ABTG6 Artists Bios

10 Years of Red Room 紅坊的十年

VDXXVIII – Erique Chong

About the artist:
Erique Chong was born (1997) and raised in Malaysia. He is currently attending National Taiwan University of Arts to pursue his animation degree. He is not only an animation student but also a freelance graphic designer, illustrator and enthusiastic hiker. He has been part of some projects working with filmmaking company, New Taipei City government and other organizations. He started drawing when he was 14, but never studied art until attending university in Taiwan. Back then, he was a science student and practiced his drawing by himself. He likes challenges and he started his own personal project FoToon, One-year-project and other personal projects that take weeks, months or years to complete. He likes to hear how different people think and people’s thoughts on the same subject that is why he doesn’t have a description under his illustrations most of the time. However, there is a meaning behind it and to find out, you have to ask him secretly. The reason he doesn’t want to put a description under his works or tell people about his work at the very first place because that will make people think less and that’s purging our creativity and guts to think wild. Currently, Erique chooses to focus more on his animation studies and upcoming graduation film project. At the same time, also he will try to bring his brand, Erique-KiddoArt, into a new level and trying different medias and create his artwork.

張榮順出生在馬來西亞於1997年。現在,他正於國立臺灣藝術大學就讀多媒體動畫藝術學系。他不只是個動畫生,也是業餘的平面設計師,插畫家和爬山健行客!他曾參與和電影公司,新北市政府等等其他組織的合作案。他 14 歲就開始自學繪畫,而在還沒有來臺灣讀大學前他是一名理科學生。他很喜歡挑戰,於是就開始給自己很多的個人系列作品概念作爲挑戰,比如 : Fotoon, 一年個人計劃 等等的個人系列作品。這些個人系列作品都需要少則幾個星期,多則一兩年來完成。他很喜歡聽不同人針對同一件事情的不同看法,這也造成他很少會在作品底下放置作品的簡介。當然,每一幅作品的背後都有自己的故事和歷史,如果想知道作品背後的意義就必須得透過作者本人解釋。這並不是沒有原因,因爲如果有了作品簡介,很容易框住觀衆的想象力,想法和觀點。 他現在主要的重心是在自己的課業和不遠的畢業製作。同時,他也很努力地想要把自己建立起來的 Erique-KiddoArt 帶到另一個境界,發揚光大並且開始嘗試不同的作畫媒介。

Artist Statement:
I think of my illustrations as a reflection of my emotions, life and things I have observed. Eventually, there is always one main core in most of my drawings which is to remind myself to think like a kid sometimes. I always think keeping a room for our inner child is really important even though we’re no more longer a kid, that is why most of my illustrations are engaged with the “kiddo” element. Besides that, I also love to give myself some challenges, that is why i have a FoToon series with 102 pieces of collaboration works with photographers and some series of works that took at least a month or a year.

I use art as a media and a way to make friends, to tell my story, to describe my feeling or what I have observed and also to tell and develop a message to the audience. Last but not least, not just a way to remind myself to think as a kid but also trying to encourage the people to think as a kid, too. To make people get inspired, happy and smile is one of the reasons i make art.

I call myself as an observer, and I love to listen people talk and share their thoughts. Which is why I don’t tell people what’s the meaning behind my drawings very first unless they want to know. Because telling people what you’re drawing in the first place will limit their imagination and thinking. I love to hear different perspectives and voices because it’s really fun and tricky to observe how each different brain works, that’s what makes people unique and adorable!

Some of my works are made from digital media and some of them are made from traditional media like ink and ball pen. Since I wasn’t born in a very rich family, I often think that investing acrylics and watercolors on me is a huge waste. However, I know colours are important in art, so i decided to self learn digital painting with using colours. On the other side, I really love using ball pen to make arts, because every line you drew with ball pen creates different texture. I believe these details make an artwork more attractive and watch-able.

I am still on the “discovery” era in this field. Sometimes I think i know what i’m doing and sometimes I don’t. Everything is possible and everything can be happened in this period so I am pretty much open-minded to every possibilities. Of course, eventually my goal is to build my own illustration brand and push my brand to worldwide, serve the people with my illustrations and make their day!

我覺得我大部分的作品都反映了自己當時的情緒,生活和自己觀察到的人事物。但是,全部的作品都有一個核心,就是提醒自己有時候必須像個小孩。我一直都認爲,內心的小孩很重要,即使我們不再是小孩。這就是我爲何在大部分的作品想要加入“兒童”“童趣”的元素。此外,我也很喜歡給自己一些挑戰,這也造就了目前擁有102張作品的 FoToon系列作品 的誕生和其他個人系列作品。





| 藝術對畫 Visual Dialogues 28

Opening January 6th, 2019 4-6pm
Show runs from December 9th, 2018 – January 19th, 2019

Reflections on RED 糸工

糸工 ]藝術對畫 閉幕趴Red – VD XXVI , Closing Party
展期 Date|Saturday, 2018.10.06 – 3PM – 5PM
地點 Venue|Red Room 紅坊國際村
新藝術對畫藝廊 The New Red Room Visual Dialogues Gallery

Running from September 2nd to October 6th, Red Room’s Visual Dialogues is in full swing with its inaugural exhibition, RED, in their new location. The show, a group exhibition, invited artists from across all mediums to submit works that contemplate and address Red Room’s eponymously named exhibition. Ushering in a new chapter in the history of Red Room and Visual Dialogues, the show brings together works from Red Room veterans and newcomers. Of note amongst the latter, are the Photowalkers, a group of photographers and photography enthusiasts based in Taiwan.

To those familiar with Red Room’s original location, the issues of space and presentation may linger in the imagination, especially for those tasked with curating the large and open multipurpose room. There was undoubtedly a certain charm in having a mixed performance space, gallery, community center. After all, the focus and mission of Red Room emphasizes community first above all else. Nonetheless, from this writer’s personal conversations with previous curators, the large open room and its high walls always posed a challenge. In a sense, the works were swallowed by the walls. A space with that kind of appetite could potentially become a challenge for the artists working to fill it with work.

With this in mind, the new gallery and location mitigates these issues in one easy master stroke. The gallery has its own space now. What is for now called the Visual Dialogues Gallery exists separate from Red Rooms performance area. The compartmentalization means the gallery is now more forgiving, more accommodating to the works on display. RED, a group exhibition composed of 27 different visual artists, 13 photographers, and over 40 different works, becomes the perfect exercise in space and presentation for the new location. Walls are full, works are not competing for recognition, and walls are not hungry.

Red Visual Dialogues 26 from Red Room on Vimeo.

The works themselves, in paint, in glass, in digital print, in book, in wall, in poster, in woven swing, tackle what “red” means, in all the permutations the mind can imagine. Playful works, loving works, and works that ask us to stretch our conception of this all to human color, hang democratically, side-by-side. It is no wonder such a topic can elicit such varied interpretations. One gets the sense that red is the oldest colors. A color that flows from the inside.

The closing of the show will be on October 6th, and will take the form of a take-down and party. If you did not make it to the opening, I highly recommend making time and paying Red Room a visit and checking out RED. The work, the artists, and the new space may surprise you.

Download the pdf for Visual Dialogues Artist profiles here.

Download the pdf for Photowalkers bios here.

Sean Gaffney