YAO JUI-CHUNG

A parallel to his previous solo exhibitions, Vimalā-bhūmi (2019) and Hell Plus (2022), where the artistmeditates on the ontological question of death and decaying, the current exhibition takes its title from the Latinexpression of envy, one of the seven sins in Catholicism. This expression captivates the artist as a focal pointduring his visits to historical sites adorned with a plethora of Catholic iconographies, marking a continuation ofhis ongoing exploration into spiritual beliefs and human desires. What sets this show apart is the return ofYao’s characteristic humor, which extends the tone from the previously perceived monotonous mourning inVimalā-bhūmi and Hell Plus to a vibrant liveliness, thus forging a dynamic space of negotiation with thecontemplative nature of the themes explored.

Also on view in this exhibition is the artist’s first foray into crypto art and blockchain-based art. These include:performance video Moon–Block–Chain (2023), which delineates the link between traditional divinationpractices and computerised cryptography: T__he Twelve Disciples (2023), a depiction of 12 distinct digital iconsranging from human figure to animal, spirit, god, and mythical creature, referenced from the artist’s past bodyof work. The exhibition also presents a selection of previously unseen print series, including Fairyland (2015), Pet (2018), and Hedonist (2022–23) series. Some of these works evoke personal memories of hischerished pet; others conjure fantasy stories inspired by his travels.

To underscore the productive dynamics between travel and studio practice, where in Yao’s approach aswanderlust is manifested across artistic mediums and literary expressions, the exhibition also showcases theartist’s early large-scale works on paper, including Beyond the Blue Sky series (1997), and There is NothingBut Loneliness (1997), both completed during his residency at the Headlands Center for the Arts in Sausalito,California, and Beyond the Human Being series (2001) made during his residency at Gasworks in London. Inthese pivotal residency experiences, the artist employs simple mediums — sheets of paper assembledtogether — to recreate the scale of the murals he used to paint at abandoned industrial ruins back in Taipei.The repeated brushstrokes of ink pen skillfully capture the sense of seclusion during his residency. Althoughseemingly uncomplicated, these works hold a profound significance as they represent key moments that markparadigm shifts, enriching his formal and artistic styles.

In this exhibition, Yao’s artistic language has largely developed from his stay at Villa Waldberta, occasionallyevoking echoes of 19th-century Gothic novels that arise from ecological imbalances and the seclusion ofcastles. Yao Jui-Chung further responds to a long-standing tradition of documenting travel experiences inChinese classical landscape painting, perhaps best exemplified by the classical style paintings of Chineseémigré poet Chiang Yee (1903–1977) with their rich portrayal of European castles and embodiment ofmulticultural clash.

During his residency at the Headlands Center for the Arts, Yao utilised individual sheets of paper to cover theentire wall, creating a visually immersive experience. This display approach is now adopted in the current exhibition, offering viewers an encompassing view of the distinct stages of the artist’s career while preserving asubjective glimpse into the decisive moment of each individual stroke and subtle undertones.