Epic is a literary art form of an oral recitation. In every word of mouth to create space jockey a difference in repetition. From the most ancient Babylonian epic "Gilgamesh" (Gilgamesh) or the ancient Greek "Iliad" and "Audi Race" space jockey and the ancient Indian space jockey "Ramayana" space jockey (Ramayana) "Mahabharata" epic Construction of the core media are often the subject of a nation's spirit. Where the structuralist perspective, the most epic all have some common ground, such as adventure, exile, war and disaster, as well as the people of God fit fabulous monster sprite.
After the war of Troy, Ulysses sea starting to return to their home kingdom chi 萨嘉 (Ithaca) space jockey island, but in the aftermath of the sea has many adventures. He met witch Qi Erke (Cierce), goddess of the sea Karrie Ke Suo (Calypso), subject to Athena to help, and finally drifted to the island by the Nausica hospitality go back home. Kaohsiung is the Jing-Sheng Lee's chi 萨嘉 (Ithaca), New York is a gorgeous feast of his mobility, as Fayiyeke island NSN good (Naussica), while in the artists presented in the exhibition is often emphasized the Goddess Mazu as if Ulysses has secretly helped through various difficulties of Athena.
Jing-Sheng Lee said: "From after 1989, I have gradually put some conscious Taiwanese colors and symbols used historic research, and as an inspiration because of the history of concern for the" timing. " In the graphic arts in performance, but also put a lot of effort, which in the "stationary flat space" concept of time the performance of the process, so I'm thinking about the form of artistic expression, to reach into many new areas of the level. "
However, Jing-Sheng Lee roaming mentality have left marks on his record creation. From high school space jockey to college, he seems to be a self-exiled wanderer, but this time the visitors mind and creative presentation space jockey is strong, "Don Quixote" style but never as one of seeking a spiritual space jockey enterprise and not roaming boundaries. Showing a picture of a lonely traveler on vision and journey A depressed and bitter not find the exit. Look at this painting style can identify some of the familiar "art proper" strokes, as if they do not read the chapter ancient knight Don Quixote really travel.
At this expedition just imagine, however Academy mimic these symbols can not be seen in the real world, in particular echoes. Model of learning and knowledge of reading and real lives difficult and a huge gap. When he felt the energy and beauty of the real life of the former town Caoya, still no way to sign into the real world. So with abstract symbols to attempt to solve the real college life experience, although excessive vocabulary proficiency elegant, full of creativity and even kinetic energy, but this time Jing-Sheng Lee was not satisfied with myself, not even sure whether you want to become a real artist. At this point in the New York study, specific and exact his exit life, from New York to let Jing-Sheng Lee Don Quixote becomes Ulysses.
Most Jing-Sheng Lee dominated realist paintings, especially in his landscapes, often pulled perspective vision space jockey of the performance throughout the. This is his personal style but also in his social involvement and practice into action. Transcend it Kaohsiung "black paintings," planning "Modern Painting Society newsletter," "Southern Art," space jockey "Art Certification" and the high level of participation in the "new Waterfront" us, we can see him in the art Parallel efforts beyond the concept and practice hard.
Lacan had structural heart analysts will Freudian psychoanalysis: the "I", "real me" and "superego" heavy with linguistic space jockey constitute "imagined community", "real world" as well as "symbolic." . And one of the most critical is the "mirror stage" Let him who by the body to construct their own body. In Angelopoulos's Ulysses, and from calypso to Naussica are Ulysses to re-identify genuine chi Sajia (Ithaca) mirror.
Jing-Sheng Lee of New York is a mirror, so that he entered into the real from the imagined space jockey community sector, the creation of the symbolic order in his personal vocabulary of art after returning to Taiwan. Jing-Sheng Lee said that because people in New York, meaning like the Taiwanese culture began to clear up. After returning to Taiwan and make more intentions to take care of a variety of special Taiwanese culture, pluralism and respect for Chen and life. He believes the United States as Taiwan's history is very short, making the United States than in Europe like the art history with multiple levels and learn. So the United States does not face the history and for the community, this strategy Jing-Sheng Lee used in his face on the art of Taiwan, he was always positive for the community, and will face in the proceeds back to the community space jockey after the individual artistic creation, and thus more focus on issues of culture and arts center and the periphery of. Considered the upper culture and subculture need to refer to each other rather than exclusive, multi-cultural arts and Chen to make the rich even more exciting. In fact, this is always a post-colonial proposition, Taiwan contempt and avoid the image of passengers in a way that is acceptable to compromise with the post-colonial Orientalism, which causes the body's self-othering forever, space jockey if not third or slaves of globalization, in which case the ongoing misplaced self-identity, self-making body and can enter in a contented without embarrassment, this is a long-term colonization of Taiwan, when thinking about culture and nature can not be avoided proposition.
But again, the name of the event to the local community to justify everything turned into violent conflict is a reverse, visitors from Taiwan or local context but often the worst is exaggerated into something populist (populisme), and then to local name to justify in the face of the world with a vision of the concept of self-enclosed, and to encourage low and vulgar rough superficial. This may be the case in the anti-cultural crisis of globalization and localization in common sports world, which will soon turn cognition and emotion space jockey become malicious space jockey refusal to open and inclusive exclusion (Xenophobia).
This is nothing more than the two extreme scenarios are "ordinary people of the far base near the comic back real" results, enthusiastic but confused appearance betrayed the real world and the self. Jing-Sheng Lee Yau and thus choose to accept the world tour which revealed no entry without a contented ease, Jing-Sheng Lee is different from other self-labeled local artists, that sets off his knowledge not only in superficial narrow subculture, but face After the self-awareness of globalization, the concept of a worldview in the text, the historical depth of the pursuit of self and self-understanding.
If we think of New York artists and studying betel image of Jing-Sheng Lee tune, it is because of our own hearts and post-colonial feudal default position, indecent or betel unbearable not materialized this object, but by colonists heart Facts inferiority and dream satiation, Jing-Sheng Lee often expressed this concept of land and cultural identity in the works, but few local viewers or readers space jockey to have an independent and not like him from the (non-conformist) courage needed at this time carried out on a trip of self-contemplation of the self. Jing-Sheng Lee's "Taiwan" is not superficial grandstanding, as he himself said, "I now have a platform is a natural and conscious" after some kind of "re-confirmed" stance and choice, is a "reflection of the reality of the Open Society for Environmental historical and cultural reality of the front view of the state of mind "in this readme, an open mind is a focus of his stressed.
Jing-Sheng Lee's paintings there is a not a painting depicting it as a bit like a calligraphy brush strokes like running, throwing his rejection of the use of violent and violent (crack) brushwork another form his strong personal characteristics, in order to allow such features to play to some extreme, artists and even added language text images, and some concentrated violent vent type words. Which is more willing to use curse words Xiangdang to make the picture clear tension in the theater of condensate chain. If we do not have to describe the style of artists such practices, it is because the style is an art history without a name "Wo Fulin," some of the same style of its formation heterogeneity within the body a sense of personal he would erase the traces space jockey , Ning Jing-Sheng Lee's space jockey Do This approach is often said that in southern Taiwan "hand path", whether it is food or comment bando large wooden temple architecture and furniture and other small wooden craft, we often like to talk about "hand path" is not speaking style. "Hand Road" is a personal space jockey identification code, it has a collective unconscious projection qualities but will not eliminate the self-interpretation of the style, the way you can explain the feeling of the hand body (performance) can not reproduce the style, especially Jing-Sheng Lee's personal splash space jockey and impact velocity rejection strokes depth perspective in the sense of picture composition.
In the artist's space jockey readme in the background talking about the formation of this approach, he said: "The adolescent's space jockey life, bicycles and Western music Kaohsiung confirms the depth of field landscape connotation meaning such as" rough "and" ㄔ ㄨ Lamma " The bitter mood. "1980 Kaohsiung Caoya entering the workplace in the lives of meaning like a deep imprint in their understanding of life, he finds that the real city of Kaohsiung heritage, this character is the heart of Kaohsiung: sticky space jockey hot (warm), wilderness, heavy , Nongzhuo
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