The paintings of artist D.G. Lampaulus have been on tour in Europe before. This time, the first stop in Asia was moved to the Chiang Kai-shek Memorial Hall in Taipei for a solo exhibition. The exhibition is called “Objects and Non-Objects: D.G. Lampaulus 2023 Taipei Solo Exhibition”. On the day of the opening ceremony on September 9, many art lovers gathered to participate in the grand event. Many guests delivered speeches, including Director Pan Huimin of the Art and Cultural Creativity Center of the Ministry of Education of Chinese Culture University, and Xianghui Express Co., Ltd. General Manager Huang Zemin. At the same time, it also attracted many media interested in the first “Art Charitable Trust” to pay attention to the press conference, which ended successfully with a celebratory tea party.

“Everything is not truly a physical entity. The emergence of an object does not come from pre-existing things; it persists as if it has always existed, and yet it will never come to an end.”

All things in the universe are closely interconnected and in constant flow; their existence and changes are continuous and not eternal. Therefore, DVG TAIPEI, in collaboration with D.G. Charity Global, uses the artwork of D.G. Lampaulus as a medium to carry out the first experimental project in the form of an exhibition.

The D.G. Charity Global Project 1 aims to integrate art, charity, and finance, extracting and connecting their core values, and transforming them into a sustainable cycle of interdependence. DVG TAIPEI will take art as the starting point, infusing it with the spirit and energy of charity, and channeling them through the path of finance to achieve a convergence of the intangible and tangible. This is a completely new experiment, a cross-disciplinary exploration, serving as a vital pathway for the continuation and inheritance of art and charity, bridging the past, present, and future, ensuring that this beauty perpetually flows through the river of time.

Huang Dou-bei’s most eye-catching artistic creation is his ” The Art of Dragon-Huang ” series. These works blend prehistoric cultures and oracle bone script from the Shang and Zhou dynasties, combining calligraphy, seal carving, and painting to present a classical and rich artistic style. He also enjoys using cultural heritage left by ancestors as creative materials, such as Chinese cultural totems from various historical periods, wall decorations found in temples, and color elements inspired by Taiwan’s indigenous flora and fauna like flowers, bird feathers, and butterfly wings. His skillful use of colors and profound understanding of ancient culture have earned his works widespread acclaim both domestically and internationally.

When discussing Mr. Yang Tzu-Yun’s artistic philosophy, he mentioned that using the term “artistic philosophy” sounds too serious. Instead, art is a part of his life’s presentation, and this exhibition reflects a relaxed and emotional aspect. He pursues a cross-disciplinary style, resulting in a more diverse expression. Notably, he transforms traditional calligraphy into “modern calligraphy.

Mr. Yang Tzu-Yun doesn’t follow a realistic approach but positions his figurative art as a form of “transformative expressionism.” This direct expression may have what some academic circles consider “imprecision,” but he believes that such imprecision still withstands scrutiny based on artistic principles. He flexibly utilizes spaces of segmentation, concealing profound calligraphic skills behind simple lines and showcasing improvisational styles with bold primary colors. This combination allows even small paintings to emanate a strong aura.

Chu The-Chun, a Chinese-French oil painter, is known as one of the “Three Musketeers of Chinese Art” alongside Wu Guan-Zhong and Zao Wou-Ki. He settled in France in 1955 and transitioned his style from realism to “abstract expressionism.” The technique of abstract expressionism emerged as one of the exploratory themes shared by artists in the 1950s and 1960s, known as the “New York School” since it originated in New York. It utilizes abstract elements such as color, shape, and composition to express various emotions, leaving infinite room for the viewer’s imagination. Can you feel the emotions behind Chu The-Chun’s painting “Radiance”?

The name of the exhibition Salty or Sweet mainly emphasizes a contrast, colorless and colorful, sorrow and joy. If we analyze it literally, salt and sugar are two inseparable seasonings, just like the bitterness and happiness experienced in life are two sides of the same coin.

The quiet flowers and the small animals full of spirit and spirit are the so-called sweetness, while the calligraphy projected from the experience of life is salty with complex and multi-layered saltiness.

This time, we are honored to invite three artists to experience the daily life of salty or sweet with you.