金魚滿堂蝶加蝶
previous arrow
next arrow

GON-JER, WANG(1971- )

1990 Graduated from Fu-Hsin Trade and Arts School / Taipei, Taiwan
1995 Diploma if Fine Art (Hons) OCAD University / Toronto, Canada
Selected for exchange at the Florence Art Studio and studied 1 year at Degli Uffizi, Uffizi Gallery’s Sketch Research Center
1996 Master of Fine Art Fontbonne University / St. Louis, USA
2009 Doctor of Fine Art Auckland University / Auckland, New Zealand

EXPERUENCE

1995 Fontbonne University, USA Assistant Lecturer
1996 – 2005 Fu-Hsin Trade and Arts School Lecturer
1997 – 2005 Aletheia University, National Chung Cheng University, National Open University, LongHwa University of Science and Technology, Ching Kuo Institute of Management and Health, Ming Chuan University, Jinwen University of Science and Technology Part-time lecturer
2009 Ming Chuan University Assistant Professor
2012 Hungkuang University Assistant Professor
2010 – 2020 Chienkuo Technology University Full-time Assistant Professor
2020 – Tainan University of Technology Full-time Assistant Professor

AWARDS & GRANTS

1988- Won multiple awards from Provincial Fine Art exhibition, Taiyang Art Exhibition, Nanying Art Award, National Oil Painting Award, North Counties Art Exhibition, Kaohsiung City Art Exhibition, Tainan City Art Exhibition, National Art Exhibition
1988 Won the 12th National Youth Watercolor Sketch Competition
1989 Won Gold Lion Award at National Guanghua Lions Clubs International Youth Sketch Competition
1989 Won the 13th National Youth Watercolor Sketch Competition
1990 Won Quality Award at the 6th Kaohsiung City Painting Exhibition
1992 Won Bronze Lion Award at National Guanghua Lions Clubs International Youth Sketch Competition
1994 Won John Alfsen Scholarship, OCAD University, Canada
1997 Won the 86th National Cultural and Art Foundation Exhibition Grant
1997 won the 9th Chimei Art Talent Training Award
1998 Won the 87th National Cultural and Art Foundation Art Creation Grant
1999 Won the 9th International Printmaking Biennale
2001 Won First prize of Pingin Tea Festival Award
2002 Selected by the Zhu Ming Art Museum Art Award
2004 Quality Award for the 2nd National Art Education Teaching Design (High School Division)
2004 Won 93rd National Youth Collection Award by Council for Cultural Affairs, Executive Yuan
2006 Won the National Cultural and Art Foundation of the 95th Art Creation Grant
2008 Received the 97th Taipei City Government Cultural Art Exhibition Grant
2009 Awarded by the University of Auckland Performance-Based Research Fund (PBRF)
2013 Won the Collection Plan of Taiwan Art Bank
2015 Won the Collection Plan of Taiwan Art Bank
2016 Won the Collection Plan of Taiwan Art Bank

A Segment of Time and Space

When one studies the development of fine art painting history, it may be easy to conclude that all forms both imaginable and unimaginable have seemingly been covered to date and expressed through works. In addition, there are opinions that declare fine art painting as an art form has reached its end, mostly due to the notion that there isn’t a steady release of new work that can amaze and astonish viewers while pushing the boundary of painting.  Some even believe that Fine Art Painting is an outdated and irrelevant art form at present time.

However, observing the progression of fine art field currently, one can argue the “Finite History of Fine Art Painting” is not actually over but is continually evolving.  The focus of the modern day painters is shifted from merely developing new painting vocabulary to creating work that reflect their individual place in time, and their perception of world – by drawing from the the vast and rich vocabularies developed in the past.

As a Fine Artist, one should not blindly follow the art market demands or trends, as it is a trap.  As well, one should keep a critical eye on contemporary art, measuring against the “zeitgeist” ideology.  At the same time, the artist should keep an open-minded approach, not limiting oneself by specific art form, techniques or vocabulary in order to create living works – the true sentient creativity.

An artist’s aesthetic comes from the creative experience itself, it is the immediate expression of an individual’s perceived reality, injecting one’s aesthetic into works.  This in turn inspires fresh artistic expression, overcoming the challenge of painting in this era of pictures, and enables one to explore new paths of painting.

For the progression of my work since “Poetic Experience”, Auckland 2006 to the “Time and Space Series” , 2019, my work can be understood from three aspects of creative approach and path.

1. The Cézanne Inspired

Painters who subscribe to the Paul Cézanne style pay close attention on the relationship between shapes in their work.  This produces work with both impeccable holistic structure and contains rhythmic elements that draw focus and attention.

From Cubism to Piet Cornelies Mondrian, there is a pursuit of truth and eternity by means of analysis and simplification, thus emerged a new set of methods for expressing the order and qualities of nature.

As a second generation of the Parisian school who took up this path, Helena VieIra Da Silva continued to explore the representation of nature and urban landscapes, toying with the idea of space perception by creating a false perception of space.

With a humble attitude, Giorgio Morandi quietly observed ordinary still life, showing the subtle metaphysical realm of simplicity, conveying implicit and secret nature and tranquility with unobtrusive yet rich grayscale tones.

With the approach of continuous drawing and erasing elements, Alberto Giacometti meticulously explored the construct and deconstruction of objects, chasing the absolute realism that can never be obtained between physical and the surreal world.

2. The Chinese Ink System

The art of ink and wash has sublimated into a type of spiritual connotation, and I have applied such ink painting vocabularies, such as its State of Mind, Rhythmic Vitality and brushwork, seamlessly into oil painting works.

State of Mind is the realm of visual space and beauty created by deep thoughts and emotions. Rhythmic Vitality is the rhythm of life, the transformation of the universe and its rhythm of movement.  The Inner Beauty of Chinese Brush Work is a manifestation of sensual intention which reflects the artist’s own character, essence and style.  It is the direct intuition, experience and feelings towards the universe and life.  These unique cultural traditions from ink painting is a valuable connotation that distinguishes us from the Western style of approach.

3. Belief

The natural world runs endlessly according to the order of creation.  The inner roots of creation must be bound to the artist’s core values ​​(beliefs).  Through Bible reading, praying and meditation on unification with God, these experiences enable me to enter a state of selfless intrinsic inner viewing experience, and become more sensitive to the rhythm of the visual space, to understand the wonderful creation of God and to pursue true essence and eternal value.  One needs to acknowledge their own shortcomings in order to continue to discover and perceive new things from nature.

Abstract art is a form of capturing one’s deep internal state, which has strict evaluation standards in an artist’s own expectations and process of practice itself.  This whole process must be repeatedlyrefined in order to produce the purest uncontaminated transcendent result.

Through the perception of the external world and inner emotions, this self-consciousness is integrated into the works, using lively styles and seasoned color senses, transcendental and rational dialectic, combining Chinese and Western philosophy and artistic vocabulary of nature, repeated work refining, intertwining, ruminating and liberating from history, all in hope to grasp the rhythm of life and nature.

Remaining outside of the mainstream, and taking my own path, to achieve art that celebrates life itself.  The style of abstract art in history has become a classic, but the rigid cage of formal and prevalent concept has also restrained the development of abstract art.

Returning to the real world – and through honest life experience, seeking ways to connect art and life.  Also drawing from the well of one’s core, abstract painting can bring forth new meanings.

SOLO EXHIBITIONS

1996 The Series of Embracing the Future / St. Louis Chinese Culture Centre / St, Louis. USA
1997 The Series of Embracing the Future / Tai Chong Culture Centre / Taichung, Taiwan
1998 The Series of Embracing the Future / Kuo Mu Sheng Foundation Art Centre / Taipei, Taiwan
1999 “Visualization of Personal Touch by the Spirit”, The Taipei Society Education Centre / Taipei, Taiwan
2000 Visualization of Personal Touch by the Spirit / The Taipei Society Education Centre / Taipei, Taiwan
2003 Visualization of Personal Touch by the Spirit / Taipei County Culture Centre Art Gallery / Taipei, Taiwan
2004 Visualization of Personal Touch by the Spirit / Taipei County Culture Centre Art Gallery / Taipei, Taiwan
2005 Visualization of Personal Touch by the Spirit / 99 Degree Art Centre / Taipei, Taiwan
2005 Visualization of Personal Touch by the Spirit / Stanbeth House Gallery / Auckland, New Zealand
2008 Exposition with Painting of Obscurity in Poetry / Auckland, New Zealand
2009 Poetic Experience / 99 Degree Art Centre / Taipei, Taiwan
2010 Spiritual State and Poetic Mind / National Tsing Hua University Art Centre/ Hsinchu, Taiwan
2011 Divine Light Wang Gon-Jer & Chang Fu-Chian Duo-Solo / Fu’s Art Space / Miaoli, Taiwan
2012 Visible & Invisible – Wang Gon-Jer’s Art/ Sincewell Gallery / Kaohsiung, Taiwan
2012 Wang Gon-Jer’s Drawings – The 44 Sections of Nature / Providence University Art Centre / Taichung, Taiwan
2014 Returning to Scenery – Fusion of Nature and Spirit / Dadun Cultural Centre / Taichung, Taiwan.
2014 Returning to Scenery – Fusion of Nature and Spirit / New Taipei City Arts and Culture Centre Art Gallery / New Taipei City, Taiwan
2016 The Barren of Tranquillity – Wang Gon-Jer & Wang Da-Ren Duo-Solo / House+Cafe since 1910 / Taoyuan
2016 The Vibrating Universe & Divine Light – Wang Gon-Jer & Tai Chia-Jwu Duo-Solo / Artnutri Gallery / Miaoli, Taiwan
2017 The Rhythm of Space and Time / Industrial Technology Research Institute, Arts and Cultural Space / Hsinchu, Taiwan
2018 Spiritual Mystery / IsFound Art Space / Kaohsiung, Taiwan
2019 The Invisible Rhythm / ARTDOOR /Taipei

JOINT EXHIBITIONS

2019 Art Family Joint Exhibition / Taipei Social Education Centre / Taipei, Taiwan
2019 Art Future Art Fair / Hotel Proverbs / Taipei
2019 Contemporary Abstract Art of Taiwan Exhibition II-The Secret of Nature / GSA Gallery / Taichung
2019 Contemporary One-Year Exhibition / Taipei Expo Park / Taipei, Taiwan
2019 Kaohsiung Art Expo / City Suites – Kaohsiung Chenai / Kaohsiung
2019 Quenching and Refining-Baizheng Steel Taiwan Contemporary Art Exhibition / Yokohama Civic Art Gallery / Yokohama
2019 Shanghai City Art Expo-AArt / Room307 / Luxury Collection Hotel / Shanghai
2019 Splendid Kingdom O Esplendido Reino Christian Visual Arts Exhibition / Macao Education Center / Macau
2019 Taichung Art Fair / Millennium Hotel / Room 1012 / Taichung
2019 Tainan Art Fair / Room 818 / Tayih Landis Hotel / Tainan
2019 Wandering in the gaze-“Environmental Concept” Group of Four Exhibition / M Gallery / Taipei
2020 Invited to participate in the New Taipei City Artists Exhibition / New Taipei City Cultural Bureau Tucheng Art Museum / New Taipei City, Taiwan

The Poetry of Pine 06-2

2006
oil on canvas 53×53 cm

The Tranquil Barren 14-5

2014
oil on canvas 70×70cm

The Rhythm of Time and Space 16-3 (yellow)

2016-2019
oil on canvas 91×195cm

The Rhythm of Time and Space 16-5

2016-2019
oil on canvas 115×115cm

The Rhythm of Time and Space 16-6

2016-2019
oil on canvas 115×115cm

The Rhythm of Time and Space 16-9

2016-2019
oil on canvas 115×115cm

Life’s consciousness of time 18-1

2018
oil on canvas 115×115cm

Life’s consciousness of time 18-5

2018
oil on canvas 91×117cm

Life’s consciousness of time 18-7

2018
oil on canvas 91×117cm

Invisible Vision 19-1

2019
52×76cm