Inspired by the snapshots or some casually taken photographs, Huang does not have a certain method on selecting the theme or an ideal regulation to follow. She refers herself as a container carrying different visual experiences. The viewers can find the artist’s life fragments and personal sense of humor through the pictures she drawn, for example, an unfinished dinner/lunch box, flock of sparrows on a lawn, and even the kitchen waste in a sink.
Huang concretes her pile of experiences with oil paints, turning into her still life works. She does not adhere to accurately interpret pictures form the photos but more focuses on how images produce visual experiences by oil paints and brushstrokes. Huang enlarges the pictures onto canvases and all the blurred or   intensified objects and the background lead viewers to look at her works with a different perspective. Huang intentionally abandons to reproduce the detail of objects but she exquisitely captures the lights and colors to emphasize on the pictoriality of works differing from photographs, for instance, the work “Jingle Bells”. It is just like what Huang said that the so-called “intermediary” is not the reverse and reproduction of images between materials (photos) and products (works) but also became a communicator. A communicator to reflect the experiences of self consciousness from the artist, at the same time to carry out a dialogue between contemporary digital information and modern paintings.
Being diverse from Huang’s realistic contemporaries, Huang became an obvious and certain exception. She rereads her perception on canvases, instead of reproducing or replicating the images from photos. The themes from life experiences and the pictionality that she insists, once again display the artist’s challenge of art theory and visual experience.
Huang Chia-Ning
Huang Chia-Ning
NT$ 800
30 x 30 cm │ 52 pages