Tien Wen – Sculpture | Artistics

The Artistics online art gallery presents Tien Wen
Power and depth I’m Tien Wen. I’m a sculptor. I come from Taiwan and I live in France
since almost 30 years. I grew up in a rather literary family but I think I have
a certain sensitivity. I started learning to paint
and draw in high school. Afterwards, I passed the exam to enter the Taiwan art school. I was young,
I wasn’t committed. Therefore, I said to myself
that it was time to see what’s out there. I chose France because France has that image,
for Asians, that country of art image. I was quickly attracted to carving and I chose clay
because for me, other things are less creative, at least clay is from A to Z. It means that we have a lump of earth and then we do everything
for it to become something. For me, it is freedom. Raku is a cooking technique from Japan. Raku is short-lived in a way and plays with fire
and allows for smoke especially for me,
it’s very colorful with lots of effects
that look like bronze, like metal actually. We reach around 1,000 degrees, we remove the oven
and the pieces. At that time,
the pieces cool down very, very quickly and then, the smoke can penetrate
the clay. If it’s too cold,
the clay closes itself and as a result,
the smoke does not penetrate. It’s the smoke entering
the clay and trapped by clay which actually gives this black color. From the beginning, I was interested
in shapes and lines, not really the other side, because clay is often linked
to craft. But, the useful side is not interesting
at all for me. In fact, I had decided at some point to close all my pieces
looking like vases because I didn’t want people to see it as something useful anymore. I wanted the piece to exist
by shape and line and I kind of impose
my perception of things. I play a lot with squares and circles, often with squares that turn into circles
in fact, and I also play a lot with equilibrium. It’s actually a fragile balance. the work is minimalist
and the pieces are simple. I love simple and pure things. At the beginning, it’s true
that I rotate a piece then I break its shape. I don’t destroy it, I divert it. Afterwards, often, I rotate
and distort a piece until the line tells me:
“It’s good”. In fact, I don’t want
the why and when analysis. When I work,
my eyes guide me. There can be a 0.5 mm difference. I see, I see the line
when it’s not identical. Therefore, every time people tell me: “What do you rely on?” In fact, I don’t know,
my eyes guide me, and I actually know it’s best there.

One comment

  • Paul FanMing

    Beautiful work, look forward to seeing your exhibition in Taiwan soon.


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