Since the 1990s, Kuo has utilized sculptural collage as a means to incorporate ready-made objects into his works, using them as symbols to signify specific conceptual referents. With this method, he adds an additional layer of visual paradox to the reading of his work, which presents the viewer with specious misperceptions that are also contradictory. From time to time, Kuo transforms popular, obscure, and even non-artistic images and materials into a unique and systematic visual language. Depending on the context, clocks, masks, floral jacquard fabric, medals, badges, imitation jewelry, compact discs, SD memory cards, newspapers, calligraphic prints, popular stickers, shadows, and balloons became visual motifs in different periods of his practice, evoking history and cultural memory.
Inspired by his mentor Lee Chun-shan (1912–1984), Kuo not only became interested in Freudian psychology at an early stage, but also developed a deep understanding of its theories. Later, Kuo’s interest expanded to ethnic and social psychology, as well as Carl Gustav Jung’s (1875–1961) theory of the collective unconscious. Kuo tends to perceive the ethnic composition and social psychology of Taiwan from a compounded cultural perspective. In reality, he has little interest in revisiting history. The retro aesthetic is neither his taste nor his appeal; rather, the artist engages in strategies of deconstruction in hopes of establishing new possibilities for innovation.
When he depicts symbols and images with traditional and historical implications, Kuo typically transmutes them into caricatures or graphic portrayals, often with a bias towards flat line drawing. In contrast, he also incorporates a wide variety of symbols, real objects, and realistic forms that embody contemporary life and popular culture. In recent years, Kuo has also begun using acrylic paint and Western techniques to render traditional Chinese landscape painting. Juxtaposing traditional landscapes with Pop art–esque waves, the artist invents a novel synthesis of traditional and contemporary visual cultures.
Source: Tina Keng Gallery
Publisher：Tina Keng Gallery
Cover: Hard Cover
Dimensions: 308 x 301 x 12 mm