972 3a Art Studio
葉怡利/ b. 1973
Yi-li Yeh b. 1973
Yeh often captures nutrition from the popular culture and living environment, and adopts life experiences as her creative motivation. Her artworks explore the interpersonal relationship and the relationship between people and nature; she chooses the physical body as the medium to shuttle between space and time. With the child-like playful instinct, through the form of on-site action art, Yeh dresses up as magical monsters, fairies, villains and other characters, and walks in civilized cities or leisurely nature; “In the game” is just like “in the process of creating” in art, which is the most important part of artistic creation. For the three-dimensional artworks in the “Scene. Object” series, Yeh intends to incorporate vocabularies of the times with porcelain and ceramics, the ancient medium. She applies the stacking technique of sculpture and adds ready-made objects by intercepting their existing shapes to make the interesting form of the artworks.
吳詠潔/Ｗu Yung Chieh
Wu Yung-chieh was born in 1979 in Kaohsiung, Taiwan, and she lives in Taipei now. She received her MFA in Graduate Institute of Plastic Arts from the Tainan National University of the Arts in 2005. Her artwork was selected for the 2011 Exhibition of the Newly Emerging Artists in Taiwan-2D Creation Series, the S-AN Art Creativity Sponsored Award of S-AN Foundation, and the Taipei Arts Award. Wu’s creations feature visual elements that are both refreshing and sweet, yet often come with a sense of sadness, which expresses both the exploration of herself, and also reveals the characteristic bitterness which marks her generation. The fairytale-like elements give her work a magical aspect, narrating essentially sad stories in the guise of fairytales, composed of real and imaginary fragments. Wu Yung-chieh’s creation is usually a morph of her childhood memories, in which she would first sketch the images of certain memories before transforming the character figures into black and white silhouettes. Through these black and white silhouettes, the creations become mysterious phantoms in her stories. Facing the age of image implosion, Wu’s early work has tended to present the human state of being of this “phantom age” using this floating style to outline the uncertainty of modern loneliness in the era of affluence.