Museum Plan•Virtual world fine arts museum daily - Wen Jui TSAO Solo Exhibition 繆思計畫 虛擬世界之美術館日常 曹文瑞個展
Nov 1, 2019
- Artist: Wen Jui TSAO
- Category: Oil painting / Acrylic
- Format: UV color printing, 84 pages, perfect binding
- Size: 25 x 25cm
- Price: 900
“Imitation Is Real” — Wen Jui TSAO’s Museum Plan
Text by Kuang-Yi CHEN
(Professor, Department of Fine Arts / Dean, College of Fine Arts, National Taiwan University of Arts)
After earning his master’s degree in the United States in 1995, Wen Jui TSAO returned to Taiwan and began working in various sectors of the cultural and creative industries. Following years of notable success, he fully devoted himself to artmaking in 2009, becoming a full-time artist. Once immersed in creation, his passion and prolific output became evident—producing more than two solo exhibitions each year, both abundant in volume and high in quality.
Wen Jui TSAO is a master of oil painting. His 2019 solo exhibition Museum Plan, presented by GSA Gallery, is the third installment in a series following Windows of the Soul and Virtual Theater.
TSAO’s style is marked by clarity, precision, and a sharp sense of form. His use of bright, clean colors and smooth, flat application aligns with aesthetic tendencies seen in American Precisionism from the 1920s, Pop Art of the 1960s, and the Hyperrealism of the 1970s. The absence of chiaroscuro, the extremely crisp contours, and razor-sharp edges in his work flatten spatial depth and neutralize the sense of volume and perspective. This makes his paintings appear realistic, yet they are, in fact, abstract; seemingly objective, yet deeply subjective.
His visual language does not stem from traditional academic training, but rather from the world of graphic design, advertising, posters, and animation—domains rooted in popular culture.
............
「擬仿物是真的」─曹文瑞的《謬思計畫》
文/陳貺怡 (國立臺灣藝術大學美術系所教授/美術學院院長)
曹文瑞1995年從美國獲得碩士學位回來，開始從事各種藝文產業的經營與推廣，卓然有成之後終於能在2009年專心投入藝術創作，成為專職藝術家。一旦投入，他的狂熱與旺盛的創造欲展現在每年兩檔以上量多質精的個展。曹文瑞精擅油畫，今年(2019)在國璽藝術推出的《謬思計畫》是延續自《心靈視窗》與《虛擬劇場》的第三個油畫系列。
他的造形清晰、明快、精準，用色明亮光潔，接近美國從1920年代的「精準主義」(precisionism)、60年代的「普普藝術」(Pop Art)、以及1970年代的「超寫實主義」(hyperrealism)的主張。大片平塗缺乏明暗調子的色面，過度銳利的準確輪廓與邊角，幾乎抵銷了畫作中的透視、景深與體感，使他的作品看似寫實，實則抽象；看似客觀，實則主觀。如此的造形語彙並非來自學院傳統，而是來自平面設計、廣告、招貼、動漫等大眾文化。
............
Text by Kuang-Yi CHEN
(Professor, Department of Fine Arts / Dean, College of Fine Arts, National Taiwan University of Arts)
After earning his master’s degree in the United States in 1995, Wen Jui TSAO returned to Taiwan and began working in various sectors of the cultural and creative industries. Following years of notable success, he fully devoted himself to artmaking in 2009, becoming a full-time artist. Once immersed in creation, his passion and prolific output became evident—producing more than two solo exhibitions each year, both abundant in volume and high in quality.
Wen Jui TSAO is a master of oil painting. His 2019 solo exhibition Museum Plan, presented by GSA Gallery, is the third installment in a series following Windows of the Soul and Virtual Theater.
TSAO’s style is marked by clarity, precision, and a sharp sense of form. His use of bright, clean colors and smooth, flat application aligns with aesthetic tendencies seen in American Precisionism from the 1920s, Pop Art of the 1960s, and the Hyperrealism of the 1970s. The absence of chiaroscuro, the extremely crisp contours, and razor-sharp edges in his work flatten spatial depth and neutralize the sense of volume and perspective. This makes his paintings appear realistic, yet they are, in fact, abstract; seemingly objective, yet deeply subjective.
His visual language does not stem from traditional academic training, but rather from the world of graphic design, advertising, posters, and animation—domains rooted in popular culture.
............
「擬仿物是真的」─曹文瑞的《謬思計畫》
文/陳貺怡 (國立臺灣藝術大學美術系所教授/美術學院院長)
曹文瑞1995年從美國獲得碩士學位回來，開始從事各種藝文產業的經營與推廣，卓然有成之後終於能在2009年專心投入藝術創作，成為專職藝術家。一旦投入，他的狂熱與旺盛的創造欲展現在每年兩檔以上量多質精的個展。曹文瑞精擅油畫，今年(2019)在國璽藝術推出的《謬思計畫》是延續自《心靈視窗》與《虛擬劇場》的第三個油畫系列。
他的造形清晰、明快、精準，用色明亮光潔，接近美國從1920年代的「精準主義」(precisionism)、60年代的「普普藝術」(Pop Art)、以及1970年代的「超寫實主義」(hyperrealism)的主張。大片平塗缺乏明暗調子的色面，過度銳利的準確輪廓與邊角，幾乎抵銷了畫作中的透視、景深與體感，使他的作品看似寫實，實則抽象；看似客觀，實則主觀。如此的造形語彙並非來自學院傳統，而是來自平面設計、廣告、招貼、動漫等大眾文化。
............