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15
Hello Jun-Yuan and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. You state: “My video work has a strong self-experience inherent emotional vacancies, especially divorced parents, domestic violence, economic weaknesses, and other broken primitive family growth, becoming a reductive sample of the inner spirit. Due to the above factors, the protagonists of the image reflect the inability to repair the direct emotional structure, forming many contradictory characters and inner entanglement when facing the object, while the cascading in the close-up is the creator and the mother and the message dialogue.” Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
The development of video art in Taiwan has actually been less than 40 years since the 1980s. Many artists have invested in it since 2000, and I entered video production at such a time. Therefore, in the past, I often think about the differences in video media in different eras. However, in this process of creation, I found that I gradually pursued the development of technology, and as the artist's own internal problems, there seems to be some avoidance and hiding. Later, when I examined my own creations, I found that the personal nature of being an artist seems to be invisible in these works, so I went back to tapping my life experience and gradually turned to talk about these emotional problems, especially this kind of autobiographical input.
Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?
As mentioned in the previous question, because of the questioning of life experience and emotional problems, there is such a turning point in creation. Mainly in the past, I encountered difficulties in the process of creation, I hope that my works can show personal characteristics, but also in this change, stimulate more creative ideas and images.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
rIn fact, it is a self-learning state to contact video art. Therefore, many artists have become my own reference at the beginning. For example, Bill Viola, a well-known artist, or Goang-Ming YUAN, a Taiwanese artist, hope that my work can as good as I am. Later in the doctoral class, the professors in the college provided a lot of creative discussions. In this process, I slowly found their own creative qualities. Of course, family and life experiences also produced very much. Great impact.
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
In the current works, memory does have a huge impact, especially the growth experience of the broken family. Because when I was a child, my mother was often violently afflicted by my father, and the economy was also weak. After the formation of my mother, She has complained about the past, and she looking forward to the lack of her own past when facing me that can make up for it from my side. Therefore, I am emotionally less concerned about my feelings, so that my emotional communication with my mother is not ideal. In the accumulation of these painful memories in the past, I gradually formed a state of vacuum in the face of emotions or a state of being out of the way.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
In the past, in the processing of video, it will be more deliberate in the management of the post-production system, but in this technical pursuit, gradually ignore the inner focus of the creation, and then simply return to the filming of the image, try to be my own The issues of concern are reflected in the video of the video, allowing the audience to feel the image emotion and creative position of the creator through the power of the image. In other words, for the technical aspect, it is more and more simple, because that is, after all, It's just a link to the media.