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Scattered, information-filled images and texts, which are previously unrelated, have been interwoven to co-create my perspective on time and material.

Sediments is inspired by the geological term and allows a material glimpse into the temporal spectrum that provides messages for understanding the environment and biological activities of a certain period. This brings to mind the creative process of painting and its relationship with material.

1. Scattered, Fragmented Image

Using the form of landscape painting, I contemplated on how to display such complex but somehow unrelated information in my work.

So, I first carefully selected relevant materials and images found in my research and used iPad to edit and create the composition. I tried to render the images still recognizable—this approach is different from my other series of abstract and semi-figurative images. Here, “how to paint” and “the use of paint and colors” became crucial matters that required further development.

Regarding my use of colors, I have intentionally chosen paint that specifies its pigment composition. This allows me to obtain information of the original ingredients to search for their physical appearances and forms, which I usually find quite beautiful and surprising. Therefore, these discoveries often encourage me to research into the historical and contemporary use of these ingredients (mostly minerals) or their distribution locations. Consequently, I have come into contact with colors that I normally would not pick. The re-arrangement and new understandings of these colors and their composition have enabled me to imagine their use in a way.

As scattered information, minerals are broken up into pigments before the are used and converted into brushstrokes and color blocks on the canvas. To me, the process of painting is no longer the expression of feelings or formal effects through one’s intuition and taste. Instead, it has become the re-organization and re-arrangement of matter and information through the formal language of painting. As these materials and forms change constantly, the charm of the colors is also highlighted during the process.

Painting, in this case, is no longer an instrument of image representation.

2. Use of Colors and Begin to Paint

I consciously chose the mineral pigment of the Natural Earth Paint series. These pigments in earth tones are mainly made of natural materials that are harmless to the human body. Moreover, they are also basic colors in Western painting history, such as “Green Earth” and “Calcined Red Ochre” that are often used to create the foundation and dry very fast. During the process of doing research, I also chose the cobalt color scheme and lapis lazuli to be combined with the earth tone color scheme. Later, I added the synthetic pink color scheme of acrylic paint as well.

Cobalt is a source of important economic value in the modern times and used in the production of many 3C products and electric car batteries. The Republic of the Congo sits on the largest cobalt mines in the world. However, such high-value mineral also presents certain health risks to the human body, especially the working environment of the mines. On the other hand, in the midst of the global economic wrestling, China, who possesses the largest rare earth mines worldwide, has also reached its hand into the cobalt mining industry in Congo, competing with Glencore, the world’s largest mineral trading company from Switzerland, for the resources in the region.

Lazuli lapis from Afghanistan has been viewed as a precious economic resource for over a thousand years. It was only until the invention of synthetic ultramarine that this valuable pigment was slowly replaced. However, based on my experience of using the two pigments, synthetic ultramarine is still no match for the color of lazuli lapis. Comparing to the vibrant color of synthetic ultramarine, the blue of dried lapis lazuli is deep and clear, with a faint purple tone that adds to its unique charm.

Regarding contemporary aesthetics and taste, the preference of lapis lazuli has been obviously decreasing; but one thing that cannot be ignored is that lapis lazuli as a form of local economic value, labor production and even political instability has reflected the modern situation.

In addition to the initial reason, the choice of material also includes the fact that I want to use materials that create less negative impact on my health. During this process, under the premise of pigment material combinations, I have also seen the relations among humans and nature, economic development and technological development through these materials.

The creative process of painting requires one to face the canvas for a long time. For me, facing the canvas in my current creative stage is similar to a process of putting together various matter, images and information through the painterly language. Moreover, the labor in painting, the imagination and the painter’s perceptual and intellectual activities will be gradually revealed throughout the process of repeatedly modifying a seemingly ordinary surface—this, for me, is still the making of a landscape.

3. Material and Health

Previously, I had thought that oil paint and thinner presented more harm to the human body and that the fast-drying acrylic paint was more efficient and suitable for my approach to painting. Now, I have realized that the range of synthetic pigments and plasticized agents used in acrylic paint, though carry less pungent smells, are more harmful to the human body. Therefore, for my main medium, oil paint, I have chosen as much as possible paint that specifies the ingredients while reducing extensively the use of thinner. When it comes to oil paint, there are many color schemes made of natural pigments and plant-based dry oils (e.g., poppyseed oil, walnut oil and flaxseed oil) that do not have unpleasant smells.

4. Technology

My mother once told me her optimistic view, saying that “as technology advances, medicine and medical treatments to diseases will progress as well.”

The advancement of technology indeed has brought about many new possibilities; and our rediscoveries in nature have also provided means to extend the human lifespan. However, the evolution of human lifespan seems to be slowly moving towards a decline. The two timelines are moving in a conflicting manner.

The bark extracts of both Pacific Yew Tree and Podocarpus nakaii are components to produce anti-cancerous medicine. However, the two species are facing the fate of distinction due to human development of the natural environment. The human race has found means to extend its lifespan from other species; yet, at the same time, many unknown, beneficial species have been disappearing during the process of human development.

In the period of Japanese rule, Podocarpus nakaii was even a common wild species found in huge quantities. Later, as the regions surrounding Sun Moon Lake were developed, the number of the species gradually decreased.

The enchantment of natural plants has always been a lasting motif in painting, especially in Chinese literati painting. The appearances of the aforesaid two species are attractive to me, and the meaning behind their appearances is why I have chosen them as my subject matter.

5. Landscape Painting

6. Temporality and Geological Inspiration

At first, I drew my inspiration from old postcards of glaciers because I have wanted to choose a contemporary subject of landscape painting that transcends cultural background and is appealing to all. Like in Chinese literati landscape painting, a landscape is embedded with complex ideas, emotions and messages. In this era, painting might not be an efficient or straightforward choice to deal with such complicated information as other media; however, this is precisely why it is worth exploring.

Glacier, as a nearly imperceptible and slow-moving natural phenomenon and terminology (glacial), has demonstrated drastic and even desolate changes nowadays. Looking back on my travel in Iceland, innumerous pieces of diamond-like ice scattered across black sandy beaches were grounded melted ice floated from the nearby glacial lake.

When I read (2018), I have learned that Svalbard in Norway is a “time-free zone.” What is this zone like if it is without the manmade concept of time? Although I have not had a chance to visit the region, but the idea of a time-free zone is intriguing—a place where time adheres to nature and is only perceived through one’s physical senses. On the other hand, the concept of “deep time” informs us that human activities only take up maybe a few nanoseconds in the time scale of Earth’s evolution, and our physical experience of time is so microcosmic that it becomes inexpressible. This is perhaps the reason why I have grown more suspicious of existing concepts of time in religions. My cultural upbringing tells me that one should know what is pre-decided by fate and be content with it. However, perhaps one should simply see it as a survival instinct and part of the natural cycle on this planet.

Svalbard is located within the Arctic Circle. As climate change progresses, the vast number of resources found along the Arctic shipping routes has triggered politico-economic competitions among various powerful countries (USA, Canada, Norway, Russia), who can be said to have benefited from the climate change in this regard.

Historically speaking, Longyearbyen, the main city in the Svalbard archipelago, has undergone the development of the coal industry in the early 20th century. In the meantime, the glaciers nearby have preserved innumerous fossils on Earth. It is also the location of the most important Svalbard Global Seed Vault, which makes use of existent coal mine tunnels from past endeavors of resource development. To an Asian from a faraway place, these scenes look like an apocalyptical sci-fi movie. However, this is a situation that seems remote but is closely related to our current life. The town is named after the American businessman, John Munro Longyear, who came to develop the place. One of the Chinese translations of its name means “a city of years,” which sounds rather unique and poetic.

7. Surpassing Geological Restrictions and Time

8. The Moving Body

As spectator moves his or her body, closer or farther away, to view a work, the identifiable images seem to become fragmentized, lingering and oscillating between figurative and abstract blocks of colors and brushstrokes.

9. High-mountain Forests and Identity

One of the works comprises images of mountain forests in Taiwan, particularly the Taiwan cypress forest in the cloud belt. Different disciplines in Taiwan seem to share an anxiety about the origin and identity of this island. From the perspective of deep time, this island, together with species that migrated from different places, has undergone a long process of evolution. Therefore, these species on this island are unique and unlike any others. Nature has created its distinctive meaning rather than just the external appearances (that have become symbols?).

I have detected a persistent effort to find “endemic species of Taiwan” in the biogeographical studies of botany, such as “Taiwania,” the new genus established by Hataya Bunzo, which was removed due to the finding of the same species in China.

The imageries used in this project might look remote from this place, but I try to put together a possibility of identity through multiple juxtaposition to surpass the limitations of regional geography and manmade boundary. A representative symbol and species cannot in fact represent an entire place, and multiple clues and temporal views can introduce a more diverse and inclusive perspective to help achieve self-identity and a relationship with the world.