I was born too late, and you left too soon.

In just a year of creation, Lai Yan-Hsun has demonstrated a rich and diverse array of artistic forms. Through the ingenious selection of materials and narrative structures, he transforms everyday objects into a language of art that carries profound emotions and social issues. This exhibition weaves a multi-sensory experience, blending philosophical depth with poetic elegance.

At the glass entrance, the urban pastoral landscapes Zhongzheng Road 194 and Zhongzheng Road 196 are created using spices as the medium. These works break away from the traditional visual framework of street scenes, transcending static physical representation. By reimagining everyday materials and incorporating the sense of smell, the scent of spices evokes vivid life memories. The paintings shift from being static “objects” to becoming shared “sensory experiences” with the audience.

The works 92 Years of 84 Longings, 108 Peaceful Dreams, and 28 Times of Letting Go are based on medical prescriptions, transforming cold data and treatment records into elegant visual imagery. Beneath the tranquil surfaces lie profound metaphors for insomnia, anxiety, and the continuation of life in old age. These pieces leave viewers in awe of how the artist deconstructs and reconstructs deeply private and weighty emotional issues with a gentle and poetic artistic language.

Longing as a Method employs the technique of casting a hornet’s nest, transforming a natural object into a vessel for memory.

I Saw Silence on the Back of Her Neck uses a concise yet direct narrative language to pierce straight to the heart of emotion.

Republication Project – In Praise of Shadows separates language from its temporal nature. By quantifying and deconstructing characters, the artist redefines the core consciousness of the text.

The photographic work What Lies Ahead of the Wind Lion God? reflects the artist’s observation and reinterpretation of culture. From the perspective of the Wind Lion God, it not only captures the power of its gaze but also imbues the space with a ritualistic atmosphere.

Six Kumquats centers on symbolism and metaphor, using a canoe and dried kumquats to carry the historical memories and collective experiences of East Asian islands under power structures, while expressing the nostalgic sentiments of outsiders moving between islands.

The tea room project Wan Hua An focuses on Asian tea house culture, comparing and reinterpreting the tea traditions of Japan, Korea, and Taiwan. It assigns a satirical “false advertisement” meaning to the traditional tea room space, challenging its conventional roles.

These works deeply explore cultural symbols, showcasing the artist’s concern for collective identity and cultural memory.

Finally, outside the exhibition space hangs The Clock in a Hurry, directly highlighting the theme of the exhibition—I Was Born Too Late, You Left Too Soon. Inside the gallery, the artist works unhurriedly, carving wood, with shavings piling up on the floor, symbolizing the passage and accumulation of time. This creates a tranquil space in stark contrast to the anxiety outside, prompting viewers to reflect on their own relationship with time.

The entire exhibition is rooted in the core spirit of Arte Povera, exploring the latent value of everyday materials while uncovering the profound connections between personal experiences and societal issues. The artist’s works embody a deep contemplation of life, culture, and time. As a viewer, experiencing these “fragments of time” firsthand is undoubtedly an inspiring and thought-provoking journey.

Exhibition Schedule｜2024/12/O6 (Fri.) — 12/15 (Sun.) 13:00~20:00

Exhibition Artist ｜Lia Yen Hsun

Exhibition Space｜ Kewco space No. 98, Section 1, Minsheng East Road, Taipei City

Article Author｜Chen Guan Hua