Page 100 - 第24屆大墩美展專輯電子書

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Jury's Comments, Glue Color Painting Category KAO Yung-Lung

In 1977, Mr. LIN Chih-chu coined the term “glue color once again cut off the historical context of Taiwan’s glue color
painting” to replace “Eastern painting.” With the naming and painting; moreover, it cannot present the cultural meaning of
renaissance of “glue color painting,” it has joined ink wash this creative medium.
painting over the past 40 years as the representative Oriental From the earlier Japanese style at Taiwan Fine Arts
media and painting. The recti�ication of the name not only Exhibition and Governor-General’s Exhibition during the
has taken away the strong Japanese cultural milieu around Japanese Colonial period, depiction of local colors, fusion with
glue color painting, it has also put emphasis on the medium’s ink wash painting, to absorption of Western painting elements,
Juror's Statement
aesthetic values and the inevitability of the use of the medium, Taiwan’s glue color painting presents a mixed and fused
shaping the unique properties of glue color painting. Currently, diversity under the in�luences of different cultures and paintings.
the promotion and education of glue color painting in Taiwan Modern cultural scholars’ intercultural practices of the age of
continue to focus on expression of the medium, inheriting cultural diversity are mainly: Homi Bhabha’s “Hybridity” and
artistic and expressive paradigms and styles; however, these Jean Fisher’s “syncretism.” Jean Fisher believes that “syncretism”
have also limited the development of glue color painting, making should replace “hybridity,” as its advantage is that it does not
it dif�icult for glue color painting to keep pace with the temporal refer to rigid and �ixed content; rather, it is an af�iliation that
ambience and accumulate cultural content. changes its stance or relationship under different conditions
In recent years, glue color painting has been in�luenced in accordance to the environment, and the edges can permeate
by mixed media, digital video, and pop anime and comics, and one another. That is, as a dynamic process, syncretism is not an
expressed concerns for society, gender, politics, environmental inconvertible factor, but a potential space of productive renewal.
protection, and natural issues. Propelled by curations and art From the perspective of modern cultural diversity, the
market, there are new interpretations on the use of the medium existence of glue color painting has great cultural signi�icance
of glue color, which have permeated into other domains, with to the art history of Taiwan. For glue color painting to further
ever-expanding edge in�luences. The unnecessary widespread develop, it must have re�lections and visions of higher levels
use of the aesthetic properties of glue color has ushered Taiwan’s to accept new temporal concepts and showcase own spirit
glue color painting development into a new chapter, or even the on the foundation of diverse integration, in order to achieve
edge of marginalization. further exploration and representation in a future world where
With the prominent narrative trend where contemporary globalization and localization coincide.
ink wash painting is the subject, we often see creative methods in The works of this year’s Da Dun Fine Arts Exhibition
the name of ink wash painting, but are really glue color painting, Glue Color Painting Category exhibit this very style of inter-
that answers to the art market and policy direction. This may permeation of hybridity and syncretism, and ink wash painting

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