joannachiayulin@gmail.com
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consists of five individual bodies of work, including:
- From Far Away, Postcard Edition
2024
Acrylic medium, inkjet print pigment, magnets, and customized acrylic frames.
11.1 x 15.6 x 1.4 cm each,9 pieces in total.
This work was exhibited with Tenthaus art collective at Supermarket Art Fair, Stockholm, Sweden.
This work is acquired by the art collection of Västra Götalandsregionen, Sweden, in 2024.
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No window, 3 pm, and Bird Dropping
2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
142 x 124 cm
- Angled Sunlight and Safety Net
2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
65 x 98 cm
- Everything good is always somewhere else
2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
106 x 141 cm
This work was exhibited at Oslo Negativ 2023, Den gamle Veterinærhøgskolen, Oslo.
- Sun Faded Snowy mountain, Packaging Tape and 1093 days apart
2023
113 x 154 cm
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
This work was exhibited at Bitácora, as part of Tegnetriennalen (The Drawing Triennial), Tenthaus project space, Oslo, in 2023.
This work is supported by Prosjektstøtte from Kulturrådet Høst, 2023.
(Right) Angled Sunlight and Safety Net; 2023; Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount; 65 x 98 cm.
(Right) Angled Sunlight and Safety Net; 2023; Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount; 65 x 98 cm.
The project takes two forms: life-size photographic sculptures and From Far Away, Postcard Edition, a series of nine postcard-sized works. During a period marked by family incidents and illness, I returned to Taiwan once again, bringing these newly created postcard works with me. I incorporated scenes from my daily life in Norway and shared them with family members, as if acting as a carrier of memories—bringing imagined landscapes with me and searching for the possibility of exchange. This process reflects my life between two places and how I navigate the emotions of being an in-betweener from afar.
Angled Sunlight and Safety Net was taken in my paternal grandmother’s house in the afternoon, when sunlight takes on a particular quality just before sunset. No Window, 3 pm, and Bird Dropping were taken in my maternal grandmother’s house and draw from some of my earliest memories. The image shows a curtain in front of a window that has never been opened, stained with bird droppings since my childhood. Everything Good Is Always Somewhere Else was taken between these two locations, depicting a familiar roadside scene in a rural town.
Sun Faded Snowy Mountain, Packaging Tape and 1093 Days is based on a photograph of a life-size faded wallpaper made from a photographic image that has hung on my grandmother’s wall for over thirty years. This snowy landscape existed in a subtropical suburb where snow was never part of daily life. Over time, for me, it became a symbol of yearning. The wallpaper has fallen, been repaired, and reattached countless times. It took 1093 days for me to return and look at it again.
The symbols at the bottom of the work mark 1093 counts of my absence. They are made using two different systems for counting to five: one from Taiwan, using the five strokes of the Chinese character zheng 正, and the other from a non-Chinese-speaking context, commonly used in Norway. These markings are engraved using the wash-out process of the image transfer.