Chuang,yi-jou

1988 / 02 / 12 Born Taipei, Taiwan

+886 921055590
j212ashk@hotmail.com


Current Employmentlanguage:
Art Teacher, Taipei Municipal Ming-Hu Junior High School
Language skill:
Chinese, English, German(A2)

Education:
2010 Received Bachelor of Fine Arts (B.F.A), Taipei National University of the Arts (TNUA)
2009 Exchange Student at Academy of Fine Arts, Prague Inter media Studio
(One-year Program)
2006 Enrolled in School of Fine Arts, Taipei National University of the Arts
2005 Graduated from Affiliated Senior High School of National Taiwan Normal
University Fine Art Class
2004 Begins Classical Ballet training
2003 Graduated from Taipei Municipal Wu Chang Junior High School Fine Art Class
1998 Begins Classical Chinese and Western painting training

Related Experiences:
2011 Actress and Dancer of Stage Homicide by Babama, Taipei Fringe Festival 2011.
Taipei Stock, Taiwan
2011 Yi-jou Chuang Solo Art Exhibition Lapsing Theater. 8 & 1/2 Art Space, TNUA
2010 TNUA School of Fine Arts 25
th
Graduate Art Exhibition Schrdingers Box.
Underground Art Museum, TNUA
2010 Yi-jou Chuang Solo Painting Exhibition A Walk from Yesterday. Decada Gallery,
Prague
2009 Team Studio No. 8 Group Exhibition Svarov. Private Residence on the outskirts
of Prague
2009 Year-end Showcase. Studio No. 8, Academy of Fine Arts, Prague
2009 Double Bananaman. Studio No. 8, Academy of Fine Arts, Prague
2009 Team Studio No. 8 Group Exhibition Ti! Jsi tma?. Sam83 Gallery, Czech
2008 1+1+1+1=4 Foursome Exhibition. Nan-Pei Art Gallery, TNUA
2008 Trans-disciplinary Arts Workshop. Kuandu Museum of Fine Arts, Taipei, Taiwan
2008 National Printmaking Exhibition. Taichung City Seaport Art Center, Taiwan
2007 TNUA School of Fine Arts 25
th
Class Exhibition Our Class Curator is a Dope.
Underground Art Museum, TNUA
Workshops:
2012 Attended the workshop Flying Low & Improvision from the artist
Vangelis Legakis ,Taipei Artist village
2012 Attended the workshop The Praxis of Contemporary Performance artfrom the
Artists VestandPage, Taipei Artist village





1. Sketch from body (2012~2013)
(Video works are in the DVD/ YouTube )

2.Painting about dancing(2010~2012)

3.Boxing the Landscape (2009~2011)

4. The works from old time (2008~2009)

5. Recording of solo exhibition (2011,2010)










In my case all painting... is an accident. I foresee it and yet I hardly
ever carry it out as I foresee it. It transforms itself by the actual paint. I
don't in fact know very often what the paint will do, and it does many
things which are very much better than I could make it do.
~Francis Bacon (1909-1992)

1. Sketch from body (2012~2013)

Philippe Noisette,,( ,Taipei, Uni books, 2012),./p85

Can this still be counted as dance? In defining dance, this question does not exist.
The art in choreography has crossed his research areas for quite some time. Back to
the starting point of dance, body is the most important, and not necessary what you
do with it. We stand on stage, we observe, we think over our conversations. In short,
in this open and meaningful laboratory, we search for our thoughts.
Philippe Noisette, Danse comtemporaine, trans.

Previously Ive mostly used painting to portray the relationship between painting and
the human body. Recently, however, Ive attempted to express this relationship
differently by turning the logic behind paintings into methods to design movements.
Thus I discovered a possibility for choreography in myself and the connection
between dance movements and painting. In the experimental short film
Streak(2013), parts of the human body is shown making mechanical moves while
accompanied by abstract art. Line, lining(2013) is an impromptu movement design
inspired by abstract paintings. And through observations to make connections
between the observed subject and the emotions of ones self, in a way that is similar
to creating paintings from actual subjects, the impromptu choreography
sketch(2013) is produced. Through my own study and experience of the
relationship between dance and painting, Ive found the ability to choreograph
within myself. By using my background in painting as the soil for growth for dancing,
space has become my canvas, and my body has become my brush.



1.Sketch(2012)
2.Streak(2013)
3.Line, lining(2013)
4.Surfacing(2013)
5.camouflage(2011)
http://www.youtube.com/watch?v=BeMO28_w_0s
http://www.youtube.com/watch?v=2FXwPjxB9m4
http://www.youtube.com/watch?v=qFLlKdqs_AI
http://www.youtube.com/watch?v=dTwRo3PJOk8
http://www.youtube.com/watch?v=2L5RGUCLuYc

1.sketch

A tree, a patch of grass, a box of water colors, a pencil. Draw on. I can be anything.
So long as you draw.

Using the human body in a way that is similar to painting from actual subjects, the
body expresses my observations of plant appearances, rhythmic movements or
emotions. My body is the pencil, crayon or a watercolor brush that records the view
that attracts me in a scene with different gestures and postures.

sketch
Short Video
11,18 mins
2013


2.Streak

A mechanical pas de deux of the limbs.

The four limbs of the human body are separated into independent entities, each with
their own life and soul. When each appendage is moving, its individual existence is
not unlike a simple dance solo, but when two appear simultaneously, it becomes the
dance of a duo. The pictures on the side are the markings left by the dance, its
existence similar to the choreography created by the human body.

Streak
Short Video
5,19 mins
2013




3.Line, lining

Walk mindlessly. Let your body be controlled by the invisible traces.

I imagined myself placed in an extremely large canvas, spontaneously designing
routes with whatever comes to mind. Then I used these routes to control my
movements, and use my body to find the routes, to work within the limits of the
routes. In the way that every brushstroke communicates with the previous stroke in
abstract paintings, Ive found the possibility for movement in the freedom within
limitations.


Line,lining
Short Video
10,26 mins
2013


4.surfacing

Breath, and watch the bruises dance.

The skin changes when a breath is taken or released, or when the body moves, like a
surface the continuously makes different movements. I attempted to record some
interesting surfaces of the body in movement, including scars and lines of the body
moving to different rhythms.


surfacing
Short Video
2,11 mins
2013

5.camouflage

Cover up! Cover up!

White clothing is used to represent the protective appearance of people caused by
socialization, everyone wants to escape from this camouflage. This, however, is
actually a disguise, a way to protect one's self. The true self has not vanished, but
exists more clearly and definitely underneath this covering.


camouflage
Shot video
7,04 mins
2010

2.Painting about dancing(2010~2012)
....
Marc Le Bot,,( , 1996,Yuan-Li ou Co)

Painting is a dance of the body, a ritual, a war. It is driven by the artists body. It is a
process of body searching for body.
Marc Le Bot, Images du corps(chinses version).trans
When I'm dancing, I stopped thinking. I can only concentrate on the feeling of my
body which gives me strength, breathing and lines of walking. I want feel the body
like the dancing time when I am painting. Beyond the mind, I want more from hand,
only the feeling of breathing. By the process, I want to understand more the state of
my body when I am painting. When the Brain, hand, and body both are linked
together. The time I portrayed a dancer action, I try to feel the muscles of his/hers
body, his/hers rhythm, the residence of his/hers sight.

Being from two ideals:




1. Perception of body

..

Marc Le Bot,,( , 1996,Yuan-Li ou Co)
Sketching on paper should be a process. It should be the image of a boiling yet brief
disturbance. Yet despite such charm, it is nostalgia for what it desires is absent.
Sketching is pencil work on paper. It makes one feel like an artist. Yet sketching is a
much freer game than drawing.
Marc Le Bot, Images du corps (chinses version).trans

Perception of body
The theater of painting
The Ceremony of illusion on the stage
Behind the scenes
I tried using only simple material (pen and paper) to painting, I feel easy, when I look
at early sketches from David Hockney, only the white and the lines expressed the
strange emotion, or CY Twomblys painting, which have purely naturally writing on
canvas, I feel greatly moved from them. I tried make painting is as natural as
breathing. Painting the perception of body for me is one of the energy. If get the
stronger sense, will be able to draw much more easily and smoothly

Jumping frames I
The paper,pencail,crayon, thread on the paper.
27.5cmX20cm
2013
Jumping frames I
The paper,crayon,acrylic on the Canvas
22.5cm15.5cm
2010








Collages, sketches, I try to draw more easily, as the dancers want to jump higher,
stretched longer. The most relaxed demeanor expressed as the dancer's body in a
relaxed state. I'm in my studio depicted them in their studio.

Synchronous
The pencil, acrylic on the Canvas
22.5cm15.5cm
2010
Listen our breathing, watch our moving and make our trace.
pas de deux
The pencil, acrylic on the Canvas
22.5cm15.5cm
2010
Lets be together for the moment, breathing and breathing.










2. The theater of painting: where is the theater in the paints

I've been asking myself, what is the painting of theater or theater of painting?
Theater gives stimulation with lighting, sound and graceful limbs, the audience
breath with theater, performers, like the Community. But when the time loss of these
external stimuli, when all regress to the vision, the theater is exists or not.

I like to sit in the theater to feel a ritual time. Performers are ordinary person, but on
stage they will be extraordinary. Stage and the red curtain seem to be the switch of
these two different worlds, if all things are placed onto the stage, then it transfer into
the performance mode. There is one thing being narrative on the stage. From the
minute by minute, the audience enters a scam. Then the frame of the canvas could
have the same meaning like the stage, with red curtain and performers.

Normally, people make the photos and make video-record in theater, and got the
visual soaked in theater atmosphere. But my attempt is to produce a painting which
are performing. Each object in the picture is moving silently. I use the body
movements of the performer, the screen to produce a static or d or motion posture.
They are performing in the moment. I created the floor, the sky, the field, when the
audience look at painting, perhaps would have 2 seconds, it will perform two
seconds for the viewer, breathing synchronized like the ceremony.

The "Move" on the screen, some of them were from my assumptions, as a
choreographer determine the displacement of the characters in my screen, some of
them are manufactured in the remake of the rhythmic motion, a false rhythm, and I
put them together like I choreograph by myself.

Forms, lines, breathings and lights













Bejart told me
The pencil, acrylic
on the Canvas
130cm97cm
2010

Jumping around! Jumping around! Travelers, do not get lost.




60.5cm50.0cm
The pencail,crayon, acrylic on the Canvas
2011
Just moving around,up and down side to side on the stage,no more, no less

moving, we are not ready
The pencil, acrylic on the Canvas
22.5cm15.5cm
2010






We are on the floor, we sit, we stand, we are waiting for the password, we want
to move, but we must wait.

Swing on the grass island
The pencil, crayon, acrylic on the Canvas
22.5cm15.5cm
2010







"I swing, experience the foot stepping on the ground, I'm still standing on the
shaking island."


Theater-style of love
The pencil, crayon, acrylic on the Canvas
22.5cm15.5cm
2010






The opposite of a happy ending is a fraud, standing on this side of the screen is
perfect, but another side is lie. Which side you show the audience when we are
faced the life

3.Boxing the Landscape (2009~2011)

Catherine Grout,-, (Taipei ,Yuan-Li ou, Co. ,2009)
The scenery is a relative noun for man and nature, man and man, man and self. Man
is still the core of it all.
Through understanding of the scenery, one can understand the cultural attributes,
especially the authors senses, his knowledge, his desires, his fears. The scenery
expresses the relationship between the world and us, the other and us, even us and us.
Catherine Grout :Reprsentations et expriences du paysage ,(Chinese version)

I started this series of artwork in 2009. The name Box(V.) means that after
cramming in too much information, I was not able to deal with it properly, so I
decided put everything in the box.

The main reason why I felt that way was a huge change in my life I just arrived
in Czech as an exchange student at the beginning of 2009. Everything was new to
me, including the culture and the teaching styles in school. I really needed to
slow down my pace in order to adapt myself into Prague, into the new
environment thats totally different from where I came from. The daily trivialities
here as well as the school stuff, together with each detail in life, therefore, cast
undoubtedly a dramatic impact upon me. It was a very special period that I
would like to name it as a collection phase. I collected impressions, listened to
different languages articulated and stories told, and saw diverse cities and life
styles through learning and traveling, through the eyes of my own. I used every
pore to absorb like a sponge. I tried to expand the database of visual experiences
as much as possible.

Following collection phase, here came what I named digestion phase. I felt, at
that time, an urge to record everything. I desperately wanted to record my new
life, my new story, and then put them in a delicate box as if a kid protects his/her
own little treasure in the treasure box. But then I found that when I closed my
eyes and tried to recollect something from my database, some images started to
form more comprehensive shapes, presenting more concrete embodiments with
vivid emotions and complex stories tangled. I couldnt capture them accurately.
The only way to deal with them is to put them in a frame on my painting cloth.
Like packing a luggage for a long-term trip, I put everything in my bag. Gradually
all stuff were squeezed so tightly that they became color blocks. I boxed my
memories and the sceneries Ive seen via this concept.
Have a walk no.4
crayon on paper
15cmx25cm
2009
Have a walk no.6
crayon on paper
15cmx25cm
2009
Three phases of Boxing the landscape

Capturing visual images Boxing them Opening it and searching (for something)

1. Capturing visual images

In the earliest work, I made drawings and sketches to represent my visual experiences.
In the huge width of my sight, I tried to select something that touched me the most at a
certain moment. For example, the railings in front of me, the blooming flowers next to
the tree, and the extending mountain edge ..., etc. From such trivialities, I found myself
having great interests in details. I was also very keen to pick only small parts of the
whole view. These parts are special to me among all the cluttered objects.


"It was a beautiful prairie, from the blue sky to green space.This record is so light, you
can almost breathe the air. "


"I saw there had the railings, the railing had net, behinded the net was the tree.

2.Boxing them
The box of landscape No.2
acrylic on paper
15cmx25cm
2009
16 hours on the bus
Acrylic on the canvas
160cmX140cm
2009

I boxed the impressions I had and internalized the powerful emotions of the past, all of
which, in a sense, corresponds to abstract expressionism. Like a package of
long-distance traveling luggage, everything was sorted and put into different bags.
Finally all the things were squeezed inside the box, starting the transformation process
that ended up color blocks. Memory itself is, in fact, not clear and easy to be
disassembled and analyzed. It is something obscure, something complicated. However,
the longer a afterward period is, the stronger the links between different memories are.
Sometimes there is such a link which the original two stories didnt have at all. This
connection is formed through our emotions, stories and every bit of the remaining
memories that lie in different parts of our bodies.

"I've been to a lot of green, I pressed and closed up."

"On the long-distance bus, the scenery outside has been transformed, through the
house, trees, grasslands, city ... around and around
Heating landscape
Acrylic on Canvas
120cmX120cm
2009
I went to your hometown
for a trip
Acrylic on Canvas
120cmX120cm
2009

"Sun goes everywthere , but you can get the cool in the shade."


"He said: This is my hometown have you ever been?
I said: I have not been there is but another one.
Then points, I went to his house.


Undeveloped!
Acrylic on Canvas
53cmx45cm
2010
3.Opening it and searching (for something)

When I was back to Taiwan after the exchange year, I started from sharing stories. It
was like opening the trunk and pulling out a bag to see what was inside. At the same
time, I also began to recollect all the past memories gradually. Tiny ones accumulated
into amazingly huge ones; huge ones became again delicate tiny ones. Throughout this
process, I tried to let the painting narrate. Sometimes I made assumptions on the result
when I tried to make a slide out of the box like having an anatomy of it. It is easier than
that in earlier stages to find some concrete images. Things are more likely to have
recognizable shapes. Although they are not entirely correct or realistic, they do come
from my boxes.







10 minutes from the capital is only the remaining grassland and trees.
She shouted: "That is a vast expanse of undeveloped!




In fact,Juliet does not like Romeo
Acrylic on Canvas
53cmx45cm
2010
Along theater
Acrylic on Canvas
53cmx45cm
2010

Bare mountain, likes the memories of him.
I tell the story, and then forgot it in record, record it in forgot.


October 2009, a day to go to the theater along,
Do not know the story, do not Know the lines,
I only certainty is that I was sitting here.
A wonderful oppression.
Studio no.8
Paper,pencil, Acrylic
25cmX200cm
2009
4. The works from old time (2008~2009)
Studio no.8
I started using the Chinese book style called ce ye( an album of paintings ), it has
different way to read : one page would be one painting , two pages would be one
painting, whole pages would be one painting . It is means you need move you sight not
only when you read but also when you are drawing. It needs 360 degree eyeball
movement. From the left to the right, up to down. , make it in the circle. For me, it is a
way to make different space in one picture.
Next step is how to make it become much simple. I chose the experience likes when in
the exhibition: When you start to do eyeball movement in the one area,there would
has some place be caught by colors or shapes. I take the same way to choose the
import things in my area (studios). For me, the white or clean place are the relaxed
place into your eyes. It called "chi(air). And the bigger blank space is the place for
breathing. In real, It is normal, when we look around the area but would pass over
something, it is the time when eyeball take a break, and keep going to next time to see
again. I let this feeling is more strong happens on my paintings .









praha
video
1,33 mins
2009
Driving
Video
1,00 min
2009
2.Driving

I want to find the way between directed and indirect. Not only sprinkle the colors but
also use somehow between 1 and canvas (It should be more far than the brash from my
hands).Then 1 chose the auto-toy-car to paint. . after sprinkling the colors, the car
started to make the trace on the canvas, because of the edges, it will made a sealed
space by itself. Then I got a question: Who painted the picture? Who can control it? It
looks like me, but the only thing 1 can control it is when it stopped by itself. I can gave
the car new starting points and it would gave me bake the lines and plane. I thought
there is a contradictory relationship, is out off control with me and my car. In the end, I
become the painter because of live, and the no life car just became the tools. This
picture will nonstop change before 1 say stop,

3. Praha



The idea is come from the beer culture. After 1 came here, I thought that Prague
( Czech ) is a city covered by beer. For this reason, I presume that after I back to
Taiwan . The most memory in my mind could would be " red , , , " beer , , , " In Czech, I
felt quite, it is because of the language which I do not understand. I used the beer to
colors the postcards. The colors in the bottle let me feel that 1 can hear the music in pub.
After i came back, the color of Prague ware dim, unclear and as little bitter as beer.
PARK 2
Acrylic on Canvas
116cmX91cm
2008
PARK 1
Acrylic on Canvas
116cmX91cm
2008
4. The series of Park

The park is next to my house. I have used to sketch there when I was a child. where a
large group of pigeons made me impressed. using blocks of color to depict space, of
This park when I was young to now go through a lot of changes, my impression of it is
very unclear, some are true and exist in the painting, some of the colors of the past, as
well as some imagine.


Observed today, look into yesterday by todays observation. "
5. HELLO?
HELLO?
Mixing meterial
depend on space
2008



Please looking for what you looking for - when anonymous phone rings, you will go
to it? Or ignored?














5. solo exhibition Recording
2011
2010



Lapsing Theater
04.4.2011~09.4.2011
8 & 1/2 Art Space, TNUA


An arrowhead idea is from a dancer who I like so much, he said about his occupation:
Just moving around, up and down, side to side on stage. That's it. No more, no less.

Use the experience from the theater, making the different way to watch the show in
the gallery. I made a space which has a performance (Video), recording about the
theater.

Stage and the red curtain seem to be the switch of these two different worlds, if all
things are placed onto the stage, then it transfer into the performance mode. There
is one thing being narrative on the stage. From the minute by minute, the audience
enters a scam. Then the frame of the canvas could have the same meaning like the
stage, with red curtain and performers.

Audience will get the ticket (invitation card) and come in to the gallery. The left side
is a seating chart, from here they can started in the fictitious show.























A WALK FROM
YESTERDAY

YIJOU,CHUANG
7/01/2010~31/01/2010
DECADA GALLERY


















A walk from the yesterday is about the landscape of my mind. I wanted to use a
different way to describe the landscapes which I have seen or I remembered.
I noticed that every time I used photos or pictures as a reference, I could not only see
what was in the picture, but through the pictures I was able to find an image from
myself.
I call this image an impression. All the impressions are from the places I have
been, views I have seen, the story I have created. It comes completely from within
myself. It reflects my life, my thinking and my deep inner-eye.
I arrived in the Czech Republic in February 2009. At the beginning it was very
difficult because of the language and cultural differences. I have had to try to use my
feeling to understand all the things that have been happening around me. I collected
more and more impressions in the file of my life. In the end, I have tried to record
this year which has been such a different one in my life. I use cubes or circles in my
paintings, just like the Treasure Box that I had in my childhood. I want to package my
memories, or through the holes to see my memories. But I found out I can not only
select the impression which has come from the Czech Republic or Europe. The
memories should not be cut and analyzed so easily and clearly. It has already been
mixed in my brain. All the impressions should come from my life, my stories, the
places I have passed through. I internalized all the stories, views, memories into an
abstract image. It is not talking about my home county-Taiwan, nor about Europe. It
is not a landscape from the normal world from outside, but it is the landscape from
my deep mind. This is the subject I want to present to everybody.
I hope everybody can find their own story when they see my paintings. Maybe it is
not just the story which has happened to me, but also one that happened to him/her.
They should try to find their own way to understand the art works. I always have a
feeling that contemporary art today has too many theories. And the theories are
sometimes too hard to catch even for people who study art, complicated theory can
make people feel that art is distant and hard to understand. There is a very wide gap
between people and the arts. Theory is important because it pushes us and keeps us
going, but I still hope my art can give freedom to the audience. They dont need to
understand the theory of art, or any background about art. They only need to use
their imagination to read the painting. There is no answer, also there has no hard
vocabulary to read, and I havent even used any high technology. I just want to share
my stories, and I hope some people will be reminded of their own stories as well.
The world it not wonderful, and the environment is very dark. There is a lot of
artwork which wants to discuss how bad the world is now, but I think it makes people
more and more unhappy. In my opinion, how we live is the most important. Not
everyone can be a revolutionary. So it is better to change your mind. If people can
see the world in different way, maybe the world would be better in the mind. I wish
my painting could give the people a clean space in their soul: the world is not
beautiful, but we can make our story beautiful.
Chuang,yijou 12.2009.

< I had a walk yesterday>
Acrylic on the canvas, 160cmX140cm,2009

<16 hours on the bus >
Acrylic on the canvas, 160cmX140cm, 2009


<Summer is hot everywhere >
Acrylic on the canvas, 120cmX120cm, 2009


<I went to your hometown for a trip>
Acrylic on the canvas, 120cmX120cm, 2009








<Where is my snowman?>
Acrylic on the canvas, 120cmX120cm,2009


<Have a walk 1>
Acrylic on the canvas, 50cmX50cm,2009


<Have a walk 2>
Acrylic on the canvas, 50cmX50cm,2009



<Have a walk 3>
Acrylic on the canvas, 50cmX50cm,2009















Acrylic on the canvas, 50cmX50cm,2009



<One more morning, one more story >
















<Series of landscape>
Pencil, crayon, acrylic, tape on the paper,21cmX15cm.2009