BENEATH

THE SMOOTH SURFACE:

ON HUANG HUA-CHENS
LATEST WORK
By Wang Sheng-Hung

To be a good human being is to have a kind of openness to the world, an ability
to trust certain things beyond your own control that can lead you to be shattered
in very extreme circumstance, in circumstance in which you are not yourself to
blame. And I think that says something very important about the condition of the
ethical life. That it is based on a trust in the uncertain, a willingness to be
exposed. Its based on being more like a plant than a jewel, something rather
fragile, but whose very particular beauty is inseparable from that fragility. [1]

Martha C. Nussbaum

Emotions and Relationships

Since her previous series, Family Album, Huang Hua-Chens work has clearly
focused on close observations of (interpersonal) relationships. Relationship is an
important aspect in Huangs art. Every image represents the minute details of
human relationships, endeavoring to reflect the subtle yet volatile display of
emotions. Huangs solo exhibition, Bright as the Day, builds upon the same theme
and showcases some seemingly fragmented images of daily life, which continue
to reflect the most indescribable human emotions. The paintings appear to
have been gently cut out from the artists everyday life before being rendered
into the following images: 1. Interaction between two mutually attracted
individuals that abounds in ambiguity and subtle meanings. 2. A gesture that is
frozen in time yet emanates endless waves of vitality. 3. The forlorn sight of the
back of a mysterious stranger. 4. A stranger with hollow and deep eyes who
seems almost dispirited and pensive. 5. A stare at a random everyday object

which appears insignificant at first but is indeed very intense.

At first glance, these journal and poem-like images appear fragmented and
disconnected. The entire work seems like a bunch of random displays of life at
the micro level. However, upon closer look, we notice the artists unique touches
of the protagonists provide a subtle consistency to the painting. Viewers need to
look really hard to grasp the implicit dialogue between individual paintings.
Indeed, Huang Hua-Chens works carry a tone of intimacy. The warmth and
candidness that permeate the paintings trick viewers into believing that the
work is a depiction of the artists life story, or a collection of random snapshots
born out of the artists everyday inspiration. Some may also think that the entire
work is simply a collection of Huangs personal memories. Moreover, in the
previous Family Album, the missing piece of the fathers absence prompts some
sensitive viewers to imagine a single storyline upon which the paintings are
presumably based on. However, all of the details are well-conceived to guide the
viewers to appreciate the artists unique style. It was never the artists intention
to encourage viewers to indulge themselves in a cycle of stories or memories of
the past. In other words, we shouldnt limit ourselves to questions like Whose
father is it? Whose family is it? Whose friend or life is it? when trying to
decipher Huangs work. Instead, we should pull back a little and ask ourselves:
Whose intense glance is it? Who the objects of the gaze calling to? These
questions will allow us to better understand why the artist insists on the
ambiguity between the painting and the painted. We will also come to
understand why the artist Eliminated the features of the subject matter and
smeared away all emotions to process my work from a distance, so as to render
her protagonists in as empty and complex individuals.[2]

The Skill of Self-reflection

Viewers shouldnt rush to get the answers immediately and should maybe direct
their view towards those pairs of dark and empty eyes instead. Careful viewers
will discover that all of the Huangs protagonists are under a strange state. On
the one hand, their expressions and postures seem to be loaded with meanings,
yet their brimming emotions are suppressed. On the other hand, they appear
dispirited and bland, as if have partially lost their mind. These people (or objects,

to be more exact) are like puppets with the appearance of human but remain
inanimate, which creates a subtle but intriguing relationship/distance between
the objects and their viewers. These human figures are in between, that is, they
are not sophisticated renderings of actual persons, nor are they symbols with
special meanings. These figures represent the masses and not individuals. Their
dark and hollow eyes resemble holes that suck in viewers emotions. The use of
random faces can better evoke viewers personal life experiences. The artist
intention is not to depict a single and specific storyline and force it upon the
viewers, but rather to create human paintings sharing unspecified memories and
stories. The protagonist could be in a state of trance, surprise, confusion or
withdrawal. Either way, Huang never limits her paintings to one single
interpretation. Instead, she encourages viewers to relate the painting to their
personal experiences. Such approach to creativity renders a unique emotional
texture. Gradually, feelings of the artist, the protagonist or the viewer become
indistinguishable; like entangled threads that resemble an emotional force
transcending stories/memories.

No matter the number of individuals or whether the subject under discussion is
us or others, I have endeavored to discuss the relationship between people (or
our inner selves) to analyze some of the parts of the whole picture. This could be
considered a shared emotion that could exist in every kind of relationship.
Because of the differences between individuals as well as the fact that we all will
die one day, these parts seem especially real and profound to me.[3] Over the
years, Huangs artwork has continued to explore a tricky theme that borders on
clich. In many previous Taiwan Fine Art Exhibition and non-professional art
societies showcasing second-rate artworks, the theme on emotions and relations
was often portrayed as tacky, rigid and boring paternalism. Against such a
backdrop, Huangs approach to realign her work with viewers emotions with
great success becomes even more unique. In the collection, Family Album,
instead of the mushy and shallow depictions of intimacy, Huang allegorizes the
human desires yet to be fulfilled, so her paintings do not become just another
representation of motivational family TV series. In Bright as the Day, Huang
seems to depict the all-too-familiar theme of People with a greater sense of
aloofness and simplicity. Her paintings candidly depict issues such as growth, the
path to maturity, and even self-reflection and an exploration of personal talents.

(Of course, her artworks have not yet fully matured, but they are worth studying
nevertheless to see how young artists such as Huang use paintings as a way of
self reflection.) In other words, we shouldnt limit ourselves to simply evaluate
the success of her work, but rather to appreciate the sense of belief expressed
therein. Such belief goes beyond the sentiments depicted on the surface level and
the true emotions conveyed by the painting. It is the belief that paintings reflect
the truth disclosed by someone and realistically illustrate the painters life; how
she gets along with herself and others. The painting reconnects with the
conventional theme of Self discovery. Under the surface theme of Human
emotions and relations, the painting will eventually reveal an inner self that has
remained disclosed, until now.

The Vulnerability of Paintings

Compared to the philosophical contemplation or the moral examination,
this path to art is even more complicated. To a relatively inexperienced artist,
there is still a long way to go. However, what matters most is not the
self-observation which reflects the profoundness of the artist, but the belief and
frankness manifested by Huang to shows us that paintings will mature in this
self-observation. This is also illustrated by a kind of precociousness and
sophistication evident in her works.[4] This kind of obsession towards painting
can also be extended to a topic about contemporary art, or, the vulnerability of
art. In a nutshell, Huangs works can be viewed in the following context: how can
contemporary art avoid the manipulation of pure form of symbols and stay away
from being overdramatic or clich? At the same time, can we avoid the
commonplace criticism of social phenomenon often seen in contemporary art
and discover a future vision of this old form of art? In the face of a long and
complicated history, this pursuit is often subtle and difficult while the
philosophy behind it intricate or even dark and hopeless. In other words, the
questions contemporary artists ask themselves is not How is it possible to
believe so firmly in art? but also How can contemporary art extend its life and
find new directions while others are declaring and mourning its death?.

Perhaps in todays society, the pursuit of excellence in art is like peoples pursuit
of excellence. The artist needs to face complicated conditions as well as the

greater environment, or even face up to the numerous factors beyond control.

This is the reason why contemporary art is so vulnerable but also why it is so
precious today. American philosopher Martha Nussbaum used Pindars
grapevine metaphor to discuss the excellence and vulnerability of men. She said
that the excellence of humans is like the growth of a grapevine, the result of the
rain and water, and among those who are intelligent and just will see clear
skies[5]. The poet compares the kindness of men to a plant, which depends on
external conditions and the environment to survive. If that is the case, then why
judge human nature? Why try to decipher which parts are due to the larger
environment and which are what we are both with? Nussbaum feels that the
goodness of men relies on the outside world, and that even in Greek poems and
songs, the excellence of men is viewed as a need rather than something perfect
or impeccable. This is the reason why human nature seems so vulnerable. Yet at
the same time, the beauty of human nature also lies in its vulnerability. This
beauty is a kind of gentle mildness rather than rock solid and dazzling like
jewels[6]

The discussion of human nature may also apply to contemporary art: the
vulnerability of art lies in the fact that it is susceptible while self-sufficiency is
extremely difficult. Especially in todays world, contemporary art needs to
compete with emerging new materials/media as well as other skills of
production, deviating from the simple material and one unique focus point. (The
Weak Painting exhibition of 2009, which Huang was also a part of, was also
based upon the same discourse.) Because painting is a form of art so subtle and
sensitive, and also a form which reflects the profoundness of men as well as skills
of self-governance or self-reflection, it is also easily manipulated to become a
type of fashion or craze, or simply a show of artistic skills which is nothing but
shallow and superficial. In other words, the vulnerability of art is that it is easy
to make revision and to cover up past traces. Its changeability has made it a
second-class tool which is used to pursue the superficial rather than the
profound. Originally, the discussion about paintings on what-it-is-not is a way
to find its dark side, a way to discover the unknown, and a way for paintings to
negate itself. In this light, paintings need to constantly face random threats.
Paintings can easily become simple illustration, images of certain concepts
(philosophical or theological), portrayal of landscapes, narrative of a story, or the

reflection of contemporary image or signs/symbols which are in fashion, etc. In

short, the essence of paintings can be diluted since paintings can be interwoven
with anything else, crossing various boundaries. If this is the case, in todays
world, in which paintings are no longer self-disciplined, why continue to pursue
painting and how to transform this skill (both old and new) to exert the identity
of the artist? Also, as a tool for taking action, how can paintings help artists voice
their inner thoughts and opinions?

Conclusion

These kinds of questions are hard to answer directly, and there are no definite
answers. Contemporary art is like a pendulum, wavering between two ends of a
spectrum. At one end is peoples desire for a transcendent state of purity and
sufficiency, to reach a state of rational self-sufficiency and to rid oneself from the
control of nature or circumstances, just as proposed by Plato. At the other end,
art reflects the non-rational part deep within our soul: the pursuit of desire,
sensuality, and sex continues to connect us to this irregular, mad world. This is
also the case when we look back at Huangs works. The subtle changes in the
relationships between men, the goodness, the friendship, the romantic love, etc.,
are in between the two extremes of sense and chaos. Furthermore, there are also
structural factors or limits which have influenced the young artist. For instance,
the implicit pressure from the commercial galleries on the artists subject matter
and form, the exposure which came with awards and exhibitions, the decision
between whether to be conservative or bold, the pressure to generate income
and to make a living, or whether to succumb to newer and more popular
materials, etc. These uncertainties place the exploration and persistence of
contemporary art under an even more vulnerable and unsustainable structure.

Therefore, beneath the smooth surface of a glamorous or sentimental painting
lies a complicated problem. Underneath the layers, besides the moderate or even
indifferent feelings of withdrawal, viewers may ask, is there a calling which has
brought paintings through an unknown world filled with different media to our
face? If there are too many external factors which have shifted the nature of
paintings, diluted it, or even phased it out, what kind of determination has kept it
standing, just like the grapevines in old poems. In other words, when we see a

young artist still using this old form of art to work, the metaphor of the
grapevine once again comes to our mind. We are reminded to look at the
precious part of contemporary paintings and also to reexamine them to discover
their true essence as well as initial aspirations. More than that, we are prompted
to ask why this form of self-reflection also incorporates the necessities
interrelated to a modern lifestyle.


[1] Taken from an interview with Martha
Nussbaum: http://www.pbs.org/moyers/journal/archives/docs/woi_nussbaum.pdfretrieved on
2011.09.10. For the full interview, see: Bill Moyer, A World of Ideas (New York: Doubleday, 1989), p448
[2] Taken from Huangs comment on Bright as the Day
[3] Taken from Huangs comment on Bright as the Day
[4] From my comments on Huangs works, Truth from a Confessor: on Huang Hua-Chens Family Album,
Artitude, volume 18, 2011.03, pp. 71-73
[5] Martha C. Nussbaum, The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy (New
York: Cambridge University, 1986), p1.
[6] Ibid., pp2-3.