Ching - Yuan HSU





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His landscapes evoke a foreign, unknown world that somehow seems strangely familiar. Apparitions from a distant, parallel reality inhabit the photographic scenes, sprung from the artist’s imagination in his signature of mental writing. The Beckettian absurd, embodying the confusion of man confronted with his and the world’s nonsensical existence, governs over form and circumstance in this environment. HSU Ching-Yuan’s theatrical world is stripped of all certainty, whether he casts characters, mummies or manikins in his surreal scenes. These scenes lie at a crossroad between symbolism and narration, born of a unique language and of primal intuitions that transcend the visible world and the image.

HSU Ching-Yuan's theater is decorated with dead trees and glass walls as tools set for staging the consciousness of man. His theater is a representation, an aesthetic proposition offering the viewer an illusion that the bodies, the landscapes and situations are not what they appear to be: that this entire set is a facsimile of another reality. Therefore, like in Aristotle’s concept of imitation, the artwork does not mimic reality exactly, but provides a mimesis, a lens of reflection through the photographic medium, into the world.