Boundless Landscapes

LIAO Wen-Hao、YEH Che-Yu、CHEN Chun-Yu、HSU Ssu-Chi 3.29-5.4.2025

Boundless Landscapes challenges the conventional boundaries of landscape painting, exploring its possibilities through multiple perspectives and narrative approaches. The exhibition not only captures the grandeur of nature but also magnifies often-overlooked details, shifting between panoramic vistas and intimate fragments, from representation to abstraction, redefining how we perceive landscapes.

In the contemporary context, landscapes are no longer confined to sweeping, macro perspectives. Fragments and details can be just as integral to a complete narrative. This exhibition presents works by three emerging artists alongside an established artist, each of whom reinterprets landscape in their own way—some drawing on traditional brushwork, others employing new media and formats to transform the language of landscape in contemporary art. One artist, in particular, focuses on minute details, offering a microscopic view of overlooked landscape fragments.

Here, landscapes are no longer fixed compositions but fluid, reshaped visual experiences. Yi Art invites viewers to navigate between depth and detail, discovering the boundless possibilities of landscape through shifts in perspective.

Liao Wen-Hao: Ink and the Poetics of Leisure

Liao Wen-Hao, a contemporary ink artist and a PhD candidate at National Taiwan Normal University (2023–), captures a sense of leisure and spiritual serenity in his works. His paintings exude an effortless tranquility, exploring the natural pleasures of an unhurried existence. Through his art, Liao embodies a detached, contemplative state—at times portraying himself as a scholar-recluse retreating into the mountains, at others as an urban wanderer finding solace in everyday moments. Whether depicting daily rituals, tea gatherings, or quiet conversations, his work seamlessly intertwines nature and life, infusing the clarity of the present with a touch of intoxicated poetry. With an extensive exhibition history, Liao has held multiple solo shows.

Yeh Che-Yu: Folding Memory into Landscape

Yeh Che-Yu’s works in this exhibition originate from his study of folds in materials such as fabric and paper found in his studio. Artist Kao Chien-Hui opens In the Name of Fetishism with the words: “In the name of fetishism, we cherish objects, landscapes, and people—each leaving behind vivid physical traces.” Yeh’s works Clouds at Rest and Dulan serve as such tangible testimonies of attachment to place, attempting to reconstruct the landscapes of Taiwan’s eastern coast within limited space. In Clouds at Rest, Yeh integrates sand collected from Jialulan Beach into the painting itself, transforming found objects into part of the work’s materiality. Meanwhile, Birthplace extends the notion of attachment to the idea of a “lover.” The black-and-white object at the bottom of the composition is a coat sewn by a family member, its form resembling a nest. By juxtaposing clothing with a bird’s nest, the work metaphorically expresses longing for familial warmth. Yet the absence of the “lover” in the painting also reflects the experience of displacement—where emotional connections must be transferred onto objects.

Chen Chun-Yu: Bats and the Duality of Human Nature

Chen Chun-Yu employs the bat as a metaphor for human behavior, echoing the ambiguity of its cultural symbolism—wavering, contradictory, and paradoxical—qualities that closely mirror human tendencies. As inherently social creatures, humans often act against their own will or conform out of fear of standing apart. Through constant socialization and cultural assimilation, individuality is gradually eroded in favor of blending into the collective and pursuing shared values. In his work, Chen also references the archetype of the scholar-recluse in Chinese painting history, symbolizing those who remain steadfast in their principles, choosing seclusion over conformity. His art contemplates the delicate balance between self-identity and societal expectations, questioning the most appropriate distance and relationship between the individual, others, and the environment.

Hsu Ssu-Chi: Painting as a Study of Subtle Traces

Born in Hsinchu, Hsu Ssu-Chi has been immersed in art education from a young age and is currently pursuing a master’s degree in painting at National Taiwan Normal University. Her practice revolves around two-dimensional painting, drawing inspiration from everyday objects and scenes. By uncovering the subtle, often-overlooked traces of daily life, she continuously questions the underlying reasons behind her choice of subject matter.

Recently, Hsu’s work has been influenced by the Japanese aesthetic concept of Teikan (諦観)—a state of contemplation and reflection that follows an initial emotional response, where one steps back to observe with greater clarity. She seeks to evoke this sense of detachment within her compositions, creating spaces where emotions remain in flux, allowing her to both preserve and dissect the essence of a moment’s impact.

Boundless Landscapes ｜LIAO Wen-Hao、YEH Che-Yu、CHEN Chun-Yu、HSU Ssu-Chi
Date｜ 2025.3.29-5.4
Opening｜ 2025.3.29 (六)15:00-18:30
Venue｜ 5F-4 No.150, Sec. 1, Heping W Rd, Zhongzheng District, Taipei City
Opening hour｜ Wed-Sat 13:00-19:00 +886 2 23329008
Curator｜ YIART/沂藝術 Convener｜HSU Ssu-Chi

Curator: YIART/沂藝術