Yang-Che Liu

"Ten Green Printmaking Society" is well-known in the domestic art circle for its professional printmaking and education promotion. This year is the 45th anniversary of the "Ten Green Printmaking Society". Hsinchu City Cultural Bureau will exhibit "Bamboo" at Meiyuan Gallery from now until October 27. "City ‧ Edition Wind 2019 Ten Green Modern Printmaking Exhibition", with more than 50 works. The opening ceremony of printmaking will be held at 2:30 pm on October 19th. Mayor Lin Zhijian invited citizens and friends to watch it together.

Director of Culture Huang Huang said that the "Ten Green Printmaking Society" originated from "Father of Modern Printmaking in Taiwan" Liao Xiuping. In 1973, Liao Xiuping brought back printmaking techniques in Japan, France, and the United States to Taiwan and taught in National Taiwan. In 1974, under his encouragement, the first group of ten students taught at the Normal University established a painting club to continue his ideas and devote himself to printmaking and printmaking education.

Many members of the current painting association have a close relationship with Takeshi, including Peng Taiyi, who taught the Fine Arts Department of Cultural University, and Yang-Che Liu, who has studied at the Seventeenth Printmaking Institute in Paris, France, are artists born in Hsinchu. ; Wang Zhentai, Xu Mingfeng of the Mesozoic era, and Huang Chunyuan of the new generation have taught at Hsinchu colleges and universities to cultivate printmaking talents. This group of artists who love printmaking will provide wonderful visual feasts to the citizens of Hsinchu.

Liao Xiuping said that the members of the "Ten Green Printmaking Society" are almost all professional artists who display the latest printmaking creations every year. They continue to create, not only to add glory to the Taiwanese art world but also to cultivate people who love printmaking art.

The Culture Bureau stated that the exhibited works used convexity, concavity, flatness, holes, and diversity in the media techniques; there were a variety of topics in the theme, such as abstraction, realism, or social criticism, and they also exhibited research documents related to the ten youths, as well as various types of prints, techniques, materials and other objects provide the public with a rich understanding of Taiwan's modern print art research issues and diverse creative media. For details, please contact the 1999 Citizens Service Hotline or call 03-5332841 for inquiries.

*Reprinted 2019-10-17 15:51 Udn News

Art creation is a long road, and it is necessary to have passion and perseverance to achieve results. The National Taiwan Museum of Fine Arts, affiliated to the Ministry of Culture, will exhibit "Respect, Quietness, Cleanliness, Realm-Retrospective Exhibition of Yang-Che Liu's Creation" from now until January 20, 102. The Taiwan style is recorded with a brush so that it is full of rich local flavor. Awaken nostalgia in people's memories.

A photo of exhibition opening ceremony

Mr. Yang-Che Liu has been painting for more than 50 years, and artistic creation is the keynote of his life. He conveyed his praises and emotions to life, as well as his reflection and consideration of local culture through his brushes. The flowers and plants in nature and the common objects found in life are the sources of his creation. He likes to paint objects around his life to create unique surrealism; it is also good to describe Taiwan's ancient monuments, red tiles, Buddha statues, etc. The style of the work is simple and natural.

Yang-Che Liu was born in Lunzai, Hsinchu City in 1944. He attended Hsinchu Normal School in high school. He studied watercolor with the teacher Li Zefan. Enlightenment enriched his painting foundation and aesthetic qualities and enriched his creative vision and connotation. He used oil painting, sketching, and watercolor as the main creative axis. In 1973, Professor Liao Xiuping returned to China to teach modern printmaking techniques and concepts, which made him understand the art of printmaking. In 1986, he went to Paris's 17th Printmaking Research Center to receive Professor Haight. (Prof.SWHayter) 's guidance, more obsessed with printmaking, so he turned to printmaking for nearly 30 years. After 1995, he returned to oil painting, but the printmaking has not stopped, showing his strong intentions for artistic creation. Trained from the academy's background and printmaking techniques, he has a flexible grasp of diverse media. He skillfully merged Western painting creation ideas with printmaking techniques to construct a colorful and artistic style and tempered a unique artistic vocabulary. Achieve a great performance in his painting.

This exhibition exhibits 81 pieces of Yang-Che Liu's oil paintings and prints, with oil painting as the main axis of the exhibition, and print works, showing its creative context and style evolution. Regardless of flowers and birds or characters, still life or scenery, figurative or abstract, they are all poetic and musical, revealing his delicate observation and writing of things, showing his deep aesthetic connotation and humanistic accomplishment. Although the subject matter of his paintings is simple, he shows a strong religious and zen spirit, exuding a spirit of inspiration, and his intriguing taste is intriguing. It is hoped that through this exhibition, the artist's affectionate gaze and attention to the physical image, as well as the solemnity, tranquility, and cleanness that are cast through mind image betting, will make the viewer resonate and touch the soul.

A painting exhibited at the exhibition.
Yang-Che Liu's mother and a portrait of her

For Yang-Che Liu, success can be traced in part to the vigorous training he received early in his education as an artist. At Hsinchu Teachers College, Liu spent his undergraduate years as a student of Lee Je-fan. In art school, his teachers later would include Yang San-lang, Liao Chi-chuan, Lee Mei-shu. Hung Ray-ling and Liu Yu, all well-known artists who taught him water colors, oils and all aspects of these disciplines. Eventually, in 1975, Liu was introduced to printmaking by Liao Shu-ping; and later in 1986, he went to France to continue his study at Paris' 17th Printmaking Center under the famed master, S.W. Hayter.

Throughout his career, Yang-Che Liu's prints have evoked a powerful feeling of intimacy. Rendered with a technique that is modern, his work still retains many traditional Chinese elements. Of particular interest are the Taiwanese domestic images that appear in many of Liu's prints.

" Youthful Training brings Bountiful Harvest "

The imagery explored by Yang-Che Liu, and the materials he has used to capture them, have changed many times during his two decades as a printmaker. In the late 1970s, Liu developed his trademark style of printmaking based on a mix of intaglio and silkscreen. True to Western art traditions, he has used his technique to generate an abundance of new ideas. In the 1980s, he began experiments with "art language":first introducing into his work such elements as the shapes of Chinese characters and the lines of Taiwanese architecture; and later offering elements such as "fruit" and "vegetables", arranged layer upon layer in each piece, skillfully creating compositions with multiple visual effects. In the 1990s, Liu has explored "city phenomena", using such objects as "pencils", with their cruel sharpness, to represent city architecture, and "corn" as a metaphor for city dwellers. Recently, Liu's art seen the influence of music, due to his family's involvement in that medium. A few new pieces include musical instruments as "external" images and hands as "internal" images of musical movement.

Yang-Che Liu is also noted for his lunar new year prints. Every year since 1985 he has entered art competitions held during the lunar new year, winning recognition in this traditional event, ironically, for groundbreaking works combining Chinese and Western elements executed with a technique both modern and traditional. Liu's prints communicate ancient Chinese values by contrasting them with the shortcomings of modern life, making this traditional artform palatable to young Chinese audiences. Liu's new year prints are recognized as an important part of his corpus of artwork.

Today's exhibition offers a rare opportunity to view a collection of Liu Yand Jer's prints selected from more than a decade of his career. For friends and teachers, and for all aficionados of printmaking, this is truly a special event.