Liang Gallery is pleased to present Lee Chung-Chung and Hsu Yunghsu at ART SG from Jan. 11 to 15, 2023 (VIP preview on Jan. 11) at the Marina Bay Sands Expo and Convention Centre (GALLERIES BE08) in Singapore. Artist Chou Tai-Chun’s work will also be featured at the NOW/NEW section.

After World War II, Asian art history was significantly influenced by European and American abstract expressionism. A series of art movements made an impact on Chinese artists in the following decades, which revolutionized traditional Chinese art to develop into a unique Chinese abstract style.

Lee Chung-Chung, one of the pioneers in modern experimental ink painting, applies ink rubbing as well as automatism as her creative method, which allows bright colors to flow in and out of the ink, presenting natural rhythm and internal emotions. Her unique style of simultaneous rigidness and gentleness has enabled her to establish a solid position in Taiwanese abstract ink painting. Lee’s works are collected by art museums across the globe, including private collections. Her representative works The River of Life I and Breeze and Dew will debut in ART SG.

On the contrary, Hsu Yunghsu applies free rhythmic lines to sculptures. With an emphasis on the participation of the body, the process, and the texture of ceramics, Hsu pinches the stripes of clay layer by layer and composes the works by units from different dimensions. Hsu relentlessly challenges himself to produce sculptures in large scale to initiate dialogues between the works and the space. The gallery is going to feature Hsu’s fascinating works, including 2021-11 and 2022-37.

Liang Gallery is a leading private art gallery based in Taipei, Taiwan, which is dedicated to the research of Taiwanese art history and the promotion of domestic and international exhibitions.

Lee Chung-Chung

Lee Chung-Chung (1942-) was born in Anhui, China. In 1945, she settled in Tainan, Taiwan. She was born into a painter’s family, and therefore influenced by art at an young age. Lee had also an early start in ink creation, and now possess a mature art style. She applied the growth and expansion of ink as well as automatism to create a seemingly vigorous circulation in her works. Her unique style, dominated by the charm of firmness and flexibility, has let her establish a solid position in Taiwanese abstract ink painting.

Since 1970, her works have been exhibited in the US, various countries in Europe, China, Japan, and Korea. Her works are also included in collections at the National Museum of History, Taipei Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the National Taiwan Museum of Fine Arts, Tainan Art Museum, Asia Art Center in Maryland, Fukuoka Art Museum, Qingdao Art Museum, including domestic and international private collections. Arts, Asia Art Center in Maryland, Fukuoka Art Museum, Qingdao Art Museum, including domestic and international private collections. She also participated in the Art Basel Hong Kong from 2017 to 2023, as well as launched her solo exhibition in the Taipei Dangdai 2020.

HSU Yunghsu

Treating the body as a creative tool, the artist devotes himself entirely to the field of ceramic art. He emphasizes the dialogue between the body and his artworks, and confronts the clay by integrating the subject with the body. His artworks are created on the basis of the interplay between the world and his perception as well as tactile and algesic senses within the clay-based structure. To create the purest and finest ceramic artworks, the artist not only adopted complex and painstaking procedures of production, but also exercised his superior skill in kilning. Through the constant process of deconstruction and reconstruction, he successfully transformed the heavy clay into delicate lines and shapes. His awe-inspiring, extraordinarily “large” but “thin” ceramic works, along with their charm of innovation, all resulted from such a refreshing contrast. Following his philosophy of life, that is, “transcending life through life, transcending artistic creation through artistic creation, and finally transcending life through artistic creation,” the artist keeps challenging himself, expecting to transcend the confines of life and artistic creation.

The artist embedded his whole self-consciousness, body and life deeply in his works. Each piece of his works is created under the complex procedures of constant fluidity, repetition, and accumulation. The artist physically transformed the materials, using his own biological instinct to interweave and superimpose them into “nests” and “apertures.” Born from the artist’s body, these nests and apertures tried in vain to resist their instinctive drive, and therefore created the spaces that drift from the divine realm of Chronos to that of Aion. As far as the artist is concerned, nothing is more genuine than the aforementioned senses of life and existence. The artist exemplifies the senses with the two exhibited works. By virtue of absolute corporeal and spontaneous actions, he applied his living experiences to transforming the originally heavy porcelain clay into his delicate ceramic artworks. They seem to be in a state of proliferation and sprawling. They are simultaneously the parts and the whole, associated yet decomposed, and fractured yet connected. They not only reflect the thriving of natural desires, but also symbolize the sudden and dramatic surge of creativity.

Chou Tai-Chun

Chou Tai-Chun was born in 1986 in Hsinchu, Taiwan. He received his MFA degree with a specialization in painting from the Taipei National University of the Arts in 2012. His artworks have become a part of various domestic and foreign museum collections. Chou’s paintings have been selected for the Made in Taiwan – Art Taipei Young Artist Discovery in 2012. His solo exhibition named the “State of Flux” was installed in Taipei Fine Arts Museum in 2016. From the earlier series of works “Globe Silent”, “Beyond the Silence”, and “Beyond the Mountains”, which the artist has been working on since 2011 to the series so far in 2020, Chou Tai-Chun has been gradually constructing a unique visual experience and imagination manifesting itself in the era the artist is living in now. He continues with his exploration of the conflict caused by the human intervention in nature. While touching upon the industrial history and terrain changes that Taiwan has been through, he develops a new dimension of time similar to the time travel. He currently lives and works in Taiwan. He had an experience for International Residency Exchange in OCI Museum, Seoul, Korea and BankART Studio NYK, Yokohama, Japan. His artworks are in the collection of the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum and White Rabbit Gallery in Sydney.