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Ed Pien

In: People

Submitted By emmalouisepotter
Words 1968
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Detail of "The Night Gathering" by Ed Pien
Ed Pien has a permanent scar on the tip of his index finger. After discovering the traditional Chinese way of cutting paper several years go, he creates grand 3D realms and environments with an X-Acto knife. Welcome to Haven of Delight, Pien’s hauntingly beautiful exhibit on display at The Rooms Provincial Gallery.
“I cut vertically,” says Pien. “Even though I have an image to work with while cutting, I am still doing a lot of improvisation in order to feel that there is a continued sense of exploration and negotiation with making the paper-cut.”
Haven of Delight exhibit features an out of this world installation; it’s an all encompassing paper maze of celestial celebration. Haven of Delight is a universe in itself. Viewers are welcomed into the tranquility of the grand-scale sanctuary where imagination, myth and spirits come to life.
Pien’s ethereal paper cut-outs begin as a photograph, images of trees and human figures. He combines the two digital photographs and manipulates it until the visual aligns with his mind’s eye.
“I am interested in exploring realms where language is inadequate to explain away mysteries and wonders,” he says.
On the night of Haven of Delight‘s opening Pien wandered around with a small keychain flashlight, asking patrons to hold it up at eyelevel. The small light showcased an entirely different interpretation, Haven of Delight became lucid, a dream within a dream. Pien is fascinated with the unconscious, a realm when reality gives way and our minds are free to roam wild and our hearts purest.
“My attempt is to create tensions within the work while removing binaries,” says Pien. “It is my hope that as a result, the work would succeeded in allowing multiple interpretations to take place.”
The Toronto-based contemporary visual artist is a mythmaker. For over 25 years Pien has toyed with contrasts, good and evil, demons and humans. He creates his own visual language of tales and myth. Haven of Delight wanders through a storybook of the fantastical, featuring a cast of characters: birds, bats, human figures that morph into animals and intrigue. In The Safety Of The Trees is a misty walk through the woods, with its purple sky and soft silhouettes. Pien uses art to negotiate the gap between his imagination and the world.
“It’s an excuse to be curious, to take risks and be fearless without concern of failure.”
Ed Pien’s Haven of Delight is on at The Rooms Provincial Art Gallery until November 28.

About the artist
Ed Pien is a Canadian artist based in Toronto. He has been drawing for nearly 30 years. Born in Taipei, Taiwan, he immigrated to Canada with his family at the age of eleven. He holds a Master of Fine Arts degree from York University in Toronto and Bachelor of Fine Arts degree from the University of Western Ontario, in London, Ontario. He has exhibited nationally and internationally including at the Drawing Centre, New York; La Biennale de Montreal 2000 and 2002; W139, Amsterdam; Contemporary Art Gallery, Vancouver; Middlesbrough Art Gallery, the UK; Centro Nacional e las Artes, Mexico City; The Contemporary Art Museum in Monterrey, Mexico; the Goethe Institute, Berlin; Bluecoat, Liverpool; Art Gallery of Ontario, Toronto; as well as the National Art Gallery of Canada, Ottawa. In 2001 MOCCA presented Ed Piens' work in the exhibition and publication Gathering Shades.
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Viewing Ed Pien’s work, one senses that his fascination with drawing lies in its potential to make visible quickly and with the most basic of materials all that is ephemeral about existence: thought, emotion, imagination and dreams. With his latest exhibition, “Treacherous Lines,” Pien taps into drawing’s ability to capture the hidden workings of the mind across a wide range of media, confirming that drawing is essentially his modus operandi, no matter what the medium.
The exhibition opens with a series of large-scale paper cut-outs featuring silhouettes of trees interspersed with crouching figures. The archetype or trope of the forest, a fairy-tale staple, is usually associated with such deep-rooted preoccupations as our fear of the unknown, or of being lost or alone. Intricate and fragile, these pieces call to mind lacework or the tracery of Gothic architecture. Depicting outstretched branches and dense foliage, the cut-outs have a clearly figurative thrust, though Pien pushes these representational elements into abstraction via the work’s densely winding designs.

Flamboyantly grotesque, Pien's characters remind us of all we are not and can never be

The art of Ed Pien fully describes the embodied, multifaceted world of these demons, investigating what I read as a phenomenological manifestation of what Jacques Derrida termed hauntology. It is ironic how embodied and present they are— within their ethereality—in contrast to our increasing bodily and material obsolescence and sedation as mortals within virtuality and simulacra.
Pien labours within this realm of variable, mutating and expansive space, and exteriorizes his labour with intimacy and tenderness. He draws on, paints on and cuts subtly textured paper—every gentle sheet is home to gruesome and gleeful configurations of bodily contortions, non-individuated identities, somapathic birthings, sociopathic abnormalities, polysexualities and herniated fistulas depicted with childlike wonder and horror. All contest the homogeneity of polite form. All vehemently announce their presence: “I am here, I am here!” Housed in life-size sculptures, giant spirit-houses, befriended by their maker as if they possess an everyday nature, knowing they are not other to us but equals, understood and given space, heard. We would know less of this hauntology if not for Pien’s close listening.
Pien’s work is not about aesthetic perfectionism or market obsession. Nor is it culturally specific representation in the name of identity politics, although it can be and most probably is often read within these contexts. Instead, it embodies a sophisticated understanding of a philosophical aesthetic that befriends the state of being haunted, the premise of Derrida’s hauntology. With Pien we have a model of a modest, humble approach that is also intriguingly rigorous—a living labour dedicated to portraying a time and place in history. In a time when portraiture is fabricated and reduced to media delusions, Pien’s characters appear as apparitions. Fabulous and flamboyantly grotesque, they remind us of all we are not and can never physically be. Instead, these spirits are free and wild, beautifully ugly. They embarrass us by showing us how controlling and micromanaged we have become in our petty perfectionism. When I experience Pien’s hauntology, I understand resistance: I enjoy its revolution. It is alive. We feel it in every installation that Pien conjures, and this is the joie de vivre of his haunting. I care for his characters. I care for his portraits. I want to know what their lives are like.
Pien encourages us to consider whimsy as an occupation to be approached with attention, a form of labour in the service of something unexplainable, non-functional, nonsensical, imaginable yet larger than ourselves. We can take this as a serious, postlinguistic practice that manifests bodily presence. It is beyond words, beyond description, beyond explanation. It is existence beyond a narcissistic, intellectual understanding—a state of commonality, communing with abnormality and polymorphologies without discrimination, predetermination or systemic profiling.

Info
Tempest asks the viewer to imagine a stormy day when the seven wind sock like sewn red tarpaulin will bellow and slap the surface of the water, like giant koi’s caught in a feeding frenzy. Conceptually built into this piece is the sense of anticipation and the viewers are complicit in imagining and believing that on certain days, Tempest will indeed act up. The rest of the time, they calmly sit. The 3 works, False, Tempest and Psycho, commissioned by the Tree Museum located just north of Gravenhurst, are all process-based in one way or another: that is, they rely on the processes of nature such as wind, waves, growth of plants, etc. to be complete as works of art | Forest Walk is a 144 long by 8 high plasma and water cut painted steel and coloured glass fence. Forest Walk includes eight 1/2 inch thick steel sections ranging in length from 16' to 20' and is divided by seven 8' high by 1' wide coloured glass fins, each 1 1/2 inches thick. Each section of the glass is a different vibrant colour. The colour of the glass sections are be blue, yellow, red, turquoise, light green, pink, and light purple. The cut steel sections are painted dark copper brown. The water and plasma cuts depicts the imagery and content of Forest Walk. To illuminate the piece at night, each coloured glass panel has channeled into their sides, LED strip lights. This lighting will make the glass brilliantly glow pure colour.

Forest Walk is located on the south side of Wellesley Central Park between the park and the Rekai Centre. This is at the intersection of Wellesley Avenue and Sherbourne st. in Toronto. Forest Walk was not conceived as a wall to contain, separate or delineate, but rather a membranous screen that ascribes transcendence. Forest Walk has a pleasant, inspiring and rejuvenating effect for the residents and visitors of this multi-cultural area. Resembling a serene walk through one of Toronto's many scenic ravines, each of the eight sections of steel is cut to depict the temporal shift of the seasons and day; from early morning, to day, to evening.

The nuanced references to the many cycles of Forest walk™ echo and celebrate universal systems of growth and life. The eight sections acknowledge also the eight struggles of the Wellesley Central Hospital. Rather than tell its story, it promotes and prolongs its spirit of dedication to wellness, health, and benevolence. In doing so it is not sentimental or cliché, but a lasting, enduring monument celebrating the activities of the sites history of compassion, hope, and innovation while simultaneously beckoning the same from the future. The porosity allows one to see beyond, giving a sense of promise.Section 1 Night: A starry night sky, references to constellations. 
Section 2 Dawn: Transition: from winter to spring, spruce trees to plane trees. A flock of birds usher in spring. 
Section 3 Early morning: A chandelier in the forest, an urban retreat. 
Section 4 Day: Spring scene with birds roosting in plane trees behind the original Homewood Estate Fence. 
Section 5 Mid-Day: Late spring and early summer where Larch trees are populated by figures engaged in various activities, assisting and supporting one another. Transitions into a densely filled herbal and palm grove. 
Section 6 Dusk: Late summer is depicted. A tree house is surrounded by greenery and hidden bugs. Two street lights in the distance as night approaches. 
Section 7 Night/Bats: scene with a colony of bats merging into the canopy of a grove of trees, representing onset of fall. 
Section 8 Late fall: A return to the constellations of the night sky, the end of a cycle.’ * News * InfoPsycho consists of 12 highly polished metal disks, each is 2.5 feet in diameter. It feels like an apt name mostly because of the illusion of a weird space that the concave mirror side shows when the disks revolve. There is something haunting about catching a glimpse of these disks out of the corner of your eye and seeing bright lights scurrying through the forest floor (if it is a breezy and sunny day). On a calm day the piece becomes nearly invisible when they are not rotating.The 3 works, False, Tempest and Psycho, commissioned by the Tree Museum located just north of Gravenhurst, are all process-based in one way or another: that is, they rely on the processes of nature such as wind, waves, growth of plants, etc. to be complete as works of art. | | |

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