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International Biennial Print Exhibit: 2020 R.O.C.

International Biennial Print Exhibit: 2020 R.O.C.
Gold Medal



I have passed such emotions onto my works, as I employ demotic objects such as the traditional cotton prints in constructing the image of ơhomeƢ. The visual signs and languages derived from the cotton prints can be seen to encompass the long-term cultural milieu, thoughts and inclination of a population, a family, or even an individual. Being a familiar everyday object and image, the patterns and styles of these traditional cotton prints have been appropriated in my works as a symbol of local cultural identifi cation, as well as a sign of the time. In other words, they can be seen as a manifestation of Taiwan's local customs and practices, as well as an expression of cultural subjectivity.I have therefore attempted to interpret, rather than merely to realistically record, the images of children and childhood through my works of mimicking. In light of both human and environmental infl uences as well as the multiple changes they have contributed to in our society, I have set out to juxtapose the virtual and the real so as to record, invent and reconstruct the images of children of our time. It is only by portraying the young yet alienated faces of children of our time, and present them in their contemporary visage, that we can begin to touch upon the spiritual essence of the time these children live in.

Silver Medal



Knowing that the theme of the Biennial this time is: ARTISTIC AFFECTION FOR THE NATIVE LAND and that this year we commemorate thirty years of the most terrible period of Argentine history I considered important to remember it in my presentation.My work is titled "Thirty Thousands and One!" in remembrance of the 30,000 missing people enhancing the meaning that each person is unique. An empty chair, an eye without face, tears all over, and a permanent whisper that repeats: thirty thousands and one....Although my life as a visual artist had an early beginning and I reached a solid academic training in printmaking, the challenge today is to expand my expressive possibilities linking myself with video art, music and literature professionals, with whom I share the task of building together artworks based on my engravings. For this work I used my background in traditional printmaking together with my own technical creation.

Bronze Medal


OYAMA, Takaya

In the course of making weeds my motif, I too have come to feel I have a stake in their fates. At this point in my life I had no idea how large the world was. Living each day in the same limited surroundings, I knew that here was a world secluded from the rest of the world, a world for me alone.Though weeds go on living in the same surroundings as if nothing else matters, when you look closely you see that in their various particularities they exhibit the capacity for development in their lives, embracing a distinctive sense of tension and emptiness. Looking back to the land where I was born and raised, the Town of Kawauchi, I have seen many people who resemble these kinds of weeds. Thus for me weeds are a sort of microcosm of the world, and I think I express myself through this motif.My work strives to present a neutral picture. I try not to exhibit partiality toward anything. Thus my aim is to create harmonious works which exhibit no bias for any particular element, neither the abstract nor the concrete, traditional methods nor challenging methods, form nor formlessness,the subjective nor the objective, walls nor open spaces. Dividing my pictures in two, one part uses traditional methods of drawing with a needle on a board (coated with a preservative) so as to depict an objective, natural, concrete image of weeds in the print. The other part uses expressive methods to create form via chaotic hitting with a hammer, depicting a subjective, abstract, non-representational image of weeds. As a result, I believe the two contrasting images enter into a dialogue, engendering questions about the existence of weeds, and expressing my own inner vision in terms of the spirituality the weeds themselves possess.

Honorable Mention

South Korea

NAM, Chun-Woo

The inclination of adhering to personal recollections of objects and subjects, as well as documenting them for holistic insights, had roots early in my life. The primary concern of my arts is to reconstruct life through contemplation of memories gathered along my formative journey. I seek to construct an"alternative history" for several individuals I have encountered. Instead of cosmetically and superficially sketching what is physically conspicuous, I wish to unveil the less apparent underpinnings as these individual lives unfold.By reinventing an "alternative history" for each of my acquaintances, I have attempted to provide the viewer with different ways of seeing and apprehending.Comparison and symbolism are two essential ingredients in my work. Diptychs and triptychs serve to contrast and integrate emotional and intellectual responses to personal encounters. In the Individual spaces and Individual faces, I try to emphasize how I perceive and remember each blessed individual in my life.

Honorable Mention


SOU, Pui-Kun

Every morning I see these scenes at the entrances to some schools in Macau: Parents hold bread with both hands, begging their children to eat fast and then go in. I wonder it is because the youngsters have problems with their digestive functions, or because the parents, always in fear of starving their kids, overprotect them. Perhaps one day when Thousand- hand Guanyin sees the children walk into the casinos that outnumber schools in Macau, the deity will cover her tearing eyes with her one thousand hands.

Honorable Mention


SUN, Hong-Juan

"Busy! Busy! Busy like a headless bee! Maybe that's the way life should be..." The quote from the girl's diary in my piece seems like a precise description of my own life. In my monotonous work routine, I keep searching…

Honorable Mention


LEE, Hsuan-Pei

I took pictures of real life objects, arranged them in a common, standard way, and used my computer to create a digital print type of the objects. With silkscreen print techniques, I covered the print with several layers of white ink to tone down the colors. There are many lines crisscrossing on the surface. Through layering translucent paint, I created an unusual sense of space in the print.I was inspired by the multiple choice questions in dailylife consumerism. A modern society is so busy buying and selling. In our daily life, we always try to make a choice or even two among numerous similar products. Intricate psychological factors seem to be working in the selection process, driving the inner senses to play a tug of war with the outer reality.This piece makes us look into the place between visual exploration and cognitive movement. It offers a space to observe the reality on the surface.

Honorable Mention



My work is inspired form the farm life that I have grown up around in Thailand's agrarian North. Farmers are in the straw hats, wooden shacks that they live, and the farming implements. As well as food such as fruit, which symbolize to the plentiful land. I depict the diligence, yet fulfi lling way of life where human being and nature live in harmonious existence. The playful print celebrate a culture and lifestyle that are getting fast disappearing in the face of modern development.

Recommendation of Jury


ZHU, Jian-Hui

In the piece "Say" a broken glove is the vehicle for the simplest print language. It seems to tell an anecdote of life, a story about a relationship... It is an inner monologue and a chapter of humanist concerns.

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