叩門人 Meet  the Artists

Wang An-Chi

Wang An-Chi holds a master’s degree from the Graduate Institute of Applied Arts at the Tainan National University of the Arts, with a concentration in metal art and jewelry design. She is currently one of the co-owners of At. Studio, and her days are usually spent either teaching, working on projects, or making art.

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Wang thinks art-making is similar to chatting with friends and believes that there is usually more than one answer to questions about the values of everyday details in life or how a particular event is perceived. She sees the definition of value as not a matter of majority or personal decision, but like a conversation with a friend, it involves discussing life events, constantly asking questions, and raising doubts along with engaging in reflections. Instead of expressing personal pursuit of craftsmanship or visual aesthetics in the artworks she creates, Wang seeks to see her audience’s expressions after they’ve interacted with her art, which may show a moment of realization or a heartfelt smile, all of which she holds as feedback of the highest value.

 

Sienna Wang

Sienna Wang graduated from the Institute of Anthropology at the National Tsing Hua University and received doctoral training in Folklore Studies at the University of Wurzburg in Germany. Currently based in the Longtan District of Taoyuan City, Taiwan, Wang specializes in calligraphy, oil painting, and printmaking. She later also started working with ceramic clay, which fulfills her childhood longing to make sculptures, and it has become a creative endeavor that she’s very enthusiastic about.

 

Working with clay is a tangible and substantial activity that allows people to feel a sense of spiritual wandering and freedom. On the other hand, the sculpture-making process involves immeasurable gestures of deletion, until finally an ideal figure or object manifests from the small mounds of scattered pieces of clay. Those handfuls of eliminated fragments of clay are time that the artist has dedicated to the work. The clay fragments are then recycled and reused, seemingly carrying the time that had already passed into the next piece of work to be created.

 

Art-making leads to the production of life’s meaning; it is personal, but it is also a way of seeing the value behind intertwined existences and the passage of time. It offers glimpses into a space where dialogues between the present and the past, between people, and between different cultures become a possibility.

 

Phebea Shen Chun-Yi

Art facilitator Phebea Chun-Yi Shen is a comical person who has a soft spot for old and nostalgic things. She is dedicated to living a life where she works hard to realize her dreams and ideals. Currently based in her hometown, Taoyuan, Taiwan, Shen has been working in the visual art industry since 2002, and she also lived in Nice, France in 2007. She holds a master’s degree from the Department of Arts and Design at the National Taipei University of Education, with a concentration in art theory.

 

In 2021, she curated the micro-exhibition, On The Other Hand, at the MoCART Shop of the Museum of Contemporary Art, Taipei, seeking to explore alternative possibilities with people’s preconceived notions. In 2020, she served as Art Director of the “Shinkong Synthetic Fibers Corp. 50th Anniversary Art Project,” where art was incorporated to engage in dialogues with a traditional industry. As a co-curator of the 2019 Green Island Human Rights Festival, she led bi-weekly workshops throughout the festival, which gave her opportunities to meet and become enlightened by many who had endured the White Terror period in Taiwan. Other experiences include working as a visual arts coordinator of the 2018 Nuit Blanche Taipei; co-curator of Serendipity Contemporary Jewellery Exhibition in Paris in 2017; and she was invited by the Taiwan Design Museum to present the art project, “Je suis ici Je suis la,” at the exhibition, ATELIER × DESIGN IN FRANCE, in 2017.

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Lin Ching-Wei

Lin Ching-Wei is a Taiwanese recorder player who has performed with the Society for Historically Informed Performance (SOHIP) and participated in the Boston Early Music Festival. Currently based in his hometown, Taichung, Lin works as a lecturer at schools of all levels and teachers’ organizations and is invited by music groups in Taiwan and overseas to present seminars and performances. He also organizes music festivals by collaborating with artists and academics from different disciplines.

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Lin specializes in Renaissance and Baroque music and integrates elements of Contemporary Improvisation, film noir, and various instruments. Through exploring “historically informed performance” (HIP) and contemporary art, he realizes the importance of multiculturalism in society and self-reflection, which leads him to further examine the historically informed performance that he concentrates on. He conducts literature research and explores and confronts contemporary expressions’ presence and phenomena through his creative work. In 2020, Lin co-founded “Musica Lequio Pequeno” with Baroque violinist Wu Meng-Han, and he is an artist-in-residence of the Tainan-based Scarecrow Contemporary Dance Company. Lin’s vision is to form connections and create art through spatiotemporal-transcending dialogues, which will spark a renaissance spirit in the contemporary world.

 

Wu Shu-Lin

Wu Shu-Lin is a ceramic, metal arts and jewelry artist who is currently based in Taipei, Taiwan. After receiving her bachelor’s degree, she studied plastic art at the

École Supérieure des Arts Décoratifs in Strasbourg, France and received the National Superior Diploma of Plastic Expression (DNSEP). Wu began incorporating ceramics in her jewelry designs in 2007. She considers the medium of ceramic clay to be a symbol of her roots and finds resonance between her life experiences and the origin and history of ceramic clay. After spending close to six years in France, she returned to Taiwan in 2009, where she continues to work as a contemporary jewelry artist. She travels extensively between the East and the West and engages in creative endeavors that incorporate her experiences and Eastern and Western elements into pieces of jewelry that are intimately close to people’s bodies. Many of Wu’s works exude poetic qualities and showcase symbolic colors and forms. She actively participates in international exhibitions and residency programs and also presents workshops around the world. Her works are collected by the Montreal Museum of Fine Arts, Musée des Arts Décoratifs et de la Mode, and the Museum of Arts and Design, New York.

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Kiran Chi

Kiran Chi holds a master’s degree from the Graduate School of Plastic Arts at the Taipei National University of Arts, with a concentration in sculpture, and she is now a university adjunct lecturer. She draws inspiration for her art from everyday details and sees life as something that’s of substance, warmth, inner radiance, and uniqueness, as she tries to bring those hidden lights into reality. Chi strives to accept the heaviness and the pressure that life may carry and grabs onto the momentum of life, in order to keep moving forward. Even though feelings and experiences may be ephemeral, she seeks to capture life’s fleeting moments, moments in life that were once real, perhaps brutal yet tender, although elusive but also tangible.

 

Chi grew up in the countryside of central Taiwan. She comes from an ordinary family, went to school like everyone else, and also painted a lot of pictures. After getting married, she has done a lot of dishes and gotten into many quarrels with her children. Now that she’s a bit older, she is trying to piece back her sense of self from piles of fragmented parts, and she yearns to create artworks where her heart can be found. 

 

“Peace of mind is where I belong. I’ve embarked on the journey and am on the road.”

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Ludy Huang Yu-Chih

Ludy Huang Yu-Chih holds a master’s degree from the Graduate Institute of Applied Arts at the Tainan National University of the Arts and has been working as an artist for quite some time. While in school, Huang became aware of her fascination with three-dimensional works of art and realized that she could engage in dialogues and form relationships with spaces and people through art, which can allow people to continuously experience the energy projected by the artworks she creates.

 

She first came into contact with metal arts when she was a university student. Inspired by a particular artwork that she saw at an exhibition on campus at the time, she then developed a strong interest in using metal as a creative medium and began to invest a lot of time experimenting with and challenging the medium’s toughness and how to create diverse expressions using metal. She is especially fascinated by “metal weaving,” which juxtaposes metal’s rigidity and flexibility. The intense feeling experienced from seeing the coexistence of such stark contrast deeply captivates her.

 

She hopes to realize in her artworks the rhythm of breathing and the balance between retraction and relaxation, echoing the phenomena in nature, which are sometimes reserved and sometimes uninhibited. Visually smooth and unobstructed, light penetrates her artworks and brings about delicate, gentle, and lingering changes in the shadows, and as the audience moves about, the artworks and the light and shadows then take on various gestures and expressions. This is the pleasant internal landscape of the artist that she hopes to portray in her works and share with every audience — If there was light, a few steps further could be taken, which would open up the mind and spirit. With beautiful greenery, colorful fallen flowers, and winding roads, there is a sense of joy and feelings of ease.

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Teng Po-Jen

Born in 1969 in Pingtung, Taiwan, Teng Po-Jen went on a family outing when he was in elementary school, where he snapped his first photo using his father’s camera. His father then commented, “You are a better photographer than your uncle.” The comment was what sparked in him a passion for photography.

 

Passionate about photography of various forms, including fashion, documentary, staged, and conceptual photography, Teng focuses on issues concerning land, people, and cities. Currently working in the media industry, he is also actively involved in making photography art and teaching the art form. Author of Farewell to The Fox: Teng Po-Jen’s Novel (2020); A Twist of Time (2015); and Le Temps Perdu (2011), Teng’s artworks are collected by Art Bank Taiwan under the Ministry of Culture and the Taipei Fine Arts Museum. Recognized for his art series, A Twist of Time (2011-2015), Teng is named by the magazine, Chinese Photography, on its list of 10 contemporary Taiwanese photographers.

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