Photo Credit: NIU Chun-Chiang

YU Wen-Fu

YU Wen-Fu's Exhibition Visitors
YU Wen-Fu's Art Work Photo
YU Wen-Fu's Art Work
YU Wen-Fu's Exhibition
YU Wen-Fu's Art Work Detail

YU Wen-Fu

Location France / Paris
Residency Cité Internationale des Arts
Work After Here (solo exhibition), Variances of Kelp (solo exhibition)
YU Wen-Fu, born in Douliou, Yunlin. He is graduated from Air Force Academy in 1990. He went to London Institute and Kent Art College for short study in 1999. ACC sponsored him for New York Trip to observe contemporary art activities in 2002. Meanwhile, he also had residency in different art sites: Stock 20 in Taichung (2001), Headland Center for the Arts (2002), Salamanca Arts Center in Australia(2006), King Island Cultural Center (2007), ISCP, New York (2004) and Cite International Arts Center in Paris (2009). He won the 49th, 51st, 52nd Taiwan Fine Artis Exhibition Awards as well.

Artist Statement: Chasing Natural Awareness in Foreign Lands:

I utilize specific materials to present the natural or artificial phenomenon that is easily neglected and not easily felt. In this project, I search for these often overlooked phenomenons with an alert and sensitive attitude like an animal entering an unfamiliar territory. I create from personal experience and perception in unknown environments.

Using materials of my own choosing, I look for the aura in the atmosphere of new surroundings. I explore, capture, and experience the invisible yet present relationships between nature, people, foreign spaces, and myself.

This project was realized during my residencies at Salamanca Arts Centre, Tasmania and King Island Cultural Centre, King Island through Asialink Australia. It was the first time that an international artist was invited to participate in these Artist-in-Residency programs. Both locations were relatively close to the ocean.

For a long time, I had been living in the town of Jushan in Nantou, the only county on the island of Taiwan that does not border the ocean. In Australia, the rhythmic sound of the tides became one with my heartbeat and breath, and the call of the seagulls turned into the running thoughts of the atmosphere. I spent the majority of my time there alone watching the sea in silence or watching somewhere farther away.

There was an abundance of apples in Tasmania (though they are not indigenous to the land). I used apples and reeds to represent the space-time distortion that altered the island’s history, culture, and economy after the invasion of various ‘foreign species.’ The exhibition location that I chose is where whales were slaughtered in the past.

On King Island, I used the transformation of kelp to illustrate the unique characters of the island’s species nurtured in its unique climate and natural environment.

When creating these two exhibitions at Tasmania and King Island, I abandoned the materials and working method that I typically utilized. At the same time, however, I maintained my central belief of concern for the natural environment. Producing work in a foreign place allowed me to alter the artistic process that I utilized in my own country. It inspired new ways of thinking.