Essays-2

III. Cyclical Space Painting Analysis and Categorization


My works can be grouped together into categories according to the following six periods:

1. Initial experimentation (1969-71) Solo exhibition at the Oshkosh Public Museum in Oshkosh, Wisconsin, USA. This exhibition has not been grouped into an independent theme.

2. Horizontal Shift Illusions (1972-79) Solo exhibition in 1973 at the Taiwan Museum of Art (renamed National Taiwan Museum of Fine Arts), titled "Unbelievable Space." Works have been collected together thematically.

3. Non-objects (1980-84) All of the works enlisted for multiple exhibitions in the years following the 1983 opening of the Taipei Fine Arts Museum were oil paintings above Number 200.

4. Deep Illusions (1985-91) No solo exhibitions featuring works from this period.

5. Multi-dimensional Worlds (1990s to present) No solo exhibitions featuring works from this period were held at the time. The painting catalogue CYCLICAL SPACE was published in 1998. Finally, in 2004 selected works from this period were featured in a solo exhibition at the NAN Gallery's new Renai Gallery.

6. Cyclical Horizons (2004-06) Both "Distorted Objects" and "Rotating Spaces" were pursued during this period. Selected works were shown in a solo exhibition at the NAN Gallery's new Renai Gallery.


In the following section, analysis and categorization of artistic form and content is presented for the works dating from each of these periods.


Although chronological ordering makes for neat arrangement, old factors constantly prod at my mind. Old concepts also emerge during different periods. For instance, "Alternating Substance and Emptiness" and "Deep Illusions" constantly got in the way of my thinking at different times. Consequently, in analyzing my paintings it is necessary to look for various basic elements at play in various subjects.


In order to find possible cyclical images in spatial forms, analysis is conducted using assorted perspectives and logical hypotheses, and illusion is employed to strengthen imaginary variation. Amongst various interrelated factors, works can be roughly grouped into the seven following categories:
1. Alternating Substance and Emptiness
2. Spatial Displacement
3. Deep Illusion
4. Multi-dimensional World
5. Distorted Objects
6. Rotating Spaces
7. Cyclical Horizons


The above seven categories are grouped by appearance. Although similar to categories according to time period, and they can be expressed in a particular tie, they are probably arranged with a particular subject of exploration in mind. Perhaps illustrating them with simple pictures would serve to elucidate these distinctions further.


1. Alternating Substance and Emptiness


Matter exists in the three states of solid, liquid and gas [Josiah Willard Gibbs (18391903) proposed his Phase Rule in 1870], with the colloidal state found between solid and liquid. After undergoing physical or chemical changes, matter can be transformed into different states, such as ice melted into water, water heated into steam, or candle wax burned to form gas from solid.


As the classic Chinese treatise n philosophy the Dao De Jing states, the myriad things of the universe are "born out of nothing." Modern philosopher Guo Xiang comments, "something out of nothing, nothing out of something -unbelievable!" In my painting pursuits, in order to transform the interior of an object into the exterior, I employ the "two-sided method" on both sides of an outline, so that the front of the outline is a solid object while the rear is empty. This gives rise to an image of alternating substance and emptiness (See illustrations 21-24).

Illustrations 21: Shading is employed to a closed line to make each end solid, leaving the middle vacuous. This technique is employed in the following illustrations.



Illustration 22: No Exterior, No Interior, 1973



Illustration 23: When Substance Links with Emptiness, 1972


Illustration 24: You in Me, 1972




A picture that is an optical illusion often has some parts that cannot be closed up. And what is the positional relationship between a picture that does not look like an object and the background? This is the problem that has arisen when I render non-object painting. For instance, it is difficult to discern a coherent object or room composed by the space made by the picture's lines; normally, the outer borders of an object must be closed in order for it to take on form (See Illustrations 25, 26).

Illustration 25: The Space persented in this illustration is hard to translate into the real world



Illustration 26: World of Non-Objects, 1984




2. Spatial Displacement


Perspective expresses a three-dimensional world in two dimensions. In the real world, layer upon layer of objects is visible on the same position. If that object is transparent like glass, multiple layers of objects can be seen in front of and behind it, but due to the reflection of light on the glass, the object's outlines are difficult to discern. In order to alleviate this difficulty, I paint multi-level objects at the same position, using perspective trickery for heightened impact. The aim of spatial displacement is to explore what effects on perception are generated by the confused fore-aft relationships of objects. See the following illustration for elucidation of this aspect (See Illustrations 27, 28)
Illustration 27: Space Within Space, 1993


Illustration 28: Layers Within Layers, 2006



3. Deep Illusions


Can the optical illusion method be helpful on realizing the objective of "cyclical space?" This is what I'm interested in investigating. Optical illusion painting involves using shifting eye point movement and organization of image perception in the brain to produce the feeling that something is not quite right. In order to achieve just the right impact of illusion it is necessary to maintain appropriate distance between the movements of the visual focal points (see illustration 29).
Illustration 29: Pulling the top and bottom of a three-dimensional object too far apart on a horizontal plane has no discernible effect, while bringing them too close fails to produce an illusion.



There is a definite mathematical logic to three-dimensional objects in perspective. As in the illustration 30, if optical illusion is introduced to receding horizontal lines for each three-dimensional object, can it result in horizontal illusions? This is what I seek to explore in Deep Illusion. When both sides of a three-dimensional object are relatively close together when producing graphic illusions, it is difficult to achieve a composition manifesting such deep illusion (See Illustrations 31-34).

Illustration 30



Illustration 31: Life and Death Battle of Substance and Vacuity, 1987



Illustration 32: Billowing and Flowing of Space at Dusk, 2006



Illustration 33: Summer Dusk, Heaven and Earth Switch Places, 1989



Illustration 34: Strong Gravitational Field Sucks Away Weak Landscape, 1989





4. Multi-dimensional World


As described by the theory of relative dynamics, gravity causes bending of space in the universe. What new possibilities does this concept give rise to in relation to perspective? This is what Multi-dimensional worlds sets out to explore. What is the significance of the appearance of two or more horizon lines in one picture? Following is an analysis using sketches (See Illustrations 35-42). When the horizon line becomes a round curved form it resembles the view through a fish-eye camera lens. However, using today's photographic techniques and 3D computer graphics to link the two worlds of a landscape formed with two or more horizon lines together would require prodigious effort.


A curved horizon line on the one hand results in a wide-angle effect, while also representing spatial curvature and gravitational reordering. If the above scene were painted on a sphere and extended to a certain degree it could envelop the entire sphere. The same effect would be impossible with classical perspective.

Illustration 35: How does one handle the two overlapping horizon lines below?
Horizon Line B Ground Plane 2 Horizon Line A Ground Plane1



Illustration 36: What happens when one of the horizon lines is tilted? Horizon Line A Horizon Line B Ground Plane 2 Ground Plane1 Ground Plane1 Ground Plane2




Illustration 37: How does one handle gravity acting in opposite directions on the upper and lower horizon lines? [Note]: If the edges of a three-dimensional object are perpendicular to the horizontal plane, gravity is perpendicular to the horizon line. What happens when both the edges and the horizon line bend? Ground Plane 3 Ground Plane 2 Ground Plane 1



Illustration 38: What does it mean when there are three, four, five, or more horizon lines on a picture? How does one handle the meeting of different ground planes? What happens when objects that recede on different horizon lines approach one another? Should curved lines be used for vertical lines and receding lines perpendicular to different horizon lines? These issues have been discussed in my publication, CYCLICAL SPACE: Su Hsin-Tien's Multi-Dimensional World in Painting, 2004, in the section on pages 9-11 entitled Cyclical Space : Solo Exhibition Lecture.











Illustration 39: Universe Moved, Spring Arrives, 1999



Illustration 40: Camping, Goats, Sunset and Sea Breeze, 1992



41: If a scene using classical perspective is formed into a cylindrical shape as with the above picture, in order to wrap it up into a ball the vertical lines perpendicular to the horizon lines must converge at one point.



Illustration 42: In multi-dimensional worlds, many horizon lines can curve. Any of the receding lines on them can be placed on a sphere, and land and sky can be arranged to wrap around each other appropriately.




5. Distorted Objects


If objects can be distorted at random and space can be curved, what new possibilities arise for the relationships between the "inside and outside" of space? When a three-dimensional object is seen as a suspension and can be distorted, it can take on a different form. In addition, techniques of illusion can be used to make one side of an object into an empty face (alternating substance and emptiness), which can then be distorted, or to distort the ground plane and thereby distort objects placed on it, or to produce distortion with confused gravity placement. I view all of the above as "object distortion" (See Illustrations 43-45).

Illustration 43: Interior with Rotated Gravity, 2004



Illustration 44: House Inside-Out, 2006



Illustration45: Gravity Reordered, 2004




6. Spatial Rotation


What possibilities can come about through the new special forms fashioned by curving space? Using the "gravitational direction created by horizon lines," "exaggerated three-dimensional perspective," "object distortion," or "illusion" to create "two or more horizon line worlds" appears to allow interconnection into one world. Perhaps this device is similar to deep illusion, multi-dimensional worlds, or object distortion, but where it differs is in extending geometric wall shapes beyond the distant horizon. This is an unprecedented approach (See Illustrations 46-49).

Illustration 46: Green Summer, 2004



Illustration 47: Landscape with Distorted Emptiness, 2004



Illustration 48: Look Out! Don't Get Sucked Into the Black Hole, 2006



Illustration 49: Around the World, 2006




7. Cyclical Horizons

Cyclical horizon lines are curved lines and can be divided into two types:
(1) Curved and closed horizon lines; (2) Curved yet unclosed horizon lines.


Curving the horizon line(s) of a picture only makes either a circle or a vortex, as shown below (See Illustrations 50,51). Expanding these prototypical graphics can bring about numerous curved horizons representing variations of gravitational turns, like viewing the earth from outer space. This can give rise to many different ideas for various pictures and objects. When applied with spatial distortion and illusion, the linkage of different worlds can be treated (See Illustrations 52-55).


The above descriptions depict appearances. Now let's go back to the beginning to make a summary. My motivation for exploring the subject of "Cyclical Space" can be simplified into two fundamental objectives:


(1) How to create pictures of cyclical space? In particular, how to express this through perspective?


(2) Given the spatial curvature of the universe described since the acceptance of the theory of relativity, how can perspective be used to imagine such a world? Following is a simplified pictographic illustration of these concepts(See Illustration 56). For further information on what I am doing, other than taking paintings on their own terms this simple chart can provide a detailed picture.

Illustration 50: Circle Illustration 51: Vortex




Illustration 52: When the Horizon is Circled, 2001




Illustration 53: Three Realms Entwined, 2006




Illustrations 54: Double Heaven and Earth, 2006




Illustration 55: Concave Cycle, 2006




Illustration 56: Simplified Diagram of Cyclical Painting Su Hsin-tien 2006

Cyclical Space Painting Subjects What is finite and boundless spatial form? What is curved space in perspective technique? Emptiness isn't larger than the substance? Interior and exterior entwined? Assorted perspectives and conceptions of curved space. Painting Approaches Alternating Substance and Emptiness Spatial Displacement Deep IllusionMulti-dimensional Worlds Distorted Objects Rotating Spaces Cyclical Horizons




IV. Reflections on 40 Years as an Artist


Whenever I place my paintbrush down I often feel like I'm tumbling in space, unsure of the meaning and worth of my travails, and even less certain of how others feel about my works. Looking back over the past 40 years I now appreciate that, over the long process from initial curiosity about the universe to settling on painting subjects, and finally referring to my approach as "Cyclical Painting," I have been driven more by my thirst for the truth than pure artistic expression. That is to say, when it comes to art versus science I am an admirer of science's steady advancement. I greatly admire an artist who can move closer with every step to what he set out to achieve, yet my works are not scientific treatise - because they are packed full of dramatic human notions.


From youth and vigor to old age and infirmity, having endured shifts in the winds and the test of time filled with many comings and goings, I've been aided by elder mentors, relatives, friends and students who have helped me to steadfastly pursue my thematic approach, of which if there had never been any tangible accomplishments I would not feel the need to express any thanks. Finally, humanities scientists believe that human progress goes beyond human genetics and heredity to encompass the transmission of cultural genetics. With this in mind,


I personally believe that in the final analysis any work of art or any style, whether modern or post-modern, must retain elements of individual creativity. In this sense, even appropriation qualifies as a new approach. So now all I can do is offer my works up for the world to judge as it sees fit and determine what exactly I'm doing with my art.


When I was young my mind was sharp, I reacted quickly, and easily took decisive action. Now, the older I get the more constrained I have become by ordered thinking. At the same time, my body has deteriorated and I do things slower. I proceed methodically, yet my work is in the end that of an older man, not comparable to the way it was when I was young and fighting to make my way in society.


By the time the computer era swept Taiwan in the 1990s I no longer had the time and adaptability to take part in it myself. With a whole stack of data awaiting processing with my human brainpower it was already too late for me to get up to speed on the technical skills, so I assigned most of those tasks to younger folks to handle. The 1960s seemed like a new era to me, and the same was true for the 1990s. Indeed, time flies and life is so fleeting! If life is not cyclical, what is the meaning of it all ? (Translator: David J. Toman)


Illustrations 57: Su Hsin-tien
Photographer: Que Yi-jian, 1998

Essays-1