After the successful exhibition of 《Xi Xi》in Young Art Taipei, we now present you 《Xi Xi: an expedition of media usage》group exhibition. In this event, we will bring up some reflections and discussions upon the media of works in display and the methods of creation. By holding this forum and exhibiting the art works, we wish to provoke ideas and possibilities about the making of Contemporary Art among both audiences and creators.

The name《Xi Xi》came from a piece of work created by artist Chnag Tzu-Ching. Focusing on the viscosity of acrylic paint, Chang used methods such as squeezing and stacking that are deviated from common paintings skills, as well as repeated movements which is similar to Performance Art, hence, enabled her art works to take on a sense of sculpture and mechanical geometry. Such repeated movement also appeared in her《Midway》series. The difference is that 《Midway》series tends to probe more into the repetition and randomness that lies within the act of creation itself.

The 《Infinite Love》photography series of Sim Chang contains the interest and exploration that the artist has had toward the otaku culture. Meanwhile, it can be seen as an magnifying interpretation of his own mind and all the genuine conditions in reality. He commanded models to put on screens showing 2D animation illustrations. By cleverly combining the illustrations and real human bodies, he unveils the attachment and yearning that the screen teens have toward the virtual world.

Mizutani Atsushi's hometown, Gifu County, locates in the mountains of Japan. Through natural media such as wood, raw lacquer, and rock painting, all the forests and valleys in his childhood memory have reappeared authentically in his works. He first piles up wood battens, then carves out the sweep of hills by hand, and lacquers the works with the colors of nature in his own mind. From which one can easily notice the solid emotional bond between an organism and its land.

The architecture series of Wu Pei-Shan has found a balance between nature and artificial constructions, and seeks to offer a solution to have them co-exist. She welded stainless steel sheets over and over again, shaping them into organic appearances that look like mountains or animal caves, while the transformation in these materials integrates architectures and natural landscapes, having the audiences to generate an indescribable cordial feeling toward the works.

By sculpting and coloring natural camphor wood, along with joining pieces and combining different media, Tseng Shang-Jie has created exaggerated or even mechanism-violating manikins, and accordingly bared his inner self. The intense style of subconscious reminds the audience of the concept 'uncanny' once posed by Sigmund Freud, and has at the same time brought a new possibility to the sculpture culture in recent Taiwan.

 Lin Yu-Ching & Wei Hsing-Yu uses the most industrial medium, marker pen, as the main base of their works. The steady and regular patterns of color-using builds up an atmosphere close to Tempera and Frescoes works, bringing people a peaceful and steady experience. In addition, the articles connecting different series has added the synchronicity of ancient murals to these work(to put a whole lengthy story on one wall), which provides the audience with an overview while they immerse in the exquisite details at the same time.

CHANG Tzu-Ching, born in 1988, who will soon receive an MA degree from the Department of Art of National Changhua University of Education. Sim CHANG, born in 1983, got a MA degree from Department of Visual Communication of Ling Tung University. MIZUTANI Atsushi, born in 1975, got a MA degree from Department of Plastic Art of Okinawa Prefectural University. WU Pei-Shan & TSENG Shang-Jie were born in 1991, both studying in the Graduate School of Sculpture of National Taiwan University of Arts. LIN Yu-Ching & WEI Hsing-Yu, born in 1983 & 1982, got a BA degree from the Department of Visual Communication Design of Chaoyang University of Technology.