When I use painting as a language, a sense of familiarity can enable one to reveal symbols and metaphors rich in poetry without restraint. As for the meaning that the emergence of photography has brought to my artistic career, it not only broadened my variety of mediums, but also expanded my artistic language. The expression of clearness to blurriness of the body, the subject and parts of the body, through photography, which I expect to carry some characteristics from painting, is my unique photographic language.
Hsu Meng-Han’s language is distinct from traditional dictions seen in photography and new media art. In her series of photography Flesh and the Everydayness, certain aspects are blurred so sharply that they appear as paintings. In her Lilliputians series, Hsu captures scenes that drip with strangeness — the plastic plants and statues found in forests at certain Taiwanese amusement parks. In Hsu’s installation work, the juxtaposition of photos and objects create a space that reflects both the artist’s personal memories and her wider culture.
