Painting (MA)
Pao-Leng Kung
Pao-Leng Kung (b.1996) is a Taiwanese artist based in Taipei and London. She completed her BFA at Taipei National University of the Arts and exchange programme at Chelsea College of Arts, UAL. Her works has been exhibited in Taiwan, Korea and United Kingdom.
The focus of the artworks is mainly on painting and pushing it further into spatial installation. Exploring pictorial and sculptural space within painting, and also painting itself through multi-discipline, such as literature, architecture and philosophy.
To interpret painting as object, in the meantime, imagine the spatial border (field) of painting: not a limited space but becoming a space on its own. Then, rigorously to question what does painting contain.
: what will it be, when art only lives in the virtual world?
: the thing we experience at the moment is the flatness of world.
: where is painting’s 'life space' ?
: where are these domestic things’ 'life space' ?
: where is my 'life space' ?
: what is the suitable social distance between my works and viewers?
(enter)
(enter)
(enter)
Nomad.
Drifting aimlessly from 0 to 0.
Drifting aimlessly from 0 to 0. (polishing) — 19x19x8cm
Drifting aimlessly from 0 to 0. (dye) — 21.5x19x9cm
Side view of Drifting aimlessly from 0 to 0. (dye)
Drifting aimlessly from 0 to 0. (check) — 19x19x8cm
(ongoing project...)
2019-
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2019-
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Medium:
Airbrick grille, acrylic paint, tarpaulin, wooden frame, velcro tape, silicone, fiberglass mesh tape, sponge, PVC electrical insulation tape, mounted grinding headSize:
Dimensions variable
Life Space：Colour Chart — Two parts: a. and b.
(part b.)
(details of part a.)
(side view of part a.)
(details of part a.)
Keep thinking about the making process (production) of a thing, the way creating the proper space to hold or to contain, and, the usage of clever storage method to generate magical huge space in daily life.
These invisible and profound possibilities are reformed to an approach echoing painting. Corporeality and human behaviour are implicated in. For example, the applicable container allowing a hand fit in to grab things, the decent shape avoiding things to slip off, or the most useful height, angle, direction.
part a. 29x85x21cm
part b. 13.5x19x3.5cm
2020
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These invisible and profound possibilities are reformed to an approach echoing painting. Corporeality and human behaviour are implicated in. For example, the applicable container allowing a hand fit in to grab things, the decent shape avoiding things to slip off, or the most useful height, angle, direction.
part a. 29x85x21cm
part b. 13.5x19x3.5cm
2020
-
Medium:
Stainless steel, plastic sheet, plastic, velcro tapeSize:
Dimensions variable
Set Up a File
(details)
(details)
2020
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Medium:
Iron wire, draught excluder foam tape, warning tape, mesh magazine file, acrylic paint, air cushion bubble bagSize:
25x36x8cm
(details)
Passage
Interested in the dialogue and contrast between readymade object and delicate handmade craft by artist. When those objects are detached from the fully functional narrative, looking at how they will be recognised.
Through the soft touch by artist, in a way, build an entrance for audiences to encounter the works in suitable distance and the subtle spatial interrelationship has been unfolded.
2020
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Through the soft touch by artist, in a way, build an entrance for audiences to encounter the works in suitable distance and the subtle spatial interrelationship has been unfolded.
2020
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Medium:
Plastic, ball chain, rubberSize:
35x31x9cm
Life space: Photosynthesis
(close-up)
Life space: Photosynthesis (Closure-related Shades) — 13.5x27x17cm
Life space: Photosynthesis
2020
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Medium:
Scouring pad, plastic, plastic tube, metal, rubber, acrylic paint, recycled paper, floor protection pad, air cushion bubble bag, plastic socket, wall switchSize:
Dimensions variable
Fabrication of Lines
(side view)
2019
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Medium:
Stainless steel, acrylic paint, masking tape, steel woolSize:
24x11x9cm
That Grey
(details)
2019
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Medium:
Acrylic on cotton and masking tapeSize:
20.5x26x4cm
Easel painting
(installation view)
2019
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