the others from 1995-1998, are also related with organic shapes in Nature as well.
And more, three treasure boxes made for plants are displaying the beauty of the plant shapes; there are roses, lily petals and seeds. The plastic resin and bulb-light used to be against plant shapes like herbariums.
Foliage�EHeart in 1998, the technique procedure involved the wire, fabric and wood stain, I use them in the series of Clothes of Consciousness to extend not only the forming materials but also the idea unfinished, even more to imply its simultaneousness between structure and destruction. Later, the following work I finished is all inspired by an organic form in Nature, such as Foliage�EHeart no.2, California Zephyr, and Tumbleweed, etc.
Series California Zephyr was the work done by the time when I had been in San Francisco doing Artist in residency program. California Zephyr is the name of the interstate-train in the United States. And then I took it as the name for my work, because the days I had there, the colors I saw around San Francisco were amazing, adorable into my remembrance. Tumbleweed, a kind of plant rolling and rolling through the desert, seeks the place where it will root.
In this series, obviously what I am particularly interested in are ��Chaos, Order, Disorder, Repeating,�� not either the same in shape, in form or in structure within the Nature, but the similar to form certain of ��Fragments.�� My latest work, Meditation in Chaos, also expresses such fascination.
The ��Fragments�� overlapped between the Human��s Passion and the Nature
Whisper in Eden in 1997 was a mark of my work to practice into a new period. The mark was the unity in one with the wonder of Nature and the human��s Passion; the two motifs came together in one work. French Philosopher Roland Barthes �]1915-1980�^ theories of semeiology were very popular in Taiwan then, which extremely interests me. The text, called ��A Lover's Discourse: Fragments,�� in Barthes�� theories of semeiology has been tried to approach a certain definition. After finishing reading his text, I made my own work-Whisper in Eden instead. Whisper in Eden is a new Eden with rare flowers, unique plants in imaginative space. Neither Adam nor Eva could the audience in presence use his or her imagination to turn the Adam or the Eva wandering in it or escaping from it. The Eden I made is full of whispering that could be the one of the lovers and the sound of telling the stories of lovers without ending.
Those who are interested in myth mostly are attracted by the symbols in myth, but what fascinates me is the meaning of the structure in myth. What the meaning of the structure signifies that the stories presented in myth is a sort of prototypes of many stories in universal. Even though a character of universal or prototype of the stories in myth, many different life experiences have enriched the roles and the stories. The stories are going to be narrated without ceasing, be activated and changed to become a story that never ends.
Michael Ende��s novel The Never-Ending Story, a film the original version, enlightens me. I realized the myth is structured by the stories of human being. It keeps going on and on, but never can be finished because of the life participating. Repeating, but never is the structure of myth being the same, and the life participating is the truth of the myth structure. Forever Natural is the definition made by myself to state the meaning of internal in myth. It explores a creative representation of scenes in life stories.
However, after Whisper in Eden, the various possibilities of Forever Natural have been kept trying to explore in my work. In 1997, Stealthy Loving, with a bulb-light, heart-shaped waxed sculptures, mixed-media objects to combine the found objects and the natural materials in use to suspend and spin in space came up, as a result, to express an idea about the chemical change in the status of Stealthy Loving. Someone��s desire for something shall bring the changes in the nature of someone��s passion��to imply a flowing status of the inner desire.
Coming up with the idea Forever Natural to the core in Mermaid with a myth, which I started in 1997, hides in a nature form from chaos to obviousness, a new life starting from the end of the story. In Andersen Fairy Tales brings the story to the end that the mermaid jumps into the sea and become the foam, a part of the ocean. However, in my work the mermaid at the moment could be ��she�� or ��he�� who just starts a new life when the mermaid in fairy tales ends her life. A tent-alike has been formed a cave alike full of water-streaming image. When visitors get into to the cave to see the sight with water-streaming image around, they��re just like the mermaid resurrecting at that moment to edit various different stories with the cave.
A piece of quilt, like a creator to make something old becomes a new one through a talented way, seems to create an environment of a kind of reincarnation. In this environment, I��d like to have visitors experience the original mermaid, and joint themselves into the story upon their thoughts, feelings, and incidents, and last, let them turn the part of the story. A piece of quilt and the audience-mermaid start making their own new life in the cave. The Mermaid is all sewed by handmade. I think the trace sewed by hands is the drawing of life. The Mermaid shall bear the trace of my life experience. In theory, it can��t ever be finished.
Not only is myth an old imaginable fairy tale, as far as we known, but also the human life in the past, the present and the future. The idea explains that the cultural relationship between the human and the Nature is intimacy, beyond the time and space a piece of one. ��Forever Natural�� is the core idea of the myth in my work.
The circle of life goes in repetition but it never does the same. Our daily lives rewind the same stories, which have happened since the human exists. Repetition mode exists in the movements and the shapes in organism, fractal and structure in the nature; the life story has explained in repetition, and expands into a moment through a scene of forever nature. To evoke the spiritual connection between the human and the nature might encounter in the retelling.
As compared with Mermaid, Hugs I made in 2000 is more alike such a short, abstract poetry. It reminds you of the jellyfish as if you were under the surface of the sea looking up the jellyfish��s floating on the surface of the sea. ��Hugs�� also seems like cupules of ivies attaching on the walls. Its extension, densely tentacles symbolize the desire of touching; however, the proper distance of the hugs in-between is hard: the closer, the more annoying, and the furtherer, the less warm. A short poem as follows for ��Hugs�� I made.
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Ping-Yu PAN
1, Hsueh - Yuan Rd., Peitou112, Taipei
Department of Fine Arts, Taipei National Univ. of the Arts
R.O.C
Taipei
Taiwan
Asia
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W: http://www.panpingyu.com
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