E.Y.Shih-Chih YANG’s (b.1949-) works seem to consist of a single coherent medium, they are in fact collages comprised of many small pieces of paper cut into random shapes and painted on using a variety of brush strokes. Featuring all shapes and sizes, these scraps are basic elements that open up new possibilities within the artist’s works. She forms a collage with those pieces of paper without any preconceptions for the final image. It is a real journey filled with exploration, adventure, frustration, surprise, and sudden changes... and one which leads to challenges that have far exceeded anything she could have ever imagined.
Looking at the work’s level of originality, each small piece of paper is like a key for opening up new possibilities, taking on a position and life of its own during the creative process. In truth, even a piece of paper that is painted perfectly can ruin an image’s “entirety,” and thus be removed if its positioning is even slightly off. The purpose for such a complex process is to unveil the hidden relations between seemingly unrelated brush strokes. The creation of such a relationship eventually endows a sense of space to the image. While the clusters of brush strokes are developed, the space within the image remains in a constant state of flux. Throughout this back and forth process consisting of a mutual and complementary influence, the image gradually takes shape to eventually reach equilibrium, resulting in a complete yet “fluid” space.
The process opens up an entirely new realm where traditional ink painting can retain its unique character even while conventional formalities are being subverted. In Yang’s long search of “holistic perspective” for art, she has continued to develop herself as an artist and perhaps discovered a realm where the possibility for a dialogue between the nature of Chinese and Western art lies.