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Watercolor Painting

Juror's Statement

HUANG Chin-Lung

In recent decades, watercolor art in Taiwan has flourished, thanks to the solid foundation laid by pioneering artists, the dedicated promotion by
private watercolor societies, the tireless efforts of individual creators, the widespread access to watercolor painting education, and the support and
encouragement from government-sponsored exhibitions, which have brought together broad and sustained energy, producing the rich and dazzling
achievements we see today. Among such efforts, the Da Dun Fine Arts Exhibition stands out as a major benchmark for government-backed support
of watercolor art, drawing significant attention from enthusiasts each year. This year’s jury for the Watercolor Painting Category included HSIEH Ming-
Chang, LIN Jen-Chieh, WONG Liang-Yuan, TSAI Hsien-Yiu, and myself. In addition to Taiwanese artists, participants came from Mainland China,
Hong Kong, Singapore, Vietnam, and Portugal, bringing the total number of submissions to 137.
The preliminary review went smoothly, but the final round proved more challenging due to the high caliber of many entries. After five rounds of
voting, the jury reached consensus, selecting the top three prizes and four Award of Merit winners. A few representative works are briefly discussed
below:
First Prize went to “In the Dream” by WU Wei-Hao. Everyone dreams — day or night, sweet or terrifying — making dreams a compelling subject for
art. Psychoanalysis founder Sigmund Freud’s “The Interpretation of Dreams” explored using the subconscious to resolve internal conflicts, a subject
both mysterious and complex. “Within the boundless realm of dreams, fragments of daytime thoughts are manipulated. By recreating dream memories,
I step into them once more to explore their mysteries.” Twisted lines of spotlight emerge in the dark, like spirits drifting through night, floating above
the sleeping figure, extracting thoughts to weave with broken objects. This synchronicity between reality and illusion is vividly portrayed. The work
showcases an innovative expressive style, its colors restrained yet refined, and its atmosphere surreal — a rare and outstanding piece.
Second Prize-winning “Everyday Life” by TSOU Yu-Tong captures the scenery of a mountain lake using fine, delicate brushwork. “The sky is not
always clear; clouds and mist often quietly gather, obscuring many days. Whether in the silence of shadows or the warmth of sunlight, they form
chapters of everyday life.” The solid rendering of forms, the shifting mountain fog, and the lake’s boat-drawn lines evoke the subtle rhythms and
movements of daily living. Third Prize went to “Integration, Inclusion, and Co-Prosperity” by HUANG Yu-Shin. Modern development hasn’t reduced
humanity’s harm to the Earth. “Human greed has brought unprecedented devastation to our planet’s ecosystem. We must take from nature while
cherishing it … By uniting as one, we can build sustainability and leave a thriving world for future generations.” A girl in yellow stands at a glass window,
arms outstretched, welcoming birds and butterflies in flight. The large pane, a modern urban symbol, also hints at an elusive, dreamlike distance — an
allegory for the challenges of “integration and co-prosperity.” The watercolor technique is rich and vibrant, layered with depth and meaning.
Award of Merit winners: “Impression of Bitan – 1” by FU Yuan-Chao. The scenic beauty of Bitan in Xindian has long been a favorite subject for
painters. The artist employs a flattened, semi-figurative approach to depict the emerald-green lake and lush trees, exploring how to imbue them
with new life from a realistic visual perspective. Through exaggerated composition and whimsical imagery, the work presents a uniquely distinctive
impression of Bitan. “Strings of Fleeting Time” by CHANG Chi-Fang. Suspended in the space, violins of varying sizes bear coffee-colored stains, some
nearly fading into obscurity, as if the instruments or musical notes have been eroded by time. Yet, a shaft of light at the center tells of echoes of music
that still linger. Through the use of blending, layering, and splattering, the colors intermingle, creating shifting light and shadow as well as a sense of
time in motion — seeking one’s own melody and a resonance with eternal emotions amid the flow of passing moments. “Walking Through Oneself” by
SHIEH Show-Fei. “The inner mind is like a complex labyrinth, holding past experiences, emotions, and desires.” Through the intersecting spaces of
crumbling walls and the reflection of restrained emotions in simple colors, the work mirrors the oppression deep within the soul. Amid the mist, a small
figure in the upper right gazes forward — a symbol of steadfast will, quietly making its way through the chaos. “The Soul Alignment Station” by HUNG
Hui-Chun. “In today's society, people have become accustomed to chasing fast and ever-changing experiences. In the quiet space she has created,
the girl focuses on painting and repairing a toy bear that symbolizes her dreams.” Using a partially opaque technique in this large-scale work, the artist
employs complex object compositions and solid, detailed rendering to convey a sense of cherishing and reshaping both past memories and the future.