My Dear Lovers – Yi-Hsin Tzeng









My Dear Lovers – Yi-Hsin Tzeng

2016/12/10 – 2017/1/8


Opening Reception∣2016.12.17(六) 15:00




Since 2009, Yi-Hsin Tzeng has been creating a series of “defacing” artwork by smearing, covering, and removing the faces of her pieces. Inspired by American capitalism, she removed the faces of magazine models, altered the appearance of erotic actresses, painted faces of political figures or recreated portraits of entertainers, humorously trying to change the cultural symbols represented by these faces. The works of the series, which are extended by different identities, such as politics, gender, aesthetics and culture, are re-defined with the methods of deleting, destroying and re-creating, so as to redefine the image and popular aesthetics. "Defacing” triggered a wide range of thoughts, but this time, Yi-Hsin Tzeng uses her memory as an inspiration, using the relationships that had been close and important to her but ended abruptly, those that had been clear but blurred as time passed, recording and depicting these memories through paintings and objects.


From the interest of social values in the past turning to understand the depth of her life trajectory, Yi-Hsin Tzeng, from external to internal, recreates the images in her memory in the most pure way. In the exhibition "My Dear Lovers", the artist uses both plain and obscure language as the main basis of her creation, each piece with people lacking recognizable faces, who have each stopped in her life for a long or short period of time. She uses her memory to portray the days that have passed, displaying the relevant objects of the past, trying to present it as a once casual moment. At the same time, she also presents the contradiction between painting, memory, past and future; when the memories of the past are no longer real because the passage of time, is the time point of the event still consistent? When the artist uses different memories and objects from different periods of time, will the essence of this be the same? Yi-Hsin Tzeng, reproduces an unforgettable moment through painting, but with the passage of time the memory gradually fades. In a picture with covered face, how are people to define the time and reality of the painting? My Dear Lovers - Yi-Hsin Tzeng Solo Exhibition" will be exhibited at the Powen Gallery starting Saturday, 12/10, inviting viewers to enjoy the artist's life together.


Yi-Hsin Tzeng, was born in Taipei, Taiwan in 1979. She received a master's degree from the Savannah College of Art and Design majoring in painting in 2010. In 2013, she was nominated for the finals for profound luxury brand Louis Vuitton’s Taipei Art Selection. In 2015, she received the first quarter nomination for her solo exhibition "Super Girl・Hyper Girl" at The 14th Annual Taishin Arts Award. Her artwork has been displayed in Australia, France, Switzerland and Taiwan, receiving numerous artist residencies and awards such as the New York Elizabeth Foundation for the Arts, the Chicago Ox-Bow Art Village, Council for Cultural Affairs, Executive Yuan Watermill Center, Artist-in-Residence Taipei Stationed in New Zealand, Montmartre Art Village and Cloud Gate Dance 8th Annual Wanderers Project.



Statement for “My Dear Lovers”


My English teacher once said: In the narrative of the past events, when mentioning the future, one should use the past tense of will, which is would, to maintain the consistency of the sentence.


Since the beginning of 2009 up to this day, I have been obsessed with the behavior of “defacing”. In the beginning, it was simply a sort of fun and mockery, staring with the impulse of wiping the faces of models in popular magazines, which led to collecting them into a book, producing it into "popular copy" publishing plan. Through the process, I have defaced politician’s faces, erotic actress's faces, entertainer's faces, and so on....This time, however, I chose the faces in my life that have been the most intimate to me as the theme of the exhibition, the faces which has been extremely close yet slowly faded, those who have lived closely but suddenly pulled away.


They are hanging on the wall like a memorial portrait, high and low, left and right, I cannot outline their precise appearance, also no way to consult their current image, trying to use what I think of them to live in my memory. Because they left, so all there is my memory. When I use my current memory to fill the past incidents, placing alongside the past objects, are my memory and past events still in the same tense? The time each person life intersects with my life is not the same, some very short, some quite long, but I do not know why I always only remember a specific moment; a particularly affecting or insignificant moment. It may be the green and lush lawn by my foot, small flowers on the wrist, car lines or swaying reeds next to high-voltage towers.


In his essay "Time, Memory and Long Goodbye," art critic Po-Wei Wang mentions the mechanism of memory: "... with the passing of a person or something, the "energy flow" is instantly broken. It is this point in time that cannot be reversed that distinguishes the "past" and "future", we cannot obtain any new information from that person's image. Despite the clarity of the projected image or the impression of someone, they lose their original amount of information with the passing of time, re-weaving a network of memories belonging to the observer. We must note that this network of memories is a "new past." "I call this the past future.


I slowly found that my behavior was not "removal" but "covering"; everything was there, from eyebrows, eyes to mouth, never changed; although you cannot see it, each piece is covered at its best with different forms or patterns, layers after layer, never forgetting, in another form of living, non-stop growth. Here I call this the future of the past.


Through this exhibition, I show thanks to those lovers who have left deep and shallow, large and small traces in my life.


2016, Yi-Hsin Tzeng