“The truth lies somewhere in between.” – Chikamatsu Monzaemon

Li Ling-Hsuan’s exhibition In Praise of Light at TKG+ marks her first solo show in Taiwan.  At the core of this exhibition is the Japanese aesthetic and philosophical concept of Ma (間).  Grounded in this idea, the artist seeks to capture the delicate pauses and rhythmic variations between space and time.

In the tradition of Japanese aesthetics, Ma is never merely an empty void or a moment of stillness. Rather, it embodies a dynamic and poetic state—like the silent rests between musical notes or the fleeting pause between breaths.  It refers to the intrinsic rhythm of things and the layers of perception, revealing an ever-flowing, enriched sense of emptiness.  As architect Isozaki Arata once noted, space can only be truly perceived through the passage of time.  It is within this interwoven dynamic that an indescribable yet tangible presence emerges, allowing the viewer to drift between the dual sensations of stillness and movement.

With her acute tactile and visual sensitivity, Li Ling-Hsuan responds to this aesthetic inquiry. Through her meticulous handling of light, choice of materials, and spatial composition, her works transcend static objects to become energetic fields that resonate with their surroundings.  The refraction, reflection, and dissolution of light shape the rhythm of viewing, with the shifting visual interplay embodying the passage of time.  In doing so, her works reflect both the tranquility and transformation inherent in Ma.  Space is no longer merely a site to be observed but transforms into a living, organic entity—one that immerses the viewer in the variations of light, evoking the poetry of stillness interwoven with movement.

In her fourteen lightbox works from the Being series presented in this exhibition, Li further challenges the conventions of painting.  Using rosin (a natural resin derived from pine and coniferous trees) alongside various mineral crystals—including clear quartz, amethyst, blue aventurine, and peridot—she translates the subtle luminosity of these materials into a visual rhythm.  This approach is deeply inspired by Zen calligraphy, in which the artist abandons preconceived compositional logic, allowing the body and mind to flow freely with the sensations of the moment.  As a result, each work emerges as an intuitive dialogue between inner perception and external materials.  For Li, this intuitive creative process is not merely about breaking free from the constraints of “rationality” in art but is also an open and profound state of flow.  Through this state, her works extend into a realm beyond language—one filled with the unknown and limitless possibilities.

“So Below”
Jane Lee, So Below, 2024, rosin, acrylic resin on lightbox, 53 x 53 x 10cm

*Photo Credit: Gajah Gallery

「真相介於兩者之間。」─ 近松門左衛門

此次李綾瑄於 TKG+ 的展覽《光之絮語》(In Praise of Light)，是她在台灣的首次個展，展覽核心取自日本美學與哲學中的「間」(Ma)。藝術家以此哲思為基底，嘗試捕捉空間與時間之間的微妙停頓與韻律變奏。

在日本美學傳統中，「間」從來不是單純的空白或靜止，而是一種充滿動態的詩意狀態，如音符之間的無聲休止，或呼吸之間稍縱即逝的靜默。它指涉事物內在的節奏與感知的層次，揭示出流動而豐盈的虛空狀態。如建築學家磯崎新(Isozaki Arata)所言，空間唯有透過時間的流動才能被真正地感知，在這交織中生成一種難以言述卻真實可感的場域，令觀者在靜與動的雙重感知之間遊移。

李綾瑄以自身敏銳的觸覺與視覺感知回應這樣的美學命題。她透過光的層次處理、材質選擇及空間的編排，讓作品成為與環境共鳴的能量場，而非靜止的物件。光線的折射、反射與消逝共同構成觀看的節奏，畫面在視覺的變化中體現出時間的流動，也映射出「間」所蘊含的靜謐與變化。空間因此不再只是被觀看的場域，而成為活生生的「有機空間」，引導觀者沉浸於光的變奏，感受靜止與流動交錯之間的詩意。

此次展出的十四件《在》系列燈箱作品，李綾瑄進一步挑戰繪畫形式，以松香（松樹與針葉樹的油樹脂）和多種礦物晶體——包括白水晶、紫水晶、藍東陵石、橄欖石等天然材料作為媒介，將礦物之微光轉化為視覺韻律。這樣的創作方式深受禪宗書寫啟發，藝術家在過程中拋棄預設的邏輯構思，允許身體與心靈自由地隨當下的感覺流動，作品的誕生因此成為內在直覺與外在材料的即興對話。對她而言，這種直覺式的創作，不僅意味著擺脫藝術中對「合理性」的執著，更是一種開放而深刻的心流狀態(flow state)，讓作品能通往一個超越語言、充滿未知的場域。

“So Below”
Jane Lee, So Below, 2024, rosin, acrylic resin on lightbox, 53 x 53 x 10cm

*圖片來源：Gajah Gallery

Opening: May 3rd, Sat. 16:30pm｜開幕：5月3日（六）16:30

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