| |
|
 |
|
Shida Kuo |
|
Background
|
|
|
B
orn in Taiwan, Republic of China, 1959
Lives and works in New York City
It puzzles me why certain forms, some particular types of material, would always possess more visceral power over me than others. Similarly, I am curious how people of different origins and backgrounds could respond to forms and materials in an identical way. Is that an evidence of homogeneity of mankind as a collective spices? It seems to me that those shared experiences of emotional and spiritual impacts created by forms and materials have been articulated by our bodies even before they could be understood by our minds. It is a collective sense of deja vu for mankind, repressed by consciousness by persistent in our veins. I suppose drawing was the primary way of communication before the invention of languages. Wasn't drawing initially based on observations of the nature? What was the process, then, in which the nature was transformed into shapes and lines?
I am driven by theses related questions, and cannot help trying different angles when approaching toes natural creations. By copying them down and keeping records, I attempt to locate the essence of forms, as a whole or as configurations of fragments. Those fragmented, unfinished forms were stored in my head, waiting to spring up from the entity called "I" after a series of conflicts, contradictions and convergence among themselves, until they emerge as a new form of completeness.
My work from the past few years demonstrates this creative process. Instead of making any statement through my work, I have played a faithful recorder, using only my sensitivity to material s and undisguised techniques, just to catch the forms that might have been otherwise left in oblivion.
Written by Shida Kuo
Translated by Johnson Kuo
|
|
Education
|
|
|
1
989-1992
M.A. in Studio Art, New York University, New York City
1978-1982
B.F.A. in Painting, National Taiwan Normal University, Taipei Taiwan
|
|
Experience
|
|
|
A
djunct Faculty, Department of Art and Art Profession, New York University, New York City |
|
Exhibitions
|
|
|
1
999
Solo Exhibition, Cherng-Piin Gallery, Taipei, Taiwan
1998
Solo Exhibition, Gallery MIC ART, Lille, France
Group Exhibition, Glaerie Pierre, Taichung, Taiwan
Group Exhibition, Yixing Ceramics Museum, Yixing, China
1997
"Forms & Transformation", Queens Library Gallery, New York City
1996
"New York, New York : Clay", Rogaland Kurstnersenter, Norway
New York University Faculty Show, 80 Washington East Gallery, New York University
"Pacific Artists in New York: New World Art Center, New York City
1995
New York University Faculty Show, Apex Art New York City
1994
Group Exhibition, UP Gallery, Kao-shung, Taiwan
Group Exhibition, Cherng-Piin Gallery, Taipei Taiwan
"Fur-in-true", Rosenberg Gallery, New York City
1993
Solo Exhibition, "Prelude to Collected Memories" Gallery 456, New York City
Tour Exhibition, "Uncharting Territory", Virginia, Maryland, Pennsylvania, New Hampshire, New York City, Canada, from 1993 through 1995
"What's Cooking", Cork Gallery, Lincoln center, New York City
"Art Show Tow" Outdoor Sculpture, New York Downtown Hospital, New York City
"An Exhibition of Recent Themes", Cherng Piin Gallery, Taipei, Taiwan
1992
"Material Investigations", Rosenberg Gallery, New York City
1991
Group Exhibition, Loeb Center, New York University, New York City
1988
Group Exhibition, Yung-Han Gallery, Taipei, Taiwan |
|
Awards
|
|
|
1
994
Artist in Residence-Maryland Institute, College of art, Baltimore, Maryland
Artist in Residence-Phillip Exeter Academy, Exeter, New Hampshire
1993
Juror for the Maryland State Arts Council's Individual Artist Award in Visual Arts
1983
Work Selected by the Fine Arts Exhibition of the Republic of China
Collections
1992
River Art Center, Taichung, Taiwan
1983
National Art Museum of the Republic of China
1982
National Taiwan Normal University
|
| |
*The content of the biography is the
responsibility of the artist and is not edited by 123soho.
|
|
|
You are invited to submit your personal reactions,
insights and observations to the artist. It is our intention
that the sharing of constructive criticism will be beneficial
to our member's growth.
|
|
 |
Number
of Critiques : 2
chas russ
11/15/2003
nice
Priscilla Hollingsworth
07/28/2003
I really enjoyed seeing these images of your work. I also am working in ceramic sculpture. I make forms that are organic and suggest various possibilities about growth, making/manufacture, culture, gender, etc. However, in distinction to your way of working, I use plenty of color. I teach ceramics at Augusta State University in Augusta, GA. Are you going to NCECA this year? It would be nice to meet you. I'm think we would have something to say to each other as artists.
123soho is not responsible for the
content of Critique Column entries. Comments shown
on this page do not reflect the views or beliefs of 123soho.
|
|
|
