CinCin Chang
Taipei
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Walkingbook Library
Taipei
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CASE STUDY

At first, I apply for this residency because I felt a little scared about going back to Taiwan and staying in for five months. By chance, I could justify my time in Taiwan as immersing myself in the creative world.
I really like everyone that I met here, whether they are artists or other people. It seems that our souls are all missing a piece, but the strength that naturally gathers us is reassuring.
I like to have a full three months to roam in the Yongle market. No matter how many times I say "I am participating in a residency program in Dadaocheng," I can not stop feeling prouder and prouder.
Walking by the same path every day and noticing the details that change from time to time make me temporarily a local. I have been wandering for a long time, so I know in my heart: I can only build a little connection when I follow a repeated path.

I remember someone mentioned in the stay that he hated the word connection.

As a habitual wanderer, how can I not yearn for a connection to any detail that does not belong to me, and only those fine roots remind me that it still exists, although it is invisible, even invisible.

This time, my plan for residency was to "understand the city I grew up in as a senior outsider."

Because of long-term travel, I understand each city in my own set of methods, such as sketching on the street. Also, I must confirm the source of coffee and alcohol, and then find the corner where I can settle and live. Only by living a good life can I produce creative energy.

In addition to thinking about feasible works during the period, I spent the first month exhausting the preparation of the Post-adventure solo exhibition, and also get used to working in a dim library. Then I spent some time repeatedly chewing on my own creative mode, trying to naturally made records that seemed to grow on the walls.
I wanted to record the layers of time, so I sketched on the long paper, recording the appearance of people and the surrounding corners, those are the traces of me; gray is the impression of the city's cement brick; red is a trace left in history; and the deep blue-green of potted leaves of tropical plants on the corner of the street after the rain. The ball of yarn lingered around are like mosses. After two or three weeks, they became the final look.
I admit that after a few weeks around Yongle, I always want to try various new media to complete the work. It is very comfortable to create in a different material environment.
I-Chen said that during the stay, it is not necessary to finish the work, and the semi-finished state is also very good. In this way, we can expect what kind of development it would show us. It is great, so I let the work pause like that.

The days when the residency was about to end, I was preparing for the exhibition, trying to prepare the artists' tour day, and so on. I didn't think about the importance of the stay in the village and the work itself for me.
To now, when the group exhibition "Love Sucks" has been completed with the artists, the concept is completed.

In addition to observation, recording, settling, and hard work, the most important thing that my habit of traveling gives me is the people.
Because I come and go, I am always grateful and cherished for people to get along with each other. After all, I am also used to separation. I don't believe that any state will exist forever, but I also try to make the days collide and sparkle if possible.

This happened unconsciously to these people I met during my stay. When we just met, we were a bit shy and cute. The beer on the turf was dazzling that night, and we were happy to eat pizza under the street tree.

The beginning of this group exhibition "Love Sucks" is also full of tolerance and love outside of emotional discussions. After that, it seems that the group exhibition can be done together. The works of the eight artists are all placed gently in the same space.
I made a small animation myself, and projected along with Ying's on the walls.
Someone asked me if I only have one work. After thinking about it, I said without a doubt that maybe the whole exhibition is also my work.
Then I realized more things after a few more days: getting along with these beautiful souls, and insisting on doing something together, I really have a good practice of "understanding the city I grew up in as a senior outsider."

That's about it. Everyone has to move forward to another future. I feel that we will always gather again and feel at ease, but I am still grateful for the rush and magnificent memories.

INFO
SERVICE COUNT
CASE STYLE PIN X STUDIO
LIVING DAYS 90 DAYS
LIVINIG TIME 2019.10.01 - 2019.12.31