（藝術家雜誌 483期 2015.8月號，p206-207)
Pursuing the Essence of Things, Art, and Life — Tai Han Hong’s Artistic Creations / Chuang Wei Tzu
Tai Han Hong is an artist who possesses great implementation abilities and strong architectural concepts, and who also stresses conceptual artistic creation. One cannot view his work using ordinary classifications and obtain expected results. In other words, the category to which Tai’s creations belong is hard to define. From Tai’s educational background, we can see that he has received training in industrial design and architecture. He also is involved with artistic creations, and has apprenticed under a master carpenter. Every aspect of his work — from the sculptures, interior designs, mechanical installations, to the display of techniques, mastering of materials, and even his demonstration of a sense of space — is versatile and contextual. While one may find his work difficult to categorize, when viewing his work, it is no wonder that one will always feel its sincere and fresh characteristics.
There is one fundamental framework for Tai’s creation — to draw inspiration from life experiences, and to translate them through the form of craftsmanship. This method was vividly demonstrated in his recent solo exhibition “Daihatsu Hijet” at the Suho Memorial Paper Museum. Due to the background of the museum with whom Tai collaborated, the artist used paper as his main creative medium. Choosing to employ ancient rubbing techniques, he rubbed the exterior appearance of his trusty van (which just prior had been in an accident) onto various sheets of paper. If one looks at just the relationship between the rubbed object and the artist, there is an unmistakable air of the artist translating life experiences. In regards to the artist’s use of media and technique, he used the form of rubbing to bring the body and the object into direct contact and printed the vestiges of life onto paper. Whether it deals with thoughts about life experiences, exploration of the relationship between human beings (usually the viewer) and space, or expression that stresses the conveyance of a concept through craftsmanship, Tai’s artistic thinking has always taken root in tradition. It is through a diffused and transcending ideology of creating that he fulfills his artistic practice.
This aspect is clearly demonstrated in Tai’s sculpture works.
In his sculptures Pillar Chair, Tree Bench, and Heavy Youth-Self-Portrait 2011, Tai investigated the relationship between inverted space and materials using concise, clear, and reserved forms as his main artistic language. By simply inverting the appearance of the object he can also invert the surrounding interior and exterior space (as can be seen in Sitting Inside of the Stool). Alternately, he might extend the form and simultaneously separate the same piece of material (as seen in Pillar Chair and Tree Bench), thus allowing the work to investigate itself. His agile methods permit him to continuously probe at the intrinsic qualities of art and space. At the same time, his work allows the viewer to further explore the exact location of the line that separates art and daily life.
In his 2014 solo exhibition “Unluxurious House Plan,” on the lobby floor of a business building in the eastern district of Taipei, Tai placed various wooden sculptures that sport house-like structures on their tips; together, the structures formed the shape of Taiwan. This work seems lighthearted in its form and possesses some illusion that pleases the viewers. However, by “building your own house” on the most coveted district in the real estate business, the artist is actually satirizing and criticizing the housing market that has been blown out of proportion. Tai believes that, as an artist, one must show solicitude for the society. Yet, the method of expression need not clash directly with the system. The artist need only entrust his or her thinking to the work and allow it to stimulate the viewer’s perception. This is why, beneath the lighthearted form of “Unluxurious House Plan,” there is also a slight sense of heaviness.
Tai’s forms of creation are versatile; beyond displaying excellent craftsmanship, he also lithely probes at the essence of art and objects as well as the intrinsic qualities of space. Sometimes, he protests against alienated lifestyles with an artistic language that is poetic. Tai’s inspiration comes from life and he, in turn, scrutinizes life with his artistic creations. He continues to investigate life with his art and allows art to traverse the line between himself and real life.