│EXHIBITION
In Chapter 41 of the Dao De Jing, Laozi wrote: " The largest square has no corners, the greatest vessel takes the longest to finish, the great music has the faintest notes, the great form is without shape, for Tao is hidden and nameless. " What does it mean that the great image has no form? Why is the great image invisible? And what is the underlying meaning behind this statement? Taiwan's renowned contemporary sculptor Tsai Ken sought to explore and interpret the concept of the great image without form in his latest solo exhibition in 2009, building on the concept of everyday aesthetics from his 2006 creations.
Tsai Ken has been engaged in sculptural creation for over forty years. He began by playing with forms and gradually realized the importance of form in conveying human experiences. Tsai Ken believes that human perception includes sight, hearing, taste, smell and touch. Vision refers to external forms perceived by eyes, which translate into psychological experiences. The process begins with the eyes and then moves on to the mind, from the image to the feeling. When the process reaches the realm of feeling, the image inevitably recedes, transforming from the physical to the metaphysical. From his discourse, it is evident that he is presenting a description of the "Tao," which aligns with the ideas of Laozi's Taoism.
Tsai Ken interprets elephants as the most beautiful images, whether it's the most breathtaking scenery or perfect form, evoking deep awe. He says: "When the inner awe takes over, the image retreats, because the image is only a medium between the individual and the external world. The mediums of human hearing and smell are intangible. Taste can also be experienced through tangible objects, but the existence of these objects is only temporary, just like food".
The interpretation of the great form without shape can be explained in this way: the beauty of visual art, when it becomes a medium that touches people, should quickly step aside in favor of a pure existence of human emotions. A dazzling sunset, a melancholy film, a touching play - these are all things that move us through our sense of sight. However, even after these images have faded away, our emotions still remain and continue to exist for a while. Therefore, the intangible here does not mean invisible; it simply recedes and no longer occupies our vision, allowing our minds to have more space to contemplate. Beyond the realm of our physical senses, all beauty perceived by our external senses ultimately seeks to capture our hearts.
This exhibition continues Tsai Ken 's consistent artistic approach. He attempts to lead the audience into his personal world through images. These works, totalling over ten, are exhibited at Main Trend Gallery. One particularly unique aspect is the direct use of imagery to explain the invisibility of an elephant. In one instance, a white elephant is placed in an all-white room with no boundaries. In another instance, an elephant is adorned with painted flowers that blend into the background. In addition, there is a piece that uses the arrangement of the four characters representing the invisibility of elephants, forming twenty-four combinations. After eliminating duplicated readings from left to right, there are still twelve sets of characters that Tsai Ken transforms into a work that can be read. Furthermore, there is a remarkable and varied collaboration with the renowned artist Lee Yih-Hong, who combines contemporary calligraphy with Tsai Ken 's Buddha sculpture and interior installations.
Tsai Ken once said that his works are non-academic. He never denies his academic training or the importance of such training to him. However, he believes that the only aspect of academia that he currently incorporates is the compositional element. He considers himself an amateur artist, and the amateur aspect lies in the sense of life. Tsai Ken describes his works as more life-like, incorporating a significant number of ready-made objects, rich natural colors and organic materials. These creations also have painterly qualities. He never denies the relationship between his creations and painting, stating that many of his works involve the use of sculptural elements to create something akin to painting. One could even say that all his works are like that. However, few people have noticed this characteristic of his work. Frankly, as a sculptor, such a conceptual and stylistic approach is truly unique.
