Chuang,yi-jou

1988 / 02 / 12 Born Taipei, Taiwan +886 921055590

j212ashk@hotmail.com

Current Employmentlanguage: Art Teacher, Taipei Municipal Ming-Hu Junior High School

Language skill: Chinese, English, German(A2)

Education: 2010 Received Bachelor of Fine Arts (B.F.A), Taipei National University of the Arts (TNUA) 2009 Exchange Student at Academy of Fine Arts, Prague – Inter media Studio

(One-year Program) 2006 Enrolled in School of Fine Arts, Taipei National University of the Arts 2005 Graduated from Affiliated Senior High School of National Taiwan Normal

University Fine Art Class 2004 Begins Classical Ballet training 2003 Graduated from Taipei Municipal Wu Chang Junior High School Fine Art Class 1998 Begins Classical Chinese and Western painting training

Related Experiences: 2011 Actress and Dancer of “Stage Homicide by Babama”, Taipei Fringe Festival 2011.

Taipei Stock, Taiwan 2011 Yi-jou Chuang Solo Art Exhibition – ““Lapsing” Theater”. 8 & 1/2 Art Space, TNUA 2010 TNUA School of Fine Arts 25th Graduate Art Exhibition – “Schrödinger’s Box”.

Underground Art Museum, TNUA 2010 Yi-jou Chuang Solo Painting Exhibition – “A Walk from Yesterday”. Decada Gallery,

Prague 2009 Team Studio No. 8 Group Exhibition – “Svarov”. Private Residence on the outskirts

of Prague 2009 Year-end Showcase. Studio No. 8, Academy of Fine Arts, Prague 2009 Double Bananaman. Studio No. 8, Academy of Fine Arts, Prague 2009 Team Studio No. 8 Group Exhibition – “Ti! Jsi téma?”. Sam83 Gallery, Czech 2008 “1+1+1+1=4” Foursome Exhibition. Nan-Pei Art Gallery, TNUA 2008 Trans-disciplinary Arts Workshop. Kuandu Museum of Fine Arts, Taipei, Taiwan 2008 National Printmaking Exhibition. Taichung City Seaport Art Center, Taiwan 2007 TNUA School of Fine Arts 25th Class Exhibition – “Our Class Curator is a Dope”.

Underground Art Museum, TNUA

Workshops: 2012 Attended the workshop ”Flying Low & Improvision” from the artist

Vangelis Legakis ,Taipei Artist village 2012 Attended the workshop “The Praxis of Contemporary Performance art”from the

Artists VestandPage, Taipei Artist village

1. Sketch from body (2012~2013)

(Video works are in the DVD/ YouTube )

2.Painting about dancing(2010~2012)

3.Boxing the Landscape (2009~2011)

4. The works from old time (2008~2009)

5. Recording of solo exhibition (2011,2010)

“In my case all painting... is an accident. I foresee it and yet I hardly

ever carry it out as I foresee it. It transforms itself by the actual paint. I

don't in fact know very often what the paint will do, and it does many

things which are very much better than I could make it do.”

~Francis Bacon (1909-1992)

1. Sketch from body (2012~2013)

「這還算是舞蹈嗎？就舞蹈的詞意來說，這個問題並不存在，因為編舞藝術跨到他的研究範圍已

經有好長一段時間了；回到舞蹈的原點，最重要的是身體，而未必是坐了十麼。我們會登上舞台，

會密切注意這靜止的一切，會重新推敲對話，簡而言之，在這個開放形式與意義的實驗室，我們

尋找思索。」Philippe Noisette,當代舞蹈的心跳,(吳佩芬 譯,Taipei, Uni books, 2012),./p85

“Can this still be counted as dance? In defining dance, this question does not exist.

The art in choreography has crossed his research areas for quite some time. Back to

the starting point of dance, body is the most important, and not necessary what you

do with it. We stand on stage, we observe, we think over our conversations. In short,

in this open and meaningful laboratory, we search for our thoughts.”

Philippe Noisette, Danse comtemporaine, trans.

Previously I’ve mostly used painting to portray the relationship between painting and

the human body. Recently, however, I’ve attempted to express this relationship

differently by turning the logic behind paintings into methods to design movements.

Thus I discovered a possibility for choreography in myself and the connection

between dance movements and painting. In the experimental short film

“Streak”(2013), parts of the human body is shown making mechanical moves while

accompanied by abstract art. “Line, lining”(2013) is an impromptu movement design

inspired by abstract paintings. And through observations to make connections

between the observed subject and the emotions of one’s self, in a way that is similar

to creating paintings from actual subjects, the impromptu choreography

“sketch”(2013) is produced. Through my own study and experience of the

relationship between dance and painting, I’ve found the ability to choreograph

within myself. By using my background in painting as the soil for growth for dancing,

space has become my canvas, and my body has become my brush.

1.《Sketch》(2012)

2.《Streak》(2013)

3.《Line, lining》(2013)

4.《Surfacing》(2013)

5.《camouflage》(2011)

http://www.youtube.com/watch?v=BeMO28_w_0s

http://www.youtube.com/watch?v=2FXwPjxB9m4

http://www.youtube.com/watch?v=qFLlKdqs_AI

http://www.youtube.com/watch?v=dTwRo3PJOk8

http://www.youtube.com/watch?v=2L5RGUCLuYc

1.《sketch》

“A tree, a patch of grass, a box of water colors, a pencil. Draw on. I can be anything.

So long as you draw.”

Using the human body in a way that is similar to painting from actual subjects, the

body expresses my observations of plant appearances, rhythmic movements or

emotions. My body is the pencil, crayon or a watercolor brush that records the view

that attracts me in a scene with different gestures and postures.

《sketch》

Short Video

11,18 mins

2013

2.《Streak》

“A mechanical pas de deux of the limbs.”

The four limbs of the human body are separated into independent entities, each with

their own life and soul. When each appendage is moving, its individual existence is

not unlike a simple dance solo, but when two appear simultaneously, it becomes the

dance of a duo. The pictures on the side are the markings left by the dance, its

existence similar to the choreography created by the human body.

《Streak》

Short Video

5,19 mins

2013

3.《Line, lining》

“Walk mindlessly. Let your body be controlled by the invisible traces.”

I imagined myself placed in an extremely large canvas, spontaneously designing

routes with whatever comes to mind. Then I used these routes to control my

movements, and use my body to find the routes, to work within the limits of the

routes. In the way that every brushstroke communicates with the previous stroke in

abstract paintings, I’ve found the possibility for movement in the freedom within

limitations.

《Line,lining》

Short Video

10,26 mins

2013

4.《surfacing》

“Breath, and watch the bruises dance.”

The skin changes when a breath is taken or released, or when the body moves, like a

surface the continuously makes different movements. I attempted to record some

interesting surfaces of the body in movement, including scars and lines of the body

moving to different rhythms.

《surfacing》

Short Video

2,11 mins

2013

5.《camouflage》

“Cover up! Cover up!”

White clothing is used to represent the protective appearance of people caused by

socialization, everyone wants to escape from this camouflage. This, however, is

actually a disguise, a way to protect one's self. The true self has not vanished, but

exists more clearly and definitely underneath this covering.

《camouflage》

Shot video

7,04 mins

2010

2.Painting about dancing(2010~2012)

「....畫畫因而是身體的一場舞蹈、儀式、作戰，因為它來自畫家自我身體的驅策，乃是身體尋找

身體的過程。」 Marc Le Bot,《身體的意象》,(湯皇珍 譯, 1996,Yuan-Liou Co)

“Painting is a dance of the body, a ritual, a war. It is driven by the artist’s body. It is a

process of body searching for body.”

Marc Le Bot, Images du corps(chinses version).trans

When I'm dancing, I stopped thinking. I can only concentrate on the feeling of my

body which gives me strength, breathing and lines of walking. I want feel the body

like the dancing time when I am painting. Beyond the mind, I want more from hand,

only the feeling of breathing. By the process, I want to understand more the state of

my body when I am painting. When the Brain, hand, and body both are linked

together. The time I portrayed a dancer action, I try to feel the muscles of his/her’s

body, his/her’s rhythm, the residence of his/her’s sight.

Being from two ideals:

1. Perception of body

「紙頁上『素描』下來的應是一個過程意象，它應是處於騷動沸騰卻短暫的意象。其魅力所在，

乃是一種鄉愁，它渴望的事物並不在場。」「…..對他而言的素描─紙上的鉛筆工作─便可允許其

『繪畫』的畫家：一種與繪畫類似又不盡相同的遊戲。」

Marc Le Bot,《身體的意象》,(湯皇珍 譯, 1996,Yuan-Liou Co)

“Sketching on paper should be a process. It should be the image of a boiling yet brief

disturbance. Yet despite such charm, it is nostalgia for what it desires is absent. “

“Sketching is pencil work on paper. It makes one feel like an artist. Yet sketching is a

much freer game than drawing.”

Marc Le Bot, Images du corps (chinses version).trans

Perception of body

The theater of painting

The Ceremony of illusion on the stage

Behind the scenes

I tried using only simple material (pen and paper) to painting, I feel easy, when I look

at early sketches from David Hockney, only the white and the lines expressed the

strange emotion, or CY Twombly’s painting, which have purely naturally writing on

canvas, I feel greatly moved from them. I tried make painting is as natural as

breathing. Painting the perception of body for me is one of the energy. If get the

stronger sense, will be able to draw much more easily and smoothly

《Jumping frames I》

The paper,pencail,crayon, thread on the paper.

27.5cmX20cm

2013

《Jumping frames I》

The paper,crayon,acrylic on the Canvas

22.5cm×15.5cm

2010

“Collages, sketches, I try to draw more easily, as the dancers want to jump higher,

stretched longer. The most relaxed demeanor expressed as the dancer's body in a

relaxed state. I'm in my studio depicted them in their studio.”

《Synchronous》

The pencil, acrylic on the Canvas

22.5cm×15.5cm

2010

“Listen our breathing, watch our moving and make our trace.”

《pas de deux 》

The pencil, acrylic on the Canvas

22.5cm×15.5cm

2010

“Let’s be together for the moment, breathing and breathing.”

2. The theater of painting: where is the theater in the paints

I've been asking myself, what is the painting of theater or theater of painting?

Theater gives stimulation with lighting, sound and graceful limbs, the audience

breath with theater, performers, like the Community. But when the time loss of these

external stimuli, when all regress to the vision, the theater is exists or not.

I like to sit in the theater to feel a ritual time. Performers are ordinary person, but on

stage they will be extraordinary. Stage and the red curtain seem to be the switch of

these two different worlds, if all things are placed onto the stage, then it transfer into

the performance mode. There is one thing being narrative on the stage. From the

minute by minute, the audience enters a scam. Then the frame of the canvas could

have the same meaning like the stage, with red curtain and performers.

Normally, people make the photos and make video-record in theater, and got the

visual soaked in theater atmosphere. But my attempt is to produce a painting which

are performing. Each object in the picture is moving silently. I use the body

movements of the performer, the screen to produce a static or d or motion posture.

They are performing in the moment. I created the floor, the sky, the field, when the

audience look at painting, perhaps would have 2 seconds, it will perform two

seconds for the viewer, breathing synchronized like the ceremony.

The "Move" on the screen, some of them were from my assumptions, as a

choreographer determine the displacement of the characters in my screen, some of

them are manufactured in the remake of the rhythmic motion, a false rhythm, and I

put them together like I choreograph by myself.

《Forms, lines, breathings and lights》

《Bejart told me》

The pencil, acrylic

on the Canvas

130cm×97cm

2010

“Jumping around! Jumping around! Travelers, do not get lost.”

60.5cm×50.0cm

The pencail,crayon, acrylic on the Canvas

2011

“Just moving around,up and down side to side on the stage,no more, no less”

《moving, we are not ready》

The pencil, acrylic on the Canvas

22.5cm×15.5cm

2010

“We are on the floor, we sit, we stand, we are waiting for the password, we want

to move, but we must wait.”

《Swing on the grass island》

The pencil, crayon, acrylic on the Canvas

22.5cm×15.5cm

2010

"I swing, experience the foot stepping on the ground, I'm still standing on the

shaking island."

《Theater-style of love》

The pencil, crayon, acrylic on the Canvas

22.5cm×15.5cm

2010

“The opposite of a happy ending is a fraud, standing on this side of the screen is

perfect, but another side is lie. Which side you show the audience when we are

faced the life”

3.Boxing the Landscape (2009~2011)

「風景是人與自然、人與人之間、人與自我的一個關係語詞，其中的核心是「人」。」

「透過每個風景的解方法，可以得知其中的文化屬性，特別是作者的感官狀態，他的智識，他的欲

望，他的恐懼。風景表達了我們和世界、和他人，甚至是和我們的關係。」

Catherine Grout,《重返風景-當代藝術的地景再現》, 黃金菊(Taipei ,Yuan-L iou, Co. ,2009)

“The scenery is a relative noun for man and nature, man and man, man and self. “Man”

is still the core of it all.”

“Through understanding of the scenery, one can understand the cultural attributes,

especially the author’s senses, his knowledge, his desires, his fears. The scenery

expresses the relationship between the world and us, the other and us, even us and us.”

Catherine Grout :Représentations et expériences du paysage ,(Chinese version)

I started this series of artwork in 2009. The name “Box(V.)” means that after

cramming in too much information, I was not able to deal with it properly, so I

decided put everything in the box.

The main reason why I felt that way was a huge change in my life— I just arrived

in Czech as an exchange student at the beginning of 2009. Everything was new to

me, including the culture and the teaching styles in school. I really needed to

slow down my pace in order to adapt myself into Prague, into the new

environment that’s totally different from where I came from. The daily trivialities

here as well as the school stuff, together with each detail in life, therefore, cast

undoubtedly a dramatic impact upon me. It was a very special period that I

would like to name it as a “collection phase.” I collected impressions, listened to

different languages articulated and stories told, and saw diverse cities and life

styles through learning and traveling, through the eyes of my own. I used every

pore to absorb like a sponge. I tried to expand the database of visual experiences

as much as possible.

Following “collection phase,” here came what I named “digestion phase.” I felt, at

that time, an urge to record everything. I desperately wanted to record my new

life, my new story, and then put them in a delicate box as if a kid protects his/her

own little treasure in the treasure box. But then I found that when I closed my

eyes and tried to recollect something from my database, some images started to

form more comprehensive shapes, presenting more concrete embodiments with

vivid emotions and complex stories tangled. I couldn’t capture them accurately.

The only way to deal with them is to put them in a frame on my painting cloth.

Like packing a luggage for a long-term trip, I put everything in my bag. Gradually

all stuff were squeezed so tightly that they became color blocks. I boxed my

memories and the sceneries I’ve seen via this concept.

《Have a walk no.4》

crayon on paper

15cmx25cm

2009

《Have a walk no.6》

crayon on paper

15cmx25cm

2009

Three phases of Boxing the landscape

Capturing visual images →Boxing them→ Opening it and searching (for something)

1. Capturing visual images

In the earliest work, I made drawings and sketches to represent my visual experiences.

In the huge width of my sight, I tried to select something that touched me the most at a

certain moment. For example, the railings in front of me, the blooming flowers next to

the tree, and the extending mountain edge ..., etc. From such trivialities, I found myself

having great interests in details. I was also very keen to pick only small parts of the

whole view. These parts are special to me among all the cluttered objects.

"It was a beautiful prairie, from the blue sky to green space.This record is so light, you

can almost breathe the air. "

"I saw there had the railings, the railing had net, behinded the net was the tree.”

2.Boxing them

《The box of landscape No.2》

acrylic on paper

15cmx25cm

2009

《16 hours on the bus》

Acrylic on the canvas

160cmX140cm

2009

I boxed the impressions I had and internalized the powerful emotions of the past, all of

which, in a sense, corresponds to abstract expressionism. Like a package of

long-distance traveling luggage, everything was sorted and put into different bags.

Finally all the things were squeezed inside the box, starting the transformation process

that ended up color blocks. Memory itself is, in fact, not clear and easy to be

disassembled and analyzed. It is something obscure, something complicated. However,

the longer a afterward period is, the stronger the links between different memories are.

Sometimes there is such a link which the original two stories didn’t have at all. This

connection is formed through our emotions, stories and every bit of the remaining

memories that lie in different parts of our bodies.

"I've been to a lot of green, I pressed and closed up."

"On the long-distance bus, the scenery outside has been transformed, through the

house, trees, grasslands, city ... around and around

《Heating landscape》

Acrylic on Canvas

120cmX120cm

2009

《I went to your hometown

for a trip》

Acrylic on Canvas

120cmX120cm

2009

"Sun goes everywthere , but you can get the cool in the shade."

"He said: This is my hometown have you ever been?

I said: I have not been there is but another one.

Then points, I went to his house.”

《Undeveloped!》

Acrylic on Canvas

53cmx45cm

2010

3.Opening it and searching (for something)

When I was back to Taiwan after the exchange year, I started from sharing stories. It

was like opening the trunk and pulling out a bag to see what was inside. At the same

time, I also began to recollect all the past memories gradually. Tiny ones accumulated

into amazingly huge ones; huge ones became again delicate tiny ones. Throughout this

process, I tried to let the painting narrate. Sometimes I made assumptions on the result

when I tried to make a slide out of the box like having an anatomy of it. It is easier than

that in earlier stages to find some concrete images. Things are more likely to have

recognizable shapes. Although they are not entirely correct or realistic, they do come

from my boxes.

“ 10 minutes from the capital is only the remaining grassland and trees.

She shouted: "That is a vast expanse of undeveloped!””

《In fact,Juliet does not like Romeo》

Acrylic on Canvas

53cmx45cm

2010

《Along theater》

Acrylic on Canvas

53cmx45cm

2010

“Bare mountain, likes the memories of him.

I tell the story, and then forgot it in record, record it in forgot. “

“October 2009, a day to go to the theater along,

Do not know the story, do not Know the lines,

I only certainty is that I was sitting here.

A wonderful oppression. “

《Studio no.8》

Paper,pencil, Acrylic

25cmX200cm

2009

4. The works from old time (2008~2009)

《Studio no.8》

I started using the Chinese book style called “ce ye”( an album of paintings ), it has

different way to read : one page would be one painting , two pages would be one

painting, whole pages would be one painting . It is means you need move you sight not

only when you read but also when you are drawing. It needs 360 degree eyeball

movement. From the left to the right, up to down. , make it in the circle. For me, it is a

way to make different space in one picture.

Next step is how to make it become much simple. I chose the experience likes when in

the exhibition: When you start to do eyeball movement in the one area,there would

has some place be caught by colors or shapes. I take the same way to choose the

import things in my area (studios). For me, the white or clean place are the relaxed

place into your eyes. It called "chi”(air). And the bigger blank space is the place for

breathing. In real, It is normal, when we look around the area but would pass over

something, it is the time when eyeball take a break, and keep going to next time to see

again. I let this feeling is more strong happens on my paintings .

《praha》

video

1,33 mins

2009

《Driving》

Video

1,00 min

2009

2.《Driving》

I want to find the way between directed and indirect. Not only sprinkle the colors but

also use somehow between 1 and canvas (It should be more far than the brash from my

hands).Then 1 chose the auto-toy-car to paint. . after sprinkling the colors, the car

started to make the trace on the canvas, because of the edges, it will made a sealed

space by itself. Then I got a question: Who painted the picture? Who can control it? It

looks like me, but the only thing 1 can control it is when it stopped by itself. I can gave

the car new starting points and it would gave me bake the lines and plane. I thought

there is a contradictory relationship, is out off control with me and my car. In the end, I

become the painter because of live, and the no life car just became the tools. This

picture will nonstop change before 1 say stop,

3. Praha

The idea is come from the beer culture. After 1 came here, I thought that Prague

( Czech ) is a city covered by beer. For this reason, I presume that after I back to

Taiwan . The most memory in my mind could would be " red , , , " beer , , , " In Czech, I

felt quite, it is because of the language which I do not understand. I used the beer to

colors the postcards. The colors in the bottle let me feel that 1 can hear the music in pub.

After i came back, the color of Prague ware dim, unclear and as little bitter as beer.

《PARK 2 》

Acrylic on Canvas

116cmX91cm

2008

《PARK 1 》

Acrylic on Canvas

116cmX91cm

2008

4. The series of Park

The park is next to my house. I have used to sketch there when I was a child. where a

large group of pigeons made me impressed. using blocks of color to depict space, of

This park when I was young to now go through a lot of changes, my impression of it is

very unclear, some are true and exist in the painting, some of the colors of the past, as

well as some imagine.

Observed today, look into yesterday by today’s observation. "

5. HELLO?

《HELLO?》

Mixing meterial

depend on space

2008

“Please looking for what you looking for - when anonymous phone rings, you will go

to it? Or ignored?”

5. solo exhibition Recording

2011

2010

Lapsing Theater 04.4.2011~09.4.2011

8 & 1/2 Art Space, TNUA

An arrowhead idea is from a dancer who I like so much, he said about his occupation:

Just moving around, up and down, side to side on stage. That's it. No more, no less.

Use the experience from the theater, making the different way to watch the show in

the gallery. I made a space which has a performance (Video), recording about the

theater.

Stage and the red curtain seem to be the switch of these two different worlds, if all

things are placed onto the stage, then it transfer into the performance mode. There

is one thing being narrative on the stage. From the minute by minute, the audience

enters a scam. Then the frame of the canvas could have the same meaning like the

stage, with red curtain and performers.

Audience will get the ticket (invitation card) and come in to the gallery. The left side

is a seating chart, from here they can started in the fictitious show.

A WALK FROM

YESTERDAY

YIJOU,CHUANG

7/01/2010~31/01/2010

DECADA GALLERY

A walk from the yesterday is about the landscape of my mind. I wanted to use a

different way to describe the landscapes which I have seen or I remembered.

I noticed that every time I used photos or pictures as a reference, I could not only see

what was in the picture, but through the pictures I was able to find an image from

myself.

I call this image an “impression”. All the “impressions” are from the places I have

been, views I have seen, the story I have created. It comes completely from within

myself. It reflects my life, my thinking and my deep inner-eye.

I arrived in the Czech Republic in February 2009. At the beginning it was very

difficult because of the language and cultural differences. I have had to try to use my

feeling to understand all the things that have been happening around me. I collected

more and more “impressions” in the file of my life. In the end, I have tried to record

this year which has been such a different one in my life. I use cubes or circles in my

paintings, just like the Treasure Box that I had in my childhood. I want to package my

memories, or through the holes to see my memories. But I found out I can not only

select the “impression” which has come from the Czech Republic or Europe. The

memories should not be cut and analyzed so easily and clearly. It has already been

mixed in my brain. All the impressions should come from my life, my stories, the

places I have passed through. I internalized all the stories, views, memories into an

abstract image. It is not talking about my home county-Taiwan, nor about Europe. It

is not a landscape from the normal world from outside, but it is the landscape from

my deep mind. This is the subject I want to present to everybody.

I hope everybody can find their own story when they see my paintings. Maybe it is

not just the story which has happened to me, but also one that happened to him/her.

They should try to find their own way to understand the art works. I always have a

feeling that contemporary art today has too many theories. And the theories are

sometimes too hard to catch even for people who study art, complicated theory can

make people feel that art is distant and hard to understand. There is a very wide gap

between people and the arts. Theory is important because it pushes us and keeps us

going, but I still hope my art can give freedom to the audience. They don’t need to

understand the theory of art, or any background about art. They only need to use

their imagination to read the painting. There is no answer, also there has no hard

vocabulary to read, and I haven’t even used any high technology. I just want to share

my stories, and I hope some people will be reminded of their own stories as well.

The world it not wonderful, and the environment is very dark. There is a lot of

artwork which wants to discuss how bad the world is now, but I think it makes people

more and more unhappy. In my opinion, how we live is the most important. Not

everyone can be a revolutionary. So it is better to change your mind. If people can

see the world in different way, maybe the world would be better in the mind. I wish

my painting could give the people a clean space in their soul: the world is not

beautiful, but we can make our story beautiful. Chuang,yijou 12.2009.

< I had a walk yesterday>

Acrylic on the canvas, 160cmX140cm,2009

<16 hours on the bus >

Acrylic on the canvas, 160cmX140cm, 2009

<Summer is hot everywhere >

Acrylic on the canvas, 120cmX120cm, 2009

<I went to your hometown for a trip>

Acrylic on the canvas, 120cmX120cm, 2009

<Where is my snowman?>

Acrylic on the canvas, 120cmX120cm,2009

<Have a walk 1>

Acrylic on the canvas, 50cmX50cm,2009

<Have a walk 2>

Acrylic on the canvas, 50cmX50cm,2009

<Have a walk 3>

Acrylic on the canvas, 50cmX50cm,2009

Acrylic on the canvas, 50cmX50cm,2009

<One more morning, one more story >

<Series of landscape>

Pencil, crayon, acrylic, tape on the paper,21cmX15cm.2009