Double Square 双方藝廊

• Chih Yi-Long

1995, born in Taoyaun

Chih Yi-Long explores the conceptual dimensions of printmaking, reflecting on bodily labor, procedural constraint, and the multiplicity of reproduction. His practice merges transfer media and printmaking pieces into a single continuum, extending the logic of printmaking toward reflections on social structures and human perception. Through the triad of matrix, transfer media, and receiving surface, CHIH reimagines printmaking beyond the flat plane—transforming it into spatial, installation-based forms. His recent investigations into the invisible matrix further challenge how the intangible can be sensed, positioning printmaking as both a conceptual and material inquiry.

 

• Li Ping-Yi

1985, born in Hualien

The creative journey begins at home, evolving from personal memories to the accumulation of aesthetic tastes, from the companionship of pets to the blooming of plants, and from the habits of collecting to the mysterious fantasies of the subconscious. It serves as a record of the diverse life stories, both large and small, within my personal experience.Utilizing reduction woodblock printing with oil-based inks as the primary medium, the work is typically composed of fifteen to twenty colors. Unlike Master Chin Yi-Mo’s approach of transitioning through similar tonal ranges, my research focuses on the layering of complementary (contrast) colors.Because the process moves from dark to light tones, an increasing amount of white is added during the color-mixing process to ensure coverage over the preceding dark layers. Consequently, the blending and overlapping of these contrasting tones produce a hazy, ambiguous effect—reminiscent of the diffusion of a solar halo. This technique represents a new formal exploration in my practice.

 

• Chou Yu-Chen

1992, born in Kaohsiung

Landscape elements recur throughout her work. Distinguishing her approach from traditional landscape painting, she replaces the ink brush with a printmaking etching needle. She employs the essential texture strokes to build her compositions, while utilizing a circular layout—symbolizing cyclical repetition and the beginningless, endless nature of history. This serves as both a tribute to and a satire of the traditional aesthetics gradually fading under the exhaustion of the massive information influx from both East and West.

 

• Hung Yu-Chiau

1996, born in Taipei

Through my early experience with oil-based woodcut printing during university, I discovered a profound fascination with botanical textures and the organic grain produced by woodblocks. The naturally occurring, random patterns within the color blocks infuse the work with a primal botanical vocabulary. This led me to continue using woodblocks for imagery and eventually initiated a new phase of creation focused on water-based woodcut (Mokuhanga). Since then, I have adopted water-based techniques, allowing for in-home inking and manual burnishing without the need for a professional printing press. Once printed, the elements are hand-cut and collaged onto pre-shaped stainless steel mesh.Through this process of creation and critical reflection, I realized that printmaking—as a technical extension of painting—can transcend its traditional context. By extracting specific techniques and materials to use as a pure medium, it opens up a broader dimension for conceptual thinking and creative freedom. However, further practical research is required to deepen this motivation. I have also observed that throughout my creative research, each stage generates new momentum and incentives as the content evolves, continually driving my practice forward.