. With advances in technology and electronic instruments, objects that were once difficult to authenticate can now be examined through simpler, more affordable methods with greater accuracy—representing significant progress in authentication and valuation. <b>Artistic evaluation</b> relies on professional artistic judgment, assessing a work through a broader perspective of art history and the contextual development of art. This includes evaluating the work’s quality, as well as considering the importance of both the artwork and the artist. <b>Market-based evaluation</b> reflects current market responses and price trends. Influenced by fluctuations in supply and demand, it serves as an important pricing reference at the time of purchase. <b>Subjective evaluation depends</b> on the collector’s personal interest in the work. Emotional connection, resonance, taste, memories, or the significance a work holds for the collector all contribute to subjective value. These personal factors also form legitimate grounds for collecting decisions. <h2>(II) Preservation — Sustainability of Condition and Ongoing Maintenance</h2> Preservation refers to how long an artwork can maintain its condition after creation, and the extent to which environmental factors may cause change. In most cases, collectors hope that the condition of a work at the time of purchase can be maintained indefinitely, or at least be restorable by the artist or a conservator. Acceptance of change varies among collectors, which is why secondary markets and auctions typically price artworks based on their current condition—as is. Poor preservation or extensive restoration can significantly affect resale potential and pricing. If an artist’s concept incorporates time—allowing physical or chemical changes through environmental interaction—and such changes are irreversible, these conditions must be communicated prior to transaction unless they fall within accepted norms of the collecting community. For example, some wood sculptures carved from driftwood embrace roughness and erosion, even valuing cracks as expressions of the material’s vitality. As long as structural integrity and overall effect are preserved, collectors generally accept such changes. However, for finely detailed realist wood sculptures, collectors often expect long-term structural and visual integrity, as surface texture is essential to conveying the spirit of the work. Cracks or fading in such cases may significantly diminish its impact. Preservation considerations depend largely on the object itself. Museum-grade conservation involves climate control, environmental monitoring, circulation and equipment design, inert storage materials, equipment and consumables management, fire/water/seismic/pest protection, security systems, staff health and safety, building structure management, and storage protocols. For most private collections, however, basic humidity control, stable room temperature, and periodic display or cleaning are sufficient, provided the work is not overly fragile or historically sensitive. Beyond condition and restoration, artworks must also consider ease of display, storage, cleaning, maintenance, and transportation. Crates, packing materials, frames, and pedestals all affect presentation and practicality. When artists or institutions provide clear installation and maintenance guidelines, they significantly reduce collectors’ concerns and difficulties. <h2>(III) Circulation — Liquidity and Transactional Efficiency</h2> As noted earlier, poor preservation negatively impacts resale value and circulation. Beyond collectability and preservation, an artwork’s <b>mode of collection</b> and a collector’s <b>collecting mindset</b> are major factors influencing future circulation—particularly for works with unconventional forms, such as video, digital, conceptual, installation, technological, performance, and body art. Due to their distinct ontological nature, these works differ greatly from traditional easel paintings and sculptures in terms of collectability. <b>Video, digital, and conceptual art</b> prioritize content and ideas rather than physical form. Video art exists on photosensitive media or digital storage devices; digital art exists as code within virtual environments; conceptual art exists within the metaphysical realm of thought and consciousness. While dependent on material carriers, the emphasis lies in intellectual property rather than physical objects. Such works are often authenticated through certificates or technologies such as NFTs to prevent duplication. Since their core content is not materially bound, they do not suffer from material aging in the same way physical works do. <b>Installation and technological art</b> employ found objects, natural materials, industrial components, or new media to construct site-specific artistic languages. According to Tate Modern, technological art is defined as “art made or presented using digital technology.” These works inevitably face issues of material replacement and functional obsolescence. Collectors must therefore possess a higher level of acceptance, as such works—unlike paintings—are not easily preserved for centuries. <b>Performance and body art</b> are often collected through contractual agreements. While photography or video documentation can preserve aspects of these works, such records capture only partial content, transforming the experience into images or footage. Site specificity, interactivity, and contingency are largely lost, and the viewing experience is constrained by recording perspectives. Some museums address this by contracting artists to perform a work publicly a specified number of times within a set period, requiring artists to maintain physical condition and performance standards, and clearly stipulating resale rights. Collectability and preservation directly affect future circulation. If an artwork’s value is poorly assessed at the outset or inadequately preserved, resale will inevitably be difficult. Factors such as authenticity, market conditions, preservation, and broader economic context all influence transactions. Some collectors adopt a highly individualistic approach, resisting trends and trusting their own judgment. If such discernment proves accurate, significant value appreciation may enhance circulation. However, without a broad collector base, even exceptional works may face liquidity challenges. From an art investment perspective, until a work is actually sold, even highly sought-after pieces represent only “paper wealth.” Anticipation alone does not equal realization. Determining appropriate holding periods, future pricing strategies, and identifying optimal buyers at the right moment are essential to achieving maximum transactional benefit. Source: Gallery owner take you into the art world: Appreciation· Practice· Creation· Collecting

Oct 04. 2022

The Demands of the Art World — What Must Be Exchanged to Become a Professional Artist

Since prehistoric times, as human societies were established and gradually developed systems of civilization and social division of labor, professions emerged in response to societal needs. As humanity evolved into the modern era, we came to understand that a “profession” is, fundamentally, a role shaped by demand. Artistic creation was once free, joyful, and deeply fulfilling; however, when creation becomes a profession, it often no longer retains the same purity or healing quality as its original intention. Yet creators who harbor ambitious artistic aspirations begin to consider how professionalism might serve as a means to achieve greater artistic goals. To reach such goals, certain conditions that allow sustained creation must be met. Viewing professionalism as a means rather than an end requires deep understanding. After all, the trials and disciplines experienced by professional artists are beyond what amateurs can fully comprehend. On the path of becoming an artist, one may hope for support from governments, society, galleries, corporations, and collectors. However, excessive expectation often leads to disappointment. Improvements in the art industry and the cultivation of a collecting culture take time. Therefore, actively considering what artists can do in the present moment may reflect a more proactive mindset for professional artists. Only through a thorough understanding of the artistic environment, and by developing the ability to withstand erosion by reality, can one truly become a professional artist. In fact, being an artist as a profession is not fundamentally different from other occupations. When a mechanic faces a machine, they consider mechanical design, production efficiency, theoretical principles, user experience, and maintenance. Beyond economic considerations, the ultimate aim is for their profession to be socially recognized—perhaps by improving human convenience, enhancing production efficiency, or advancing civilization itself. All such contributions generate what can be described as “value.” As a profession within society, artists must not only consider issues of expression, creative process, content, and presentation, but also ask: What does society—or the art world—need from you? Why is someone as unique as you needed? And what are you offering in exchange? For a professional artist, the level of reflection cannot stop at “exchanging artworks for money” or “labor for income.” Professional artists must think on a broader scale and move beyond the mindset of creating solely out of passion. Passion is fundamental, but passion and strong works alone are insufficient for sustainability. Even commercial success does not guarantee becoming a truly great artist; one may become a profitable artist, yet drift further from the original intention of using professionalism as a means to realize artistic ideals. On the path toward artistic ideals, the first step is to clarify why one wants to become an artist. Second, one must carefully consider the necessity of becoming a professional artist. Economic support for creation can also be achieved through teaching, part-time work, or other professions, while continuing to create art. Finally, if one chooses to become a professional artist—with the privilege of dedicating full time to creative work—what, then, is being exchanged? More importantly, why should society accept the terms of that exchange? Only through deep reflection on these three questions can one secure a place within the art world. Regardless of whether an artist chooses to enter the art market through transactions, to exist within the art world requires active engagement and comprehensive management. Artists must thoroughly consider the efforts and commitments required. Some artists strongly resist commercial behavior and the political dynamics of the art ecosystem, criticizing museum systems and curators for lacking objectivity, favoritism, or political bias. Yet regardless of emotional responses, to exist within the art world necessitates understanding its ecology—how artworks are interpreted through both subjective and objective conditions, and how the art ecosystem operates—to pave one’s own path toward the halls of art. Artists must not only exist in the art world, but also be accepted by it. This includes considering how art critics, theorists, and art historians might include one’s work within their research; how to develop works that respond to the needs of the era and humanity, allowing them to be absorbed into human culture and positioned within its branches; how to engage freely in dialogue with other artists, absorbing the essence of predecessors while interacting with contemporaries to generate creative energy; and how to strategically plan exhibitions and modes of dissemination, ensuring that works not only exist but are presented with maximum effectiveness. This also involves seeking resources and expertise so that exhibitions, artist branding, and the dissemination of works are embraced by the broader art ecosystem. All of these considerations constitute the operational dimensions of the art world that artists must confront. They require exchanges of time, spirit, financial resources, physical energy, and networks. The more ambitious the goal, or the more complex the content that must be communicated, the greater the accumulation of energy required. Through continuous expression and widespread artistic impact—not merely short-term ignition within the art environment—artists must declare their creative intentions through their works while executing long-term, strategic plans. Only then can artistic influence spread like wildfire, gradually laying siege to the strongholds of art history. Such endeavors demand immense energy—not only in creation, but more critically in articulation and communication. When all necessary efforts are fulfilled, one may finally have the opportunity to reach the broader objectives of art. Source: Gallery owner take you into the art world: Appreciation· Practice· Creation· Collecting

Oct 04. 2022

Approaching Sculpture: Multiple Perspectives

Many newcomers to art often consider painting easier to appreciate than sculpture. Flat, two-dimensional images are more familiar, whereas the study of sculpture can seem deep and complex, leaving viewers unsure of where to begin. In reality, sculpture can be appreciated and analyzed from several key perspectives, including: scale and form, relationship to the surrounding environment, social and temporal context, material properties, technical execution, viewing angles, three-dimensional composition, thematic and material significance, and the interaction between architecture and sculpture. The following offers an overview of these considerations. <h2>(I) Scale and Mass</h2> Sculpture emphasizes a sense of presence. When observing volumetric works, viewers often use their own body as a frame of reference to gauge the scale of the object. Aesthetic appreciation arises not only from the work’s size but also from its form and proportion. By observing different angles, viewers can experience the lines, voids, and planes that convey the artist’s intended beauty. American minimalist sculptor Robert Morris (1931–2018) noted: “In perceiving relative scale, the human body… constitutes a constant for measuring… The perception of scale emerges from comparing this constant, one’s own body, and the object. The space between subject and object is included in this comparison.” Both creator and viewer rely on human proportions as a reference, whether evaluating a work as large or small. Spatial awareness within exhibition spaces is also influenced by human activity ranges, grounding the experience of sculpture in bodily perception. <h2>(II) Relationship to the Surrounding Environment</h2> Similar to the interplay between visual elements and space in painting, or the effect of negative space in ink painting, sculpture interacts with its surrounding environment. Material, temperature, shape, spatial atmosphere, and placement all influence perception. A sculpture in a private space, church, museum, or public square carries different significance and function. Historical works displayed alongside modern architecture can create a sense of temporal juxtaposition. Understanding the historical and creative context enhances appreciation, evoking reflection on the past and deepening one’s sense of the artwork’s meaning. <h2>(III) Social and Temporal Context</h2> Art is invariably influenced by the social and temporal environment in which it is created. Sculpture, in particular, often embodies societal values, historical narratives, or political messages. Monumental statues of historical figures, for instance, communicate strength, greatness, or moral ideals, reflecting prevailing attitudes toward heroism and human nature. Contemporary influences also shape sculptural trends. In Asia, Japanese popular culture has inspired “cute” or playful sculptures that appeal to younger collectors. In Europe and North America, street culture has produced trend-driven, hybrid forms. These sociocultural dynamics have affected both primary market demand and secondary market prices, demonstrating how context informs artistic value. <h2>(IV) Material Properties and Technical Execution</h2> Material choice and technical execution are deeply intertwined. Material conveys meaning and affects visual perception, including texture and warmth. Different materials require specific techniques, influencing surface treatment, tactile qualities, and overall refinement. In sculpture using rare woods, jade, or similarly unique materials, artists often employ a technique known as qiāo diāo (巧雕), or “skillful carving.” This approach adapts to imperfections in the raw material, transforming limitations into creative opportunities. The artist’s mastery turns flaws into defining characteristics, highlighting the material’s inherent beauty and extending its expressive potential. <h2>(V) Viewing Angles</h2> Sculpture’s three-dimensionality makes viewing angle a primary consideration. Unlike relief works, freestanding sculptures encourage viewers to circle the piece, offering multiple perspectives. Observing from different heights and directions reveals varying expressions and nuances. Three key effects emerge from circumambulatory viewing: <ol> <li><b>Interaction with Light</b> – Indoor or outdoor lighting, whether artificial or natural, emphasizes surface detail, shadows, and reflections, enhancing spatial perception.</li> <li><b>Visual “Tactility”</b> – Shifting angles create a sense of visual touch, making the sculpture feel dynamic and alive.</li> <li><b>Kinetic Perception</b> – Moving around the work, viewers sense rhythm and motion, engaging with the piece’s formal dynamism.</li> </ol> <h2>(VI) Three-Dimensional Composition</h2> Unlike painting, sculpture must balance form, motion, and static elements in a fully three-dimensional space. This includes the relationship between parts, edges, surfaces, and the whole. Three-dimensional composition emphasizes harmony and equilibrium, which may vary with viewing angle. True sculptural balance does not necessarily mean symmetry but rather unity within variation. Sculpture also uniquely incorporates positive and negative space. Positive space refers to the material form itself, while negative space encompasses the areas between forms, between the sculpture and its base, and between the sculpture and the viewer. Both spaces contribute to the perception of vitality and depth. <h2>(VII) Theme and Material</h2> Choice of theme and material is crucial for conveying meaning. Materials help articulate the symbolic significance of the work, while thematic orientation can indicate historical, cultural, or social context. For example, religious sculptures often serve ritualistic functions, while political statues convey authority or commemorate leaders. Material selection reinforces the intended message, ensuring the artwork fulfills its purpose and resonates with viewers. <h2>(VIII) Interaction Between Architecture and Sculpture</h2> Sculpture frequently complements architecture, as seen in architectural sculpture. Reliefs often adorn walls, narrating stories with rhythm, density, and three-dimensional dynamics. The north frieze of the Parthenon, for example, depicts a procession honoring Athena, blending sculptural storytelling with architectural space. Throughout history, architecture and sculpture have mutually influenced one another. Classical Western churches and palaces, as well as Eastern temples and royal complexes, integrate sculpture into their design, producing a symbiotic relationship. Sculpture can emerge from architectural principles, while architectural forms may adopt sculptural qualities, creating a continuous cycle of aesthetic evolution. Source: Gallery owner take you into the art world: Appreciation· Practice· Creation· Collecting

Oct 04. 2022

LU CHIA-NUOH Solo Exhibition Let Me Settle — Review: “A Confession Like a Beam of Light”

<h2>A Horizontal Shift of the Artist’s Inner World</h2> Lu Chia-Nuoh’s solo exhibition Let Me Settle offers a unique viewing experience, embodying the intimate connection between the artist, the canvas, and the specific moments of creation. The Trinity series invites viewers to confront the artist’s evolving emotional state in response to his father, ranging from turbulent waves to calm seas. The works reconstruct the memories of his father’s battle with cancer and eventual passing, a process that coincided with the artist’s own time from his father’s stroke to his departure. Amid the pressures of his graduate studies, the artist’s inner world oscillated between the desire to overcome these difficult periods and the awareness that doing so meant bidding farewell to his father. This interplay of pain and happiness is vividly conveyed in the works. In this exhibition at Cloud Gallery, the compositions of Trinity use vertical and horizontal overlaps to symbolize the fluctuations of the artist’s emotions. The solemn black of the gallery space reflects the heavy atmosphere surrounding his father’s passing. Lu Chia-Nuoh treats the exhibition layout as part of the creative process, altering the materiality of the works and the perception of space, thereby engaging with the three core issues in his painting practice: illusion, space, and materiality. By employing masking tape and sponges instead of traditional painting tools, he expresses the passage of time through the act of applying and peeling tape. This physical labor becomes inseparable from the creative process, ultimately producing a synchronized, almost spiritual visual experience. The First Be, Lest Be series highlights the artist’s methodical approach and the trace of paint, corresponding to his practice of exploring selfhood through repetition. By repeatedly applying and removing tape, the canvas accumulates a grid-like pattern, with each layer of paint revealing its sequential presence. Variations in repetition create differences in hue and density, making the creative process visible. The canvas thus becomes a record of existence, a testament to the artist’s presence. <h2>A Confession Like a Beam of Light</h2> Lu Chia-Nuoh’s works impart a sense of solace, like a linear confession: “I hang, I paint; I remember you.” The exhibition’s atmosphere mirrors the artist’s religious experiences, with the intensity of light serving as a visual metaphor. The Heavenly Gems series reflects the artist’s closeness to and longing for both God and the spirit of creation, continuing the symbolic and spiritual visual language of medieval imagery. These works, reminiscent of the rose windows of Gothic cathedrals, emphasize pattern, form, and the symbolism of light, conveying sanctity and revelation. Lu Chia-Nuoh integrates his Christian identity into the exhibition, transforming the space into a church-like environment. Through his Composing Paintings approach and interaction with light, viewers feel the presence of the divine, bathed in luminosity, as the gallery transforms into a golden sanctuary of prayer. <h2>Gems Resonating on the Canvas</h2> In Lu Chia-Nuoh’s recent works, I am reminded of Mark Rothko’s insight: “You are sad, I am sad—and my art is where these two sorrows meet, so that we feel less sorrowful.” The artist skillfully directs the viewer’s gaze, merging life experiences, bodily engagement, and creative tools into crystallized works of art. These works, like gemstones, exhibit unique beauty, rarity, and durability, symbolizing eternal beauty. Emeralds represent prosperity and rebirth, while rubies signify passion and vitality. I believe that on his future creative journey, Lu Chia-Nuoh will continue to retain the sharpness and brilliance of a gemstone, shining persistently through his art.

Sep 18. 2024