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Printmaking

Juror's Statement

LIN Hsueh-Ching

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This year marks the 30 edition of the Da Dun Fine Arts Exhibition, and the styles of submitted printmaking works reflect the evolving aesthetics
of new generations of artists. Printmaking encompasses a wide range of techniques and materials, with complex production methods that
allow for diverse modes of expression. While it may lack the vivid colors of oil or watercolor painting, printmaking conveys a rustic and sincere
quality. Whether it is the meticulous representation of objects, the lyrical capture of emotions, or the exploration of pure textures, image-based
experimentation, and the symbolic interpretation and transformation of visuals, the younger generation of artists continuously redefines and
expands these concepts. In this arena of cross-national, cross-generational, and cross-disciplinary cultural connections and new aesthetic pursuits,
printmaking stands as a specialized field with its own entry thresholds, and as a vivid reflection of the spirit with which young artists dare to pursue
their aspirations.
A total of 39 works were submitted for the printmaking category in this year’s Da Dun Fine Arts Exhibition, including 5 international entries
from France, Malaysia, the United States, and Poland. The majority of the works employed relief and intaglio techniques, with fewer examples of
planographic or stencil printmaking. After the preliminary review, 9 entries were shortlisted. These were framed and resubmitted for the final review,
where a panel of five jurors examined the original works and reached a consensus to award one First Prize, one Second Prize, one Third Prize,
along with two Award of Merit winners and two Shortlisted Works.
First Prize went to “Mute NO-8” by SU Chin-Sheng. This relief print combines offset and woodcut printing, utilizing semi-relief collage methods to
create a composition rich in spatial depth and narrative rhythm. The background, rendered through realistic engraving, depicts a serene scene, while
the foreground features independent wooden panels printed with natural wood grain textures, stacked to resemble tree trunks on a forest stage.
Various bird figures — perched or in flight — are intricately carved and arranged throughout the scene, forming a vibrant ecological landscape. Like
a silent picture book, the piece portrays the harmonious coexistence of birds in the forest. The birds gaze or fly toward the distance, collectively
pursuing peace and an ideal realm. The overall work resembles a moving symphony of nature, with a composition that offers strong depth and a
poetic, contemplative color palette, reflecting the artist’s profound concern for the coexistence of life and inner peace.
Second Prize went to “The Mountains Remain” by KAO Chun-Ying. This color print combines paper and sandpaper intaglio with relief printing.
The composition is structured like an unfolded box, with a central image that blends forms of islands and vessels, incorporating imagery of
architecture, sails, fish, and plants. These elements are overlaid with tactile textures and arranged in a dreamlike, layered configuration. The floating
island serves as a metaphor for life’s drifting journey, interweaving various symbols of transition and movement to express the emotional passage of
time. The title perhaps alludes to the idea that, despite change, the core values and sentiments of life remain steadfast. Technically, the artist adeptly
merges the characteristics of different printmaking methods to craft a rich visual and textural experience. The element of chance inherent in indirect
printing echoes the uncertainties and shifts in life itself. With a carefully arranged composition, and interplay between image and material, the work
presents a printmaking language that is both rational and emotional.
Third Prize went to “Go Where the Light Is” by LIN Shu-Fen. This black-and-white relief print, made with resin plates and mounted on xuan paper,
centers on a dark cocoon-like stone densely covered with human arms and faces — symbolizing worldly burdens that exert intense psychological
pressure. From an opening on the right, a faint light shines through, with an elderly woman walking slowly toward it with a cane, conveying a
metaphor of transformation and hope: breaking through the cocoon to find light. Technically, the artist uses delicate and complex carvings to
construct strong visual tension. The relief printing technique provides rich contrasts in light and shadow. The dominant black-gray tones are pierced
by a beam of white light, heightening the symbolic power of the theme. Dense lines and rhythmic variations create a dynamic interplay between
heaviness and hope, demonstrating the artist’s deep introspection and command of the visual language of printmaking.