《making MRCS》王永衢個展 – A solo exhibition by Yung-Chiu Wang


展覽日期:2015.10.15 () – 2015.10.31()
開放時間:週三(WED.) – 週日(SUN.) 13:00~21:00
開幕時間:2015.10.17 () 15:00











Exhibition Statement

With Making M R C S, artist Yung-Chiu Wang visualizes the obsessive-compulsive human urge to leave behind a legacy or a “mark” in spite of the senselessness of the obsession through six textured diamond shapes in monumental scale painted directly on the walls of the exhibition space.

Different from conventional paintings that simply hang on walls as separate objects, these pieces literally merge with the gallery wall and become one with the building. The experience of standing in the center of the gallery floor surrounded by the artwork evokes similar sensations as those brought on when standing inside an Egyptian tomb or Roman temple viewing the century-old wall carvings or frescos. Yet, this visual effect is a double-edged sword because although the colossal paintings of diamond—an epitome of superlative values—suggest the immense human hubris and ambition, the true statement in reality points to the futility and absurdity of humans’ efforts to create images of supremacy for themselves.

From Indonesian cave paintings to Roman amphitheaters, in human history, there has never been a shortage of manufactured “footprints” or “evidences” of our existence in this world. Yet, instead of representing the power and ingenuity of our species, as generations of men had hoped, these monuments, often rendered dilapidated from eons of weathering (conceptualized here as the cracks covering the diamonds), become testaments to passing time’s merciless wearing down of all things and our instinctual fear of disappearing into oblivion. Thus, in a vicious cycle, we continue to built immense structures, create masterpieces, and even assign fictitious significance to objects as mundane as stones unearthed from the bowels of the earth to represent our achievements in life and as vehicles for our false immortality.”

All six pieces in the show are completely depleted of any color on the surface, causing them to “fade” into the surrounding white walls, a visual cue that further acts as a conceptual nod to time’s incessant ability to erode and eventually “erase” everything from existence. Here, the brilliance of the diamond is reduced completely to a hue of lusterless matte white, striping off of it one of diamond’s many profane qualities. The effect is tinged with melancholy sentiments, leading one to conjure up images of faded frescos, eroded effigies, or deteriorated ruminants of ancient nations, objects that carry fragmentary memories of the long-gone people who also once dreamed of immortality.