I Yen Chen

In this work, I seek to reflect the idea of the environment in which we are situated, and how we shape the space with our memory and desire. Through the reformation of the space, one thus settles and finds affinity with the world he or she lives in. The ceramic medium is a perfect agent through which to express this concept. Clay is formable, and only at a high temperature may it take on a new life, demonstrating a fresh strength and beauty. 

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This piece is also a work that I paid the tribute to my island country Taiwan and its history. Around early 17th century, Taiwan was under the ruling of the Qing empire, China. To travel across the Taiwan strait, people at that time had to follow a special compass map called “The Compass Sutra[1]”. According to the documents and literature of the time, people used to indicate island as a mountain on the sea. Since there was no accurate map by the time, “The Compass Sutra” is the boat rout written by sailor of the time, by documenting the direction of the compass, the duration of traveling, and arriving at certain island, the compass map was composed by bits and bits of boat routes. Thus, the map is a line of boat routes linking several islands[2], so is the ceramic petals that scattered on the wall.

 

[1] 針經

[2] 李文良,《 清代南臺灣的移墾與 [客家] 社會 (1680~ 1790)》." 歷史人類學學刊 9.2 (2011): 153-157.
Lee Wen-Liang, The immigration in south Taiwan in the Qing dynasty and the Hakka society (1680~ 1790), The History and Anthropology Journal 9.2 (2011): 153-157

When I was studying at the history department at National Taiwan University, I took Lee Wen-Liang’s course History of Cultivation in Qing Taiwan, which greatly inspired me in researching historical materials.

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More informations: 

http://lindenarts.org/exhibitions/changing-places

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Image courtesy of Linden New Art.

Photograph: David Marks Photographer