Sculpture

In Rock with No Name No.2, this sense of dislocation is enhanced by the contrast between the tall, slender yet twisted form of the ‘rock’ and its very small footprint and stand, as well as the synthetic palette. The colour and the dot-like pattern on the rock is produced by a process that is similar to that of lacquer: apply multiple coats of slip, layer after layer; reveal the underlayer by scraping and polishing the top layer. The purpose of this method is not to imitate lacquer but to create a reference to the formation of Taiwanese culture, to how it is an accumulation of influence from mainland China, Portugal, Nethelands, Japan and Taiwanese indigenous peoples. The obscurity of the colour refers to a state that is difficult to define or interpret. The anthropomorphic mouth-like slit in the body of the ‘rock’ is an element that has appeared repeatedly in Chang’s work. The rupture of the otherwise complete form is a signal of the incompleteness of Taiwan’s cultural identity.