Flower=F l o w e r=F l o v v e r=F l o v” e r=Flow + love + lover

More than 10,000 images were produced through scanner; each is the microsection of time that extracted from reality. All of the microsections are made by the processing of experience or come from my sense data. With an attempt to keep the sensations that ceaselessly pass by, artist tried to re-create the variation of transitive flower through both artistic skill as well as corporal awareness. However, the huge broken microsections could only fake a broken scene. For the past would never return, only the ephemeral sensations exist.

Past works of Huang Po-chih have been executed in either the painting format or in graffiti. Graffiti is free of restrictions and is a natural means for release. It requires the cooperation of the physical body in order to bring it into existence. The art form that relies so heavily on both artistic skill as well as corporal awareness is, for the first, being manifested through a digitalized video installation.
“Flov”er” is derived from the following formula:Flower=F l o w e r= F l o v v e r=F l o v” e r=Flow + love + loverIt is a play on the letters in the two words “flower” and “love”, the meaning being a love that never ceases to flow. Technically, his digital work is not considered a video because he didn’t use recording equipment. It can more closely be described as animation and movement is created through scanning procedures. Huang tenaciously scans every single rose, dripping with color, into the computer. During the process, he shifts the position of the rose so that a sense of a shadow, of the residual, of three-dimensionality appears. The level of resolution rivals that of the images produced by microscopic photography. Such a tedious creative project occupied four months’ time and more than 10,000 scanned image files. With photo-editing software, every scanned photo was retouched and modified, with the final step being the consolidation of all these edited pictures into one single series. What surprises us is the images’ ‘unfamiliarly fine texture’. The artist steered away from the typical, speedy, convenient modes of creation. Consequently, hidden within his works are traces and hints of extended sessions of time spent on their making which in turn subtly imparts a tremendous amount of power and persuasion to the images. (Writer: YUAN Goang-Ming, Translator: Denise CHOU)

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