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Image reading
2015-2017
BY
CHU Fang-Yi
Image reading 2017-1
2017
pyroceramic , Slurry , Glaze , Paint , canvas board
165×20×165cm
Image reading 2017-1
2017
pyroceramic , Slurry , Glaze , Paint , canvas board
165×20×165cm
Image reading 2017-1
2017
pyroceramic , Slurry , Glaze , Paint , canvas board
165×20×165cm
Image reading 2015-2
2015
pyroceramic , Slurry , Glaze , Paint , canvas board
150×20×250cm
Image reading 2015-2
2015
pyroceramic , Slurry , Glaze , Paint , canvas board
150×20×250cm
Image reading 2015-2
2015
pyroceramic , Slurry , Glaze , Paint , canvas board
150×20×250cm
Image reading 2015-1
2015
pyroceramic , Slurry , Glaze , Paint , canvas board
150×20×250cm
Image reading 2015-1
2015
pyroceramic , Slurry , Glaze , Paint , canvas board
150×20×250cm
Image reading 2015-1
2015
pyroceramic , Slurry , Glaze , Paint , canvas board
150×20×250cm
Image reading 2015-3
2015
soil , Slurry , Glaze , Paint , canvas board
125×20×125cm
Image reading 2015-3
2015
soil , Slurry , Glaze , Paint , canvas board
125×20×125cm
Image reading 2015-3
2015
soil , Slurry , Glaze , Paint , canvas board
125×20×125cm
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The rapidity of information explosion in this day and age has forced upon us an era picture reading that often present a sense of familiar isolation. Image reading do not dwell on existing knowledge, but instead focus upon the poetic and imaginative elements of pictures. The approach is unfettered by the restrictions of modern culture, allowing us to investigate innate human ability in conducting subsequent pictorial analysis...
Reading Pictures is a study on innate human capacities for interpreting pictures. Image recognition has been an innate part of human biology since the very beginning. Our prehistoric ancestors employed images as a media to communicate with other beings. Image identification, interpretation, and imagination have flowed in our veins for all these years, generating a biological experience interlocked with our human emotions and surrounding environment. Biological interpretation is a growth resulting from our innermost sensations and physiological conditions, and serves as a reflective narrative of our innate consciousness. Interpretation is therefore only possible due to the biological experiences of our senses, sub-consciousness, mood, and emotions.
Sometimes, the best way to achieve cognition is not by reading words, but by reading pictures. "And the more minutely you try to write of it the more you confuse the mind of the listener," was a famous quote from Leonardo da Vinci. The invention of characters in the development of civilization was but a brief process, which provided us with a convenient way of understanding the world. Unfortunately, our original sensory abilities regressed, leaving only knowledge-based reading. Moreover, character symbols must be arranged in order to be read and produce meaning, while images are read through intuition, resulting in connected deciphering. Picture reading approach does not stem from rational consciousness of thinking, but is deeply rooted in our innermost physical response.
The ability to read and imagine pictures and images has always been innate. However, the presentations and meanings behind images have been subject to social rules and specifications, creating an increasingly uniform and narrow range of interpretations that eventually cause people to completely their ability to imagine. It is hoped that picture reading will raise consciousness of our body's innate ability to read.

The image expression mechanism goes from abstract elements such as point, line, face, and color to form the "overall picture" collective meaning. In regard to space, it depicts a variety of images which could occur in an instant. Since images may be layered to become the presentation form, they may also be subtracted from for purposes of deconstruction. The images may be purified into character strokes or letter element symbols, resembling literati painting cunfa lines and ink dot color blocks.
Thus, in regard to artwork form, Object images have been de-structured into textual symbols and integrated with blank areas typical of ink paintings. Brush stroke variations were employed to transform formative concepts of pictorial elements and symbols and highlight the readability of textual graphics. Material texture of the porcelain object, presentation of its inner and external forms, as well as changes to color gradation of grayish black ink tones have formed linear or patched congregations and created a symbolic and poetic reading format. Spirit and essence are the main pursuits of ink painting, an approach with particular emphasis on brushwork, employment of ink, and strokes employed. Ink painting is then integrated with the pinching, pressing, squeezing, rubbing, and kneading processes of porcelain craft that represents a dialog between the human hand and clay, concluding in an artistic formulation of physical forms. Key elements of ink painting and calligraphy as well as the virtual and physical aspects of porcelain artwork both highlight the fundamentals of liberated, imaginative, and narrative reading, serving as a creative representation for the integration of traditional essences and modernity.

ARTISTS
15 artworks / 77 exhibition
Sculpture , Curators / Art Critics
Through observing myself, the background of the era and the cultural awareness, I use the form of sculpture to look into human body instinct to read the image imagination and other related issues. Reading Pictures do not dwell on existi ...
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KEYWORDS
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, 2010, Sculpture
CHU Fang-Yi, 2010, Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture
CHU Fang-Yi, , Sculpture