The Invisible Muse Exhibition: A collaboration between Artist Paul Chiang, Architect Yu Han Michael Lin & Fashion Designer Justin Chou
Creative inspiration continues to flow out of Contemporary Artist Paul Chiang. Not long after the end of Chiang’s solo exhibition in November 2022 in Taitung, where his second life as an artist began, the Invisible Muse was launched in Taichung, his birthplace. The Invisible Muse exhibition is a collaboration between Chiang, Architect Yu Han Michael Lin of the Paul Chiang Art Centre, and Fashion Designer Justin Chou. The three artists used unconventional materials that are flawed, imperfect, and discarded as their muse. The course of their collaboration was recorded and shown in the exhibition. Corrugated panels, a material frequently used in the structures of Taiwan, is the common theme found in each of their works. Lin, alongside Ho-Hsuan Liu, who studied under the Department of Architecture at the Tunghai University, curated the exhibition. The curation process was shown at the exhibition.
Semi-transparent corrugated panels
The use of corrugated panel was first found in Chiang’s Perish II, exhibited at his solo exhibition in 2022. It incorporated a large piece of corrugated panel which was once the wall of his old studio. Years of sun exposure and rain crafted a unique wearing, print, colour and quality that only nature and time can shape. It was irreplicable by man, and inspired Chiang greatly. Chiang’s part in the Invisible Muse collaboration was painting 60-70 corrugated panels which were each 120cm long and 70cm wide. Resembling a relay, Lin and Chou took the painted panels and created works that celebrated their disciplines.
The use of corrugated panel was first found in Chiang’s Perish II, exhibited at his solo exhibition in 2022. It incorporated a large piece of corrugated panel which was once the wall of his old studio. Years of sun exposure and rain crafted a unique wearing, print, colour and quality that only nature and time can shape. It was irreplicable by man, and inspired Chiang greatly. Chiang’s part in the Invisible Muse collaboration was painting 60-70 corrugated panels which were each 120cm long and 70cm wide. Resembling a relay, Lin and Chou took the painted panels and created works that celebrated their disciplines.
Light reflecting through the smooth surface of the semi-transparent corrugated panels create a sense of flow. It took Chiang several attempts to find the right blend for the paint to settle on the fluted surfaces the way he had envisioned. He used different paints and piled several layers onto the corrugated panels which had a unique characteristic that prevented colours from blending. Pointing to one panel, Chiang said, “This reminds me of the colour of Paris – romance.”
Chiang said, “Unlike Perish II, where the corrugated panel was made from metal, this piece is much gentler. Because the material is semi-transparent, it doesn’t have the capacity to express the colour I envisioned through one layer of paint. At first glance, it may look as though it is one colour, in reality it has seven to eight layers; however, if it had ten layers, it will have been too much. I enjoyed very much the process of this discovery.” Chiang created colours for the Invisible Muse never before seen in his works.
Chiang said, “Unlike Perish II, where the corrugated panel was made from metal, this piece is much gentler. Because the material is semi-transparent, it doesn’t have the capacity to express the colour I envisioned through one layer of paint. At first glance, it may look as though it is one colour, in reality it has seven to eight layers; however, if it had ten layers, it will have been too much. I enjoyed very much the process of this discovery.” Chiang created colours for the Invisible Muse never before seen in his works.
Invisible Muse: Paul Chiang X Yu Han Michael Lin
The beginning of 2019 was the start of the construction of the Paul Chiang Art Center. The construction site naturally is filled with discarded materials. Chiang said, “Every morning after my coffee, the first thing I do is to visit the construction site. I collect materials such as discarded concrete, iron fixtures, and worn out materials, for example, to use in my art. It brings me the same kind of joy as when my grandson and I play Lego together during his visits to Taiwan.”
Lin said, “In fact, I don’t enjoy visiting construction sites. I feel a certain degree of pressure every time. When I visit the site of Paul Chiang Art Center; however, I feel a sense of calm. I felt the same sense of calm when putting together the exhibition, and I hope that it can reflect Chiang’s innermost spirit. I enjoy collaborating with other artists. Their difference in perspective is eye opening.” As an architect, Lin tries to highlight his client’s creative focus and character which is reflected evidently in the exhibition.
Walking into THE 201 ART, Invisible Muse: Paul Chiang X Michael Lin is found in the middle of the exhibition space. The curved artwork gives the illusion that it pierces through the ceiling. The dots on the panels reflected by light create a glistening effect. Its presence brings people to the Taitung mountains, and its uneven surfaces emulate ripples on the ocean surface.
Lin said, “The wave is not the ceiling, nor the hill of the mountain, or the wave of the ocean, it carries Chiang’s spirit.”
The architect’s touch in the curation of the exhibition is seen in the element of spacial design and lighting reflected on the panels which shows the flow of life and essence of the artists.
The beginning of 2019 was the start of the construction of the Paul Chiang Art Center. The construction site naturally is filled with discarded materials. Chiang said, “Every morning after my coffee, the first thing I do is to visit the construction site. I collect materials such as discarded concrete, iron fixtures, and worn out materials, for example, to use in my art. It brings me the same kind of joy as when my grandson and I play Lego together during his visits to Taiwan.”
Lin said, “In fact, I don’t enjoy visiting construction sites. I feel a certain degree of pressure every time. When I visit the site of Paul Chiang Art Center; however, I feel a sense of calm. I felt the same sense of calm when putting together the exhibition, and I hope that it can reflect Chiang’s innermost spirit. I enjoy collaborating with other artists. Their difference in perspective is eye opening.” As an architect, Lin tries to highlight his client’s creative focus and character which is reflected evidently in the exhibition.
Walking into THE 201 ART, Invisible Muse: Paul Chiang X Michael Lin is found in the middle of the exhibition space. The curved artwork gives the illusion that it pierces through the ceiling. The dots on the panels reflected by light create a glistening effect. Its presence brings people to the Taitung mountains, and its uneven surfaces emulate ripples on the ocean surface.
Lin said, “The wave is not the ceiling, nor the hill of the mountain, or the wave of the ocean, it carries Chiang’s spirit.”
The architect’s touch in the curation of the exhibition is seen in the element of spacial design and lighting reflected on the panels which shows the flow of life and essence of the artists.
Invisible Muse: Paul Chiang X Justin Chou
Contrasting to materials used in high fashion, the semi-transparent corrugated panels are inexpensive and accessible. Chou said, “I was naive at first and attempted to use a heat gun to shape the panels into the form of a body. After failing, I was inspired by Chiang not to be confined by my own boundaries and thinking.”
Chou noticed over the last ten or so years how Chiang seldomly used the paint brush and instead poured paint to create art. Chiang uses the strength of his core and canvas to create colour and light that cannot be replicated. Chou said, “Chiang has been producing art without a paint brush, so I decided to produce a piece without the sewing machine and thread. It reminded me of school days when I didn’t yet know how to use a sewing machine.”
Chou cut the panels and used wires to fix them together. He incorporated materials seen often in construction sites such as eyelets and aluminum wires as part of his design. He also included elements of architecture into the structure of his work making hard materials look soft. Chou said, “This cross-disciplinary creation no longer has boundaries, I have become a part of it.”
Contrasting to materials used in high fashion, the semi-transparent corrugated panels are inexpensive and accessible. Chou said, “I was naive at first and attempted to use a heat gun to shape the panels into the form of a body. After failing, I was inspired by Chiang not to be confined by my own boundaries and thinking.”
Chou noticed over the last ten or so years how Chiang seldomly used the paint brush and instead poured paint to create art. Chiang uses the strength of his core and canvas to create colour and light that cannot be replicated. Chou said, “Chiang has been producing art without a paint brush, so I decided to produce a piece without the sewing machine and thread. It reminded me of school days when I didn’t yet know how to use a sewing machine.”
Chou cut the panels and used wires to fix them together. He incorporated materials seen often in construction sites such as eyelets and aluminum wires as part of his design. He also included elements of architecture into the structure of his work making hard materials look soft. Chou said, “This cross-disciplinary creation no longer has boundaries, I have become a part of it.”
An artist’s job is not only to create beauty but to uncover it
Chiang has an innate sense to appreciate all things produced into the world. He once said, “An artist’s job isn’t to only create beauty but, more importantly, to uncover it.” 1975 was the first time Chiang had exhibited his works in New York. The metal items incorporated to the exhibition were all collected from the streets of New York.
Chou believes in giving new life to flawed materials. At the exhibition, the piece The Traveler, Mountain Ranges of Taiwan shows how he reused flawed jacquard. It was a reinterpretation of Chiang’s Mountain Ranges of Taiwan painting. The threads of the fabric mimic drizzling rain. During the process, however, communicating his vision to the textile manufacturer was not easy, but he believes that flaws are where innovation can be found. Chou said, “This collaboration reminded me of why I love fashion.”
Chiang has an innate sense to appreciate all things produced into the world. He once said, “An artist’s job isn’t to only create beauty but, more importantly, to uncover it.” 1975 was the first time Chiang had exhibited his works in New York. The metal items incorporated to the exhibition were all collected from the streets of New York.
Chou believes in giving new life to flawed materials. At the exhibition, the piece The Traveler, Mountain Ranges of Taiwan shows how he reused flawed jacquard. It was a reinterpretation of Chiang’s Mountain Ranges of Taiwan painting. The threads of the fabric mimic drizzling rain. During the process, however, communicating his vision to the textile manufacturer was not easy, but he believes that flaws are where innovation can be found. Chou said, “This collaboration reminded me of why I love fashion.”
One of the buildings of the Paul Chiang Art Center was inspired by Chiang’s 2007 sculpture series. The idea was motivated when Lin saw the sculptures while visiting Chiang’s old studio. Lin said, “Perhaps we may transform the sculptures into buildings.” Chiang’s sculpture and Lin’s architectural model were also exhibited at the exhibition.
Eco-conscious approach
Chiang said, “I would prefer to live in a world that produced less, however, this is easier said than done due to the needs and desires of human. I hope Taitung will be able to preserve its pristine beauty by building less.”
Liu said, “While studying architecture, I had always believed in seeing things through a different light. Could I reuse a box as the base of my architectural model? Could wet wipes represent curtains? These repurposed items have the same ability to express my designs with success. Lin encourages us to find innovation through used items; I thought, perhaps we may incorporate discarded materials into the curation of the museum.”
Chiang said, “I would prefer to live in a world that produced less, however, this is easier said than done due to the needs and desires of human. I hope Taitung will be able to preserve its pristine beauty by building less.”
Liu said, “While studying architecture, I had always believed in seeing things through a different light. Could I reuse a box as the base of my architectural model? Could wet wipes represent curtains? These repurposed items have the same ability to express my designs with success. Lin encourages us to find innovation through used items; I thought, perhaps we may incorporate discarded materials into the curation of the museum.”
Elements of Liu’s curation include bubble wrap which resemble the ocean wave, wooden boards of shipping containers which are at the perfect height for item display, and rocks which its patterns closely mirror the artworks. Liu said, “The materials used at the exhibition may not be the most glamourous, but they allow people to see things through a different perspective.” She hopes to create awareness in eco-consciousness and demonstrate that discardable items can still have value and new life.
Through lighting, the shadows of the scaffolding is intentionally reflected off of the walls of the exhibition. Even a screw can be clearly seen. Visitors are told the story of their creative process through these slight details. Chou’s eye-catching Jinzun and The Visitor work shows a row of buttons sewed onto the clothing without purpose.
Through lighting, the shadows of the scaffolding is intentionally reflected off of the walls of the exhibition. Even a screw can be clearly seen. Visitors are told the story of their creative process through these slight details. Chou’s eye-catching Jinzun and The Visitor work shows a row of buttons sewed onto the clothing without purpose.
Partners in collaboration
At the Invisible Muse panel discussion, the former Taipei Fine Arts Museum Director Ping Lin who was invited to the panel said, “Human beings were once convinced that we were the spirit of all things and that we were in control the world; however, with climate change and other rapid environmental changes, we discovered that this was not the case and that we are very much part of the ecosystem.”
At the Invisible Muse panel discussion, the former Taipei Fine Arts Museum Director Ping Lin who was invited to the panel said, “Human beings were once convinced that we were the spirit of all things and that we were in control the world; however, with climate change and other rapid environmental changes, we discovered that this was not the case and that we are very much part of the ecosystem.”
Regardless of artist discipline, in pursuit of beauty, waste is created. If artists can use different lenses to look at discarded materials, then the materials may have the opportunity to live out another life. The three artists merged their thoughts and found harmony in their collaboration. The cross-disciplinary collaboration defines their individual expertise, discovery of beauty, and encounter.
