“The reason why master Chiang’s work obtains its purity is that it features kindnesses, humanity concerns, and musical features.” By architect Yi-Qing, Tong.
Paul Chiang, who dreamt to be a preacher when he was young, one day he found out art could comfort people, so he made a firm resolution to be an artist when he was only 15. He believed art could purify people’s inner sides, just as religious beliefs conveyed goodness and beauty. And art is purer, allowing him to freely convey spiritual ideas. Musician Mahler Gustav and sculptor Alberto Giacometti inspired Paul Chiang when he was young. Before he arrived in Paris, he appreciated German artist Paul Klee, so his works featured the lines and the iconic huge head, reflecting his initial manifestation of existentialism.
Arrived in Paris (1967)
Under the help of a priest's friend, Chiang successfully obtained a French visa. Then he held a one-way ticket and money sponsored by his father, and he finally left for Paris. Unexpectedly, sculptor Alberto Giacometti, the art model he once wanted to meet, had passed away the previous year. This bad news frustrated him for his art was not mature and Giacometti had passed away. Chiang just felt spiritually empty.
Arrived in New York (1968)
Paris, where without Alberto Giacometti, was no longer as attractive to Chiang. In 1968, he bought a flight ticket to New York, where he had never planned. In the 1960s, the United States was in the midst of art prosperity, and everything could become art. This shocked Chiang. The aesthetic concept that he pursued all of a sudden changed drastically. Chiang didn't even know what art he was supposed to do, but it was another stimulus that prompted Chiang to start from minimalism. During this period, Chiang’s works were mainly based on the large blocks, putting some metal parts such as wires and springs on it. Unlike European and American artists who tend to use conceptual art to display materials themselves only, Chiang hoped to have more “human feelings” in his art. He fused metal materials with color blocks, making his works complicated.
However, with the rapid evolution of the American art, the United States began to prevail in photographic realism in the 1970s, leaving Chiang who took abstract paintings to meet the creative difficulties. Even his agent Ivan Karp (1926-2012) reminded that if he still insisted on art, his future career was bound to be very hard. In 1975, he held his first solo exhibition at the Lamagna Gallery in New York.
With all the windows closed
In 1982, Chiang returned to Paris and rented a loft as studio. Curtains covered the windows and blocked all possible external distractions and only a faint light fell from the ceiling. During this period, Paul Chiang chose not paint without any natural light, just like he didn't follow the realistic wave at that time. This year he completed the series of “Notre Dame de Paris”. Artist used white lines to sketch the arches of Notre Dame. The deliberately reserved space allows one to feel the time and air flow in the work. This series can vaguely see the embryonic form of Chiang's works in the future, and “with all the windows closed” has also become a customary practice for the next three decades.
Returned to Taiwan (1998)
Not until Chiang’s father accidentally fell down did Chiang return to Taiwan. Leaving Taiwan for 30 years, Chiang felt more strange in this familiar city. He often visited temples, re-connected the traditional Taiwan religious cultures. After he observed deeply the candles, statues and the interior design, he finished the renowned series of “Hundred Year Temple” in his simple studio. He changed the color of black and white in his past works to gold, red and brown. Just he thought there would be no more colors in his works, moving to Taitung changed his mind again.
“To artist, the sensitivity is the most important. ”
Talking about works over past 50 years, Chiang will change series every 6, 7 years for he loses the sensitivity to the same subject. What he means, he needs to jump to another surroundings. The old saying “Practice makes perfect” couldn't apply to artists. If artists stuck in a repetitive cycle, they will mechanically repeat themselves, which will kill the inspirations of artists. Also, Chiang reminded young artists shouldn't exchange all their works for money, or they will lose the sensitivity quickly.
Moved to Taitung (2008)
Since 2008, Chiang had moved to Taitung with his wife. The beautiful ocean and magnificent mountains moved him, and it was the very first time he felt delighted in art. Aside from the dark and tangled texture in the past, Chiang began to create in bright colors. The series "Silver Lake", " Pisilian," and "On Wings of Song" witnessed the gradual transformation of his styles after he moved to Taitung. Appreciating that Taitung brought changes in his life and his creation of nutrients, he promised to give back to this land. By donating the painting “Pislian 17-17” to the Taitung Art Museum and participating in the activities of the Alliance Cultural Foundation, he gives his thanks to Taitung and local folks.
Chiang’s works have been collected by Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, and Dahin Foundation.
More details of artworks:
www.yicollecta.com/en/categories/4/artworks/439
www.yicollecta.com/en/categories/4/artworks/438
Figure 1: Pisilian 16- 50, 2016, silk print, 40 x 40 cm.
Figure 2 top left: Artist Paul Chiang, Photo by Yairt.
Figure 2 top right: Pisilian 07-85, 2007, silk print, 51.5 x 40 cm.
Figure 2 bottom: Pisilian 09-07, 2009, oil on silk, 170 x 390 cm, ©小美術館 Art Box
