｜Artist J. C. Kuo(1949-) in front of his work.  ｜J. C. Kuo, Arrival, 1997, Acrylic on canvas, 130x162cm

Born in Lukang, Taiwan in 1949, J. C. Kuo sat at the feet of Chun-Shan Li in 1967 and graduated from the Department of Fine Arts, Chinese Culture University in 1973. Kuo’s oeuvre tends to be sharply critical in style with common and direct artistic expression, addressing contemporary issues (e.g., the gap between haves and have-nots, excessive consumption, religious myths, the decline of traditional cultures, the interpersonal estrangement, and the rampant popular media) arising from the political development after the lifting of martial law and the social change induced by the economic boom in Taiwan.

Treating Taiwan—the island on which he has dwelled and come of age—as the theme of his oeuvre, Kuo stated:

｜Installation view  ｜(Left) J. C. Kuo, Birth, 2002, Mixed media on canvas,104.5x206x13cm

｜Birth (partial)  ｜"Democracy" is written on the bracelet.  ｜On July 15, 1987, Taiwan lifted its 38-year long martial law.   ｜J. C. Kuo, Birth, 2002, Mixed media on canvas,104.5x206x13cm

In Taiwanese art history, the social milieu around the lifting of martial law facilitated the emergence of numerous artists who dedicate their oeuvres to social criticism, and Kuo is one of them. He has documented the social change in Taiwan persistently with his astute and sui generis observation.

Kuo’s oeuvre features thick and black ink lines, collage of mixed media, as well as the use of emblems, printed fabrics, and inscribed plaques.

Antithetical elements are characteristic of his works, such as traditional vs. modern, occidental vs. oriental, man vs. woman, and glee vs. grief. In addition, one tends to sense a visual tension, a touch of hypocrisy and illusion, and a trace of anxiety when viewing his paintings.

｜Installation view  ｜(Right) J. C. Kuo, Picturing Taiwan -- 4, 1994, Mixed media on canvas, 120x68.5cm

｜Picturing Taiwan -- 4 (partial)  ｜J. C. Kuo, Picturing Taiwan -- 4, 1994, Mixed media on canvas, 120x68.5cm

｜Picturing Taiwan -- 4 (partial)  ｜J. C. Kuo, Picturing Taiwan -- 4, 1994, Mixed media on canvas, 120x68.5cm

The process of painting per se denotes rumination about questions, and the juxtaposition of multiple antithetical elements represents the artist’s dialectic inquiry into his inner self. He does not intend to reveal established conclusions explicitly through his works. Rather, he tries to show the coexistence of various misunderstandings and disagreements through iterative arguments. When admiring Kuo’s works, one may have the feelings as turbulent as the emotions from different standpoints caused by the multiple changes of values in Taiwanese society, mixed with unease, confusion and disgust, which is by no means a calm and harmonious process.

Every stroke of Kuo’s brush bears his characteristic signature. He confessed that he did not prepare any draft during painting. Instead, no sooner did he had a rough conception in mind, than he started to draw, which renders his painting process mercurially unpredictable. The distinguishing features of his creations in different periods will be briefly introduced in the following sections: (1) Icons and Images of Taiwan (1993-1994); (2) Picturing Taiwan (1994); (3) ’95-’96 Chronicles (1995-1996); (4) St. Taiwan (1997-2000); (5) Happenstance (1998-2002); (6) 18 LOHANS (2002-2004); and (7) Am I a Beauty I Am a Beauty (2005-2007).

1993──1994

Kuo put the facial makeups of Ba Jia Jiang in Taiwanese folk belief on the ciphers who underpinned Taiwan’s thriving economy, which ended up in his chef-d’oeuvre Ba Jia Jiang Series. Atop of each facial makeup hangs a “medal,” which seems to recognize the notable contributions from all walks of life. Honor notwithstanding, they end up empty-handed in reality, which is analogous with the unequal distribution of resources in contemporary Taiwanese society that leads to monopoly and makes the tremendous efforts of those who deserve social welfare and care come to nothing.

｜Installation view  ｜(Right) J. C. Kuo, Icons and Images of Taiwan -- Ba Jia Jiang I, 1993, Mixed media, 56x47cmx8pcs

1994

Kuo invoked the metaphor of gender to represent the interpersonal relationship in Taiwanese society, be it between man and woman, between men, or among multiple people. It can be romance, nightlife affair, open fight and covert maneuver with mutual deception, or a naked and unequal power relationship.

Kuo’s works in this period featured the extension of composition from the canvas to the frame. Inspired by the traditional temple architecture in Taiwan, he applied the style of folk wood carvings to the frames of his paintings and colored them primarily in red, blue and green, which evoked strong political associations.

｜Installation view  ｜(Left) J. C. Kuo, Picturing Taiwan -- 4, 1994, Mixed media, 120x68.5cm

1995──1996

Titled “Chronicles” though, Kuo’s works were not simple, straightforward records but mingled with his personal observations and opinions.

During these two years, the Third Taiwan Strait Crisis and the first direct election of the President and Vice President of the Republic of China not only rendered Taiwan politically charged, but also revealed the tangled relationships between Taiwan and China. Political engagement and democratic reform became imperatives, and movements for gender equality and women’s rights had ensued.

｜Installation view  ｜(Left) J. C. Kuo, Born Naked, 1995-1996, Mixed media, 149x344cm

1997──2000

Kuo’s works in this period visualized the crises lurking in Taiwanese politics, economy, mass media and families, so as to alert the multitude to the shambles around them. Titled “St. Taiwan,” this art series was his ironic criticism mixed with disapproval.

In these paintings, the print fabric-made masks exclusive to the figures prevented their true colors from being recognized, insofar as to project their perfect public images. Serving as their effective implement to fit into society, such a camouflage nonetheless showed that their social survival is little more than a condition of misery. Commonly seen in occidental religious iconography, the “golden halo” behind each figure’s head constituted a major element dispensing accolade and criticism simultaneously, which exactly echoed Kuo’s dialectical view.

｜Installation view  ｜(Left) J. C. Kuo, St. Taiwan -- Bubble Gum, 1997, Mixed media, 147x85x8cm

1998──2002

The title of Inscribed Plaque owed it inspiration to Taiwanese folk customs of showing congratulation, accolade and appreciation with plaques inscribed with words. Since Kuo tends to critique current affairs with antitheses, we may interpret the Chinese word “plaque” as a homophone of that for “contempt” with a negative meaning.

Mr. X/Ms. Y comprised a series of icons created by the artist himself. Seeming like invertebrates, they are creatures with masks and nimble bodies. The artist used them as indirect allusions to the politicians who fish for fame, curry favor with the public and tyrannize the community, or the mass media that deviate from the script, start rumors to make trouble and do whatever it takes. This series contained many allusions, hence ample room for interpretation.

J.C. Kuo, Walking and Singing -- 4, 2002, Mixed media, 80x65cm

2002──2004

Treating Taiwanese people as the protagonists, Kuo transformed these Lohans and used them as the metonymies for different ways of life in Taiwanese society.

Kuo’s Lohans in the human world do not live in a state of eternal dhyāna but in a transient moment with limited life. They are not so much spotless models in the transcendental world as sufferers in human society who have their own lessons to learn.

｜Installation view  ｜(Right) J. C. Kuo, LOHANS -- 1, 2002, Mixed media, 200x130cm

2005──2007

Figure depiction is one of Kuo’s tours de force, and women constituted the sole subject of Kuo’s paintings in this period, which was rarely seen in the other periods throughout his career. Being less critical, his works in this period tended to represent his murmurs with light-hearted expression, through which both the viewers and himself were entertained.

The traditional stereotype of women was dispelled in Kuo’s works in this period. They seem to pursue material values and burst with proactive vitality. However, temptations of all stripes are put in their way, making them stumble between the poles of material pursuit and self-awareness.

｜Installation view  ｜(Right) J. C. Kuo, Beauty, 2006, Mixed media, 200x130cmx3pcs, 41x31.5cmx8pcs