B 2011 ~ 2015
6~ 2011 Solo Show, InSian Gallery, Taipei, Taiwan
7~ 2014 Solo Show. at Sanyi Wood Sculpture Museum
8~ 2015 Solo Show, at MOMA, Taipei, Taiwan
9~ 2015 '' Imagination and Reality'' Banqiao Mega City
10~2015 IT Park Dachee Exhibition of Integral Series
6~ 2011 Solo Show, InSian Gallery, Taipei, Taiwan Possibility of Wood・Imagination of Carving
InSian Gallery 2011
It was on a day in 2007 that a "coach-like" figure, who later became rather influential in Liang's career, came to his tiny studio on Houweng Street in Sanyi. He was the owner of InSian Gallery, Mr. Ou Hsien-cheng. The crowded space occupied by wood material and sculptures only allowed people to stand, but this did not obstruct this legendary figure and diminished his interest to see the art. In fact, not many words were needed. Mr. Ou had already perceived the preciousness of these artworks. They enjoyed a pleasant conversation, and before he left, Mr. Ou said something that eventually led to Liang's third departure from Sanyi: there was not one artist that was "brave and audacious enough" south of Taipei. This statement sounded a thunder and lured out the ambition in Liang's mind. He was resolute to go to Taipei and take up this challenge even before finding a place to live. He simply packed his carving tools and arranged the wood material to be transported to Taipei. It was as brave and audacious as Liang could be. He would get there first and figure out his next step then. With help from his friends, he quickly found a place to live in the scenic Sanzhi known for its community of artists. Here, Liang started his Taipei-InSian Period and the journey to the peak of his career.
In 2011, Liang held his first solo exhibition, Possibility of Wood・Imagination of Carving, at InSian Gallery. Being represented by the gallery, it was a "standard activity" to hold solo exhibitions as well as a "peak" that needed to be conquered. Symbolically speaking, this solo exhibition summed up Liang's time in Sanyi. Among the showcased six series, except Gravity Release, Non-Books, Non-Objects, Whisper of the Wilderness, Mask were all displayed for the first time and fell into the dialectic discourse of the Post-Sanyi Period—the books were not books, the objects were not objects, the species were not of this planet, and the masks were not really masks.
In 2012, Liang's collaboration with InSian Gallery ended. With everyone's blessings, he once again worked as an individual artist, and Mr. Ou even predicted Liang's future achievement. He said, "Liang Ping Cheng will create a new milestone for Chinese people, which no one else could ever reach. Only he could do that." With the blessings of Mr. Ou, Liang now had more confidence to conquer higher mountains.
InSian Gallery 2011
7~ 2014April to May, Solo Exhibition at Sanyi Wood Sculpture Museum
Sanyi Wood Sculpture Museum 2014
By the time ofevery April, the season of tung blossoms would reach its end. Following nature's feast, Liang's solo exhibition continued the mesmerizing beauty of the falling snow of the tung blossoms. Having spent ten years in Sanyi, Liang felt that he was a local from the area. He felt incredibly honored and happy to be invited by Sanyi Wood Sculpture Museum. The exhibition showing the results of his Sanyi period started at InSian Gallery in Taipei, and it was his deepest hope to end it in Sanyi. When Liang first arrived in Sanyi, the old artisans were eager to see his contemporary artworks, and Liang had hoped to show them what he could do. Therefore, the solo exhibition at Sanyi Wood Sculpture Museum held a special meaning in his heart. He not only produced six series of works, but also influenced several young wood sculptors to attempt in making contemporary art. It was his hope that the exhibition would inspire these artists to carry on in the future.
Sanyi Wood Sculpture Museum 2014
8~ 2015 Contemporary Art and Fashion Collaborative Exhibition at MOMA Taipei
MOMA, Taipei, Taiwan 2015
Good contemporary artworks could be shown in museums, galleries, on the street as well as in fashion stores. Liang has always been a very competent artist; whether it was art or fashion, his work all seemed to fit perfectly without any problem of compatibility.
At the end of 2014, Liang collaborated with the female clothing brand, MOMA, and displayed his sculptures in the windows of the brand's four flagship stores in Taipei. The exhibition captured the curious attention of many people. There had been quite a few cases of collaboration between art and commercial merchandise; however, it was the first time for wooden sculpture.
MOMA, Taipei, Taiwan 2015
9~ 2015Banqiao Mega CityImagination and Reality,
Sculpture Reality of Ping-Cheng LIANG
From September 29 to October 4, 2015, Liang was invited to have an exhibition at the lobby of Banqiao Mega City, which showcased seven of his sculptures. It was the first time an art exhibition was held at the shopping center since its opening and was very well received by the visitors during the period of an annual sale. Five stainless steel sculptures, including Triangular Cami, A Pair, Understanding, Golden Lion, Coca, and two wooden sculptures, Scroll Chair and Black Hawk, were shown in the exhibition. Among these works, the last two became extremely popular when ladies chose to take a selfie.
A good artwork could demonstrate fashion and taste at the same time. It could go with any kinds of venues without looking obtrusive or out of place. Some people were concerned that exhibiting artworks at a highly commercialized venue might reduce the value of the artworks. However, Liang's works had proved to be really compatible with name brands from around the world. His work demonstrated a different air when juxtaposed with these first-class brands. The result was a perfect unison.
Banqiao Mega City Taiwan 2015
Banqiao Mega City Taiwan 2015
Banqiao Mega City Taiwan 2015
10~ 2015 IT Park Dachee Exhibition of Integral Series
—Flipping the Space of Void
IT Park Gallery Taipei 2015
The Integral Serieswas first published in an exhibition at IT Park in 2015. The series revealed an integral piece of wood with a hollow center, forming two halves of an enveloping husk connected by several wooden sticks that resembled hairpins. The hollow space in the center of the two halves reminded the audience of two palms put together. Every sculpture with a husk structure and a hollow center belonged to the Integral Series and the Taiwan Matrix Series. In some cases, the husk might not be entirely enveloping but only partially, and the shape might not necessarily be in the form of two clasping palms. Any shape could become a husk or pod.
The enveloping husk created "a space of void," which corresponded to the physical space we inhabited. It also embodied the concept of "tolerance." The void at the center could contain things; it was an actual space as well as an imaginative one. When a large space existed within, it became naturally to accept other things, tolerating heterogeneousness and differences. The void allowed any heterogeneity to enter and became one with it, producing a stronger, sturdier unity that did not differentiate.
IT Park Gallery Taipei 2015
IT Park Gallery Taipei 2015
IT Park Gallery Taipei 2015