PRINTPROVENANCE:
Private collection, Asia
Private collection, Asia
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Dawn of Spring
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2017 Oil on canvas 145 x 112 cm Signed lower left Sophie in English, dated 2017 |
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Estimate
850,000 - 1,000,000 220,000 - 259,000 28,200 - 33,200
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Sold Price
4,560,000 1,187,500 151,899
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Inquiry
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Catalogue Note:
ENDLESS IMAGES FROM THE UNIVERSE OF THE MIND: THE ABSTRACT PAINTINGS BY SOPHIE CHANG
/ LUO CHI-LUN
Varied forms and pursuits arose in abstract art in the 20th century out of deconstruction of the classics, the empty void felt after the war, and a personal need for the expansion of an individual. Be it exploration of colors, shapes, or even the image of the self, each era’s face was shaped by individual artists as well as the state of their countries. Though abstract art was eventually met with varying levels of opposition, it is undeniable that after baptism in the abstract art movement, artists worldwide learned how to compose classical art, but over and above that they found a way to draw out their own methods and emotions from reality, all problems which eternally face the artist as creator.
SOPHIE CHANG AS AN “ARTIST”
The “artist” Sophie Chang is better known for her other roles: as wife of the chairman of Taiwan Semiconductor Manufacturing Company (TSMC) and chairwoman of the TSMC Charity Foundation, in which role she has been publicly acclaimed for the social and charity work she has done. While charity is certainly Chang’s most important mission in life, her role as artist, a role which she discovered unexpectedly in her sixties and which is still very new, has become for her an important and interesting outlet of expression. She began painting as a hobby in the time afforded her by, and with the unconditional support of, her husband Morris Chang. With the warm and edifying support of his love, Sophie immersed herself in the world of art. Looking back at her occasional work from 2006, one can already see her firm grasp of color, form, and expression of emotion, which allowed her to mature quickly despite not having any formal schooling. In her earlier studies of Impressionist works, one can already detect Chang’s astonishing artistic talent. This is especially true for her third year of study. Chang began to try breaking out of the framework of “form” in light and shadow, purifying them into simplistic color and line while expressing her personal thoughts and observations in an abstract manner. Thus she began her journey into the world of abstract art. Chang paused all public activity from 2013 to 2015, during which time she set down her brush and recessed painting, though she reemerged in 2016 and 2017 with an eruption of new works. In her latest abstract works, she has assimilated the contemporary works of Western and Chinese abstract artists while also developing a personal vocabulary and method. These two years have certainly been a productive time for Sophie Chang and her abstract creations.
Chang’s abstract works mature quickly, and even with her unrestrained personality and sensitive eye for color, one cannot ignore the influence religion has had in her mind.
IMAGES FROM THE UNIVERSE OF THE MIND; IN THE NAME OF LOVE
In the 80s, Sophie Chang returned to Taiwan from the States. As she readjusted herself from the simple routine of daily life in America to the bustling warmth of Taiwanese society, her excitement was riddled with conflicting feelings of insecurity. It was then that she began to seek a true sense of belonging through religion. Her years of meditation honed her sensitivity to a level greater than the average person in capturing immediate shifts of emotion and perceiving the “truth” of the universe. After becoming leader of the TSMC Volunteer Program (now the TSMC Charity Foundation) in 2004, her charity career became the next trial in the training of her spirit and her reflections on humanity. While feeling secure with the support of her husband Morris, who was her safe haven, she received “love” in return for “charity” on her quest to spread love and to inspire the minds of others, though she also witnessed even more of the dark side of humanity, with its delusion, greed, and aversion. Despite all of this, she was able to meet this dark side with the wisdom she gained from her training and continue to spread her ideals in the name of love for all.
It was because of these experiences that the subjective expressions of the mind and soul from 20th century abstract artwork became a source of strength for Chang that allowed her to set her passions free. She would do studies of the German artist Gerhard Richter as well as Chinese-French artists Zao Wou-ki, Chu Teh-Chun, Chinese artist Wu Guanzhong, and the Taiwanese artist Liu Kuo-sung, though it was Zao Wou-ki whom she most admired. Chang admitted that her admiration for Zao came from the sheer force and grandiose scale of his works. She even studied in detail his mysterious use of color. However, even in her studies of the masterpieces, she would always incorporate her own thoughts and feelings as opposed to summarily copying the original. In layers upon layers of oil paints, each new layer being a brand new story, Chang presents clearly her true feelings.
These gradual approaches to the “mind” are obviously drawn from her many years of internal experience in meditation. Meditation taught her to observe each and every shift in emotion, which she captures in her art. It is with that same mindfulness that she also turns her mind outward to the universe; hence the frequent images of space in Chang’s abstract works. It is as if one were to look down from outer space on the vast earth, on its majestic curves, and, standing on this shore, look into the infinite depths of space. With her bold use of color, her layering and collision of paint, she expresses the vastness and breath-taking brilliance of the “universe of the mind” - an “image of the mind” which she sees through her present impressions of humanity and the world. Chang mixes abstract vocabulary from the Western tradition with her own observations and realizations to create a condition where, for the creator, “the mind is the universe, the universe is the mind.” Amongst the curiosities that make up her grand visual adventure, one can still feel touches of the artist’s longing, as though she cannot bear to leave this world of feeling and sensation as she brushes her fingers across its surface. To live in the name of love is not merely the attitude with which the artist views the world, it is also her attitude as she wanders within the space of her own mind.
A UNIQUE “CHANG’S METHODOLOGY”
That Sophie Chang’s abstract works draw viewers into the “universe of the mind” is one important aspect of her work, but it is also worthwhile to note the abstract vocabulary behind the “Chang’s Methodology.” During a busy time at the end of 2016, she splashed a layer of new paint on an unfinished painting and thought no more about it until the next day, when she discovered that, due to differences in expansion and contraction, the paint on top had cracked into many smaller shapes, which allowed the colors beneath to peek through. The shrinking of the upper layer of paint retained the rough texture of the oil paint and led to the natural formations of venous, mountainous textures. This unexpected accident helped Sophie Chang find spiritual nutrition for self-expression at a time when she had encountered a mental block in her abstract creations. From those random cracks of pigment, she later learned how to create different textures, such as the lines of marble or the veins of a dead leaf. In a volley of abstract paintings from 2017, one can see a general use of these methods that add an extra touch of texture to her “universe of the mind” and draw the viewer into looking closer.
“Dawn of Spring” is an iconic work made in the “Chang’s Methodology” that happens to be her husband Morris Chang’s favorite piece among her works. When this piece was acquired for Ravenel’s autumn auction, Morris lamented that it was “like giving up a piece of his own heart.” It is quite obvious how much he values this painting! Morris once commented on Sophie’s abstract works, which came after her works of portraiture and Impressionism, that he no longer understood what she was painting: “Only she knows what she is painting.” However, the artistic intent of an abstract piece is connected directly to the mind of the artist. Nevertheless, sharing in the same love for his soul mate, Morris said that he did understand her paintings eventually : “Luckily, that phase seems to have passed; now, I am able to realise what she is painting about.” “Dawn of Spring” is one of those paintings that Morris was able to “see” and fall in love with!
In the dark chaotic background of “Dawn of Spring,” maple leaves appear to dance in the wind, giving the painting a Chinese aesthetic air. The maple-like pattern of the leaves in particular was developed through the “vein-like texture” of the “Chang’s Methodology” and is one of the iconic subjects of Chang’s current abstract works. The evolution from the initial spontaneity of cracked ridges of the “Chang’s Methodology” into the continuous drifting of maple leaves reflects how she is now able to control the texture of paint at will. The sense of motion in the dark background is akin to the flow effect from the Chinese ink and wash paintings. The ink-like flow of oil paint further proves Chang’s mastery of the media.
The rapid maturation of this technique allows Chang a direct glance into the imagery presented by her inner landscape, a world which words can only approximate. The pensive background swirls mistily, like a hidden grove, or even the endless darkness within the depths of one’s own heart. However, even as Chang makes contact with the darkness, she does not fall into its bottomless abyss. She continues to believe that humanity shines with a warming light, her husband with his loving, genial, bright, and broad-minded character being one such example. It is apparent in her snowy image of a howling blizzard, for instance, where the artist finds a way to incorporate warm colors. The fresh green leaves and budding flowers dancing in the winds of “Dawn of Spring” seem to remind the viewer of the good in the world, a view which aligns with Chang’s own beliefs. She was able to paint shades of green that were her own eventually. Similar to what she had experienced in charity events, she came to understand how “in crossing through layers upon layers of green, each step forward becomes deeper than the one before.” This speck of green is her recollection of the inner tranquility of her faith.
/ LUO CHI-LUN
Varied forms and pursuits arose in abstract art in the 20th century out of deconstruction of the classics, the empty void felt after the war, and a personal need for the expansion of an individual. Be it exploration of colors, shapes, or even the image of the self, each era’s face was shaped by individual artists as well as the state of their countries. Though abstract art was eventually met with varying levels of opposition, it is undeniable that after baptism in the abstract art movement, artists worldwide learned how to compose classical art, but over and above that they found a way to draw out their own methods and emotions from reality, all problems which eternally face the artist as creator.
SOPHIE CHANG AS AN “ARTIST”
The “artist” Sophie Chang is better known for her other roles: as wife of the chairman of Taiwan Semiconductor Manufacturing Company (TSMC) and chairwoman of the TSMC Charity Foundation, in which role she has been publicly acclaimed for the social and charity work she has done. While charity is certainly Chang’s most important mission in life, her role as artist, a role which she discovered unexpectedly in her sixties and which is still very new, has become for her an important and interesting outlet of expression. She began painting as a hobby in the time afforded her by, and with the unconditional support of, her husband Morris Chang. With the warm and edifying support of his love, Sophie immersed herself in the world of art. Looking back at her occasional work from 2006, one can already see her firm grasp of color, form, and expression of emotion, which allowed her to mature quickly despite not having any formal schooling. In her earlier studies of Impressionist works, one can already detect Chang’s astonishing artistic talent. This is especially true for her third year of study. Chang began to try breaking out of the framework of “form” in light and shadow, purifying them into simplistic color and line while expressing her personal thoughts and observations in an abstract manner. Thus she began her journey into the world of abstract art. Chang paused all public activity from 2013 to 2015, during which time she set down her brush and recessed painting, though she reemerged in 2016 and 2017 with an eruption of new works. In her latest abstract works, she has assimilated the contemporary works of Western and Chinese abstract artists while also developing a personal vocabulary and method. These two years have certainly been a productive time for Sophie Chang and her abstract creations.
Chang’s abstract works mature quickly, and even with her unrestrained personality and sensitive eye for color, one cannot ignore the influence religion has had in her mind.
IMAGES FROM THE UNIVERSE OF THE MIND; IN THE NAME OF LOVE
In the 80s, Sophie Chang returned to Taiwan from the States. As she readjusted herself from the simple routine of daily life in America to the bustling warmth of Taiwanese society, her excitement was riddled with conflicting feelings of insecurity. It was then that she began to seek a true sense of belonging through religion. Her years of meditation honed her sensitivity to a level greater than the average person in capturing immediate shifts of emotion and perceiving the “truth” of the universe. After becoming leader of the TSMC Volunteer Program (now the TSMC Charity Foundation) in 2004, her charity career became the next trial in the training of her spirit and her reflections on humanity. While feeling secure with the support of her husband Morris, who was her safe haven, she received “love” in return for “charity” on her quest to spread love and to inspire the minds of others, though she also witnessed even more of the dark side of humanity, with its delusion, greed, and aversion. Despite all of this, she was able to meet this dark side with the wisdom she gained from her training and continue to spread her ideals in the name of love for all.
It was because of these experiences that the subjective expressions of the mind and soul from 20th century abstract artwork became a source of strength for Chang that allowed her to set her passions free. She would do studies of the German artist Gerhard Richter as well as Chinese-French artists Zao Wou-ki, Chu Teh-Chun, Chinese artist Wu Guanzhong, and the Taiwanese artist Liu Kuo-sung, though it was Zao Wou-ki whom she most admired. Chang admitted that her admiration for Zao came from the sheer force and grandiose scale of his works. She even studied in detail his mysterious use of color. However, even in her studies of the masterpieces, she would always incorporate her own thoughts and feelings as opposed to summarily copying the original. In layers upon layers of oil paints, each new layer being a brand new story, Chang presents clearly her true feelings.
These gradual approaches to the “mind” are obviously drawn from her many years of internal experience in meditation. Meditation taught her to observe each and every shift in emotion, which she captures in her art. It is with that same mindfulness that she also turns her mind outward to the universe; hence the frequent images of space in Chang’s abstract works. It is as if one were to look down from outer space on the vast earth, on its majestic curves, and, standing on this shore, look into the infinite depths of space. With her bold use of color, her layering and collision of paint, she expresses the vastness and breath-taking brilliance of the “universe of the mind” - an “image of the mind” which she sees through her present impressions of humanity and the world. Chang mixes abstract vocabulary from the Western tradition with her own observations and realizations to create a condition where, for the creator, “the mind is the universe, the universe is the mind.” Amongst the curiosities that make up her grand visual adventure, one can still feel touches of the artist’s longing, as though she cannot bear to leave this world of feeling and sensation as she brushes her fingers across its surface. To live in the name of love is not merely the attitude with which the artist views the world, it is also her attitude as she wanders within the space of her own mind.
A UNIQUE “CHANG’S METHODOLOGY”
That Sophie Chang’s abstract works draw viewers into the “universe of the mind” is one important aspect of her work, but it is also worthwhile to note the abstract vocabulary behind the “Chang’s Methodology.” During a busy time at the end of 2016, she splashed a layer of new paint on an unfinished painting and thought no more about it until the next day, when she discovered that, due to differences in expansion and contraction, the paint on top had cracked into many smaller shapes, which allowed the colors beneath to peek through. The shrinking of the upper layer of paint retained the rough texture of the oil paint and led to the natural formations of venous, mountainous textures. This unexpected accident helped Sophie Chang find spiritual nutrition for self-expression at a time when she had encountered a mental block in her abstract creations. From those random cracks of pigment, she later learned how to create different textures, such as the lines of marble or the veins of a dead leaf. In a volley of abstract paintings from 2017, one can see a general use of these methods that add an extra touch of texture to her “universe of the mind” and draw the viewer into looking closer.
“Dawn of Spring” is an iconic work made in the “Chang’s Methodology” that happens to be her husband Morris Chang’s favorite piece among her works. When this piece was acquired for Ravenel’s autumn auction, Morris lamented that it was “like giving up a piece of his own heart.” It is quite obvious how much he values this painting! Morris once commented on Sophie’s abstract works, which came after her works of portraiture and Impressionism, that he no longer understood what she was painting: “Only she knows what she is painting.” However, the artistic intent of an abstract piece is connected directly to the mind of the artist. Nevertheless, sharing in the same love for his soul mate, Morris said that he did understand her paintings eventually : “Luckily, that phase seems to have passed; now, I am able to realise what she is painting about.” “Dawn of Spring” is one of those paintings that Morris was able to “see” and fall in love with!
In the dark chaotic background of “Dawn of Spring,” maple leaves appear to dance in the wind, giving the painting a Chinese aesthetic air. The maple-like pattern of the leaves in particular was developed through the “vein-like texture” of the “Chang’s Methodology” and is one of the iconic subjects of Chang’s current abstract works. The evolution from the initial spontaneity of cracked ridges of the “Chang’s Methodology” into the continuous drifting of maple leaves reflects how she is now able to control the texture of paint at will. The sense of motion in the dark background is akin to the flow effect from the Chinese ink and wash paintings. The ink-like flow of oil paint further proves Chang’s mastery of the media.
The rapid maturation of this technique allows Chang a direct glance into the imagery presented by her inner landscape, a world which words can only approximate. The pensive background swirls mistily, like a hidden grove, or even the endless darkness within the depths of one’s own heart. However, even as Chang makes contact with the darkness, she does not fall into its bottomless abyss. She continues to believe that humanity shines with a warming light, her husband with his loving, genial, bright, and broad-minded character being one such example. It is apparent in her snowy image of a howling blizzard, for instance, where the artist finds a way to incorporate warm colors. The fresh green leaves and budding flowers dancing in the winds of “Dawn of Spring” seem to remind the viewer of the good in the world, a view which aligns with Chang’s own beliefs. She was able to paint shades of green that were her own eventually. Similar to what she had experienced in charity events, she came to understand how “in crossing through layers upon layers of green, each step forward becomes deeper than the one before.” This speck of green is her recollection of the inner tranquility of her faith.