YUAN JAI

There haven’t been blossoms when I leave

Is there not beauty in potential

These will be left for future generations to appreciate

The poem was written by Master Hongyi (1880-1942) in 1935 at Jingfeng Temple in Hui’an, Fujian province, reflecting a thoughtful and generous perspective toward a future beyond the present moment. Feeling a sense of fate, the artist Yuan Jai has inscribed the poem at different moments of her life. With each iteration, the traces of her brushwork subtly shift, echoing the transformations in her life experiences and state of mind.

Between these concise yet profoundly poetic lines, the seeds of the future seem to be sown effortlessly, laying down roots and sprouting from that moment onward. Taking this as a point of departure, the exhibition I am here to plant seeds delves into the latent calligraphic traces within Yuan Jai’s painting practice. It seeks to bring these once-hidden elements into perceptual awareness, inviting viewers to encounter the works within the space and directly experience an alternative path in Yuan Jai’s exploration of ‘Shu Hua Tong Yuan’ (the shared origins of calligraphy and painting).

Yuan Jai’s focus is not only on experimenting with dissolving the boundaries between language and painting through the visual considerations inherent in the structure of Chinese characters and the cultural information they carry, but also on further transforming the unity of bodily movement and mental perception – intrinsic to calligraphic brushwork – into a holistic experience within contemporary artistic expression.

In response, the exhibition I am here to plant seeds continues the inquiries initiated with the exhibition, Light Within in 2022, developing this exploration of her artistic practices as an ongoing process. For those who have experienced the exhibition Light Within, these works of calligraphy may reveal intriguing spatial connections and interactions between the two shows. Some of the paintings previously exhibited will reappear in the current exhibition, but this time, the calligraphic elements—once embedded as part of the perceptual background—will be brought to the foreground. At the same time, certain independent calligraphic works, narrate the meanings interwoven with the paintings, much like parallel universes.

Throughout her lifetime, Yuan Jai has engaged deeply with the fundamental transformations of ink art, continuously enacting the intricate entanglement between ‘calligraphy’ and ‘painting,” as well as the interplay between their shared origins and their mutual coexistence. Starting from March 19, Mirrored Gardens invites friends to enter into this field of ‘planting seeds.’ How do the vitality of Bimo (brush and ink, and their interaction in creating artworks) and the life experiences they carry merge into one? Yuan Jai: I am here to plant seeds seeks to share with you this ongoing process of continual renewal and inquiry.

Artist’s Biography****

Born in 1941, Yuan Jai’s artistic journey has spanned more than half a century. After working for many years at the Palace Museum in Taipei, she made a resolute decision in her later forties to return to painting, channeling her accumulated artistic energy into works that convey a diverse range of ideas. Since the beginning of her practice, Yuan Jai has drawn upon her deep understanding of both Chinese and Western art history, as well as her distinct perspective on Chinese traditions, to actively explore innovative approaches to Chinese painting. Drawing from her rich knowledge of both Eastern and Western cultures, Yuan Jai seamlessly integrates elements from art and cultural histories into her work.