
Jun-Qiang Niu Artist
Te-Yu Wang Artist
Han-Fang Wang Independent Curator
Yu-Chih Hsiao Associate Professor, Department of Architecture, Shih Chien University
DH Café (No. 153, Section 3, Zhongshan North Road, Zhongshan District, Taipei City)
$150 (discount on purchase of books)
Artist Ya-Hui Wang’s works brim with spatial imagination, rooted in her personal interest and research in architecture. Last weekend’s talk at DH Café invited architects and artists connected to Ya-Hui to discuss her work and creative trajectory through the lens of Notes and to explore architectural dimensions with readers.
Regarding the book’s conception, curator and editor Han-Fang Wang shared that the artist possessed intense curiosity. While sorting through numerous questions that rose during her creative process, attempting to develop her own ideas and construct a system, she often encountered even more uncertainties. Amidst this cycle of doubt and resolution, Wangencountered architects, artists, and literary figures, who inspired her through reading. Her writing incorporates research into the works and ideas of these individuals. Additionally, in an interview, she once discussed how to view the divergences within her own work: the gap between her creations and her evolving ideas cannot be presented simultaneously, as it takes several years for shifts in thought to manifest tangibly in her work. Her creative shift began around 2019, while the divergence in her ideas started brewing around 2011. The texts included in this book were written precisely during the period when her ideas began to transform. These writings, documenting her thought processes and research, gave birth to Notes.
As fellow creators, Te-Yu Wang feels a connection with the artist and a mutual understanding. She believes that Wang used her art to describe the world and convey complex concepts through simple means with an innocent, light touch, sharing her thoughts with the audience. Though both think spatially about their work, for Te-Yu Wang, images are an endless plane. Yet in Wang’s eyes, the memory, frames, and shifts within images possess distinct “textures.” She deconstructed time into separate elements, using these immeasurable experiential components as ingredients to sculpt her visuals. These elements evoke viewers’ sensory memories—perhaps irrational fragments of recollection—that surface in that moment, sparking further associative extensions.
Artist Jun-Qiang Niu shared that Wang’s writing reminded him of a concept from the book Between Silence and Light: Spirit in the Architecture of Louis I. Kahn: inspiration arises from the interplay of silence and light. Above this seemingly dualistic existence lies “order” (道). Transcending both light and silence, it symbolizes holistic knowledge—a more abstract and mysterious presence. Through her writing, Wang brought these artists, architects, and creators she admired—all connected to the concept of order—into the public eye. Regarding architecture’s influence on visual creation, Niu echoed Wang’sexperience visiting Alvar Aalto’s home by sharing his own encounter with Notre-Dame du Haut during his residency in France. This visit profoundly shaped his subsequent work in video editing and exhibition design. He observed that while Wang’s daily life might not appear deeply intertwined with architecture, these experiences were in fact internalized. Her spatial journeys transformed into a sense of time within her images, weaving both time and space into her creative fabric.
Wang retained her curiosity until life’s end, persistently probing the ultimate questions in life, and extended her legacy through her writing, which reveals her sincere sharing of thoughts and observations accumulated over two decades, becoming the footprints left behind by the artist. Beyond her art, it is hoped that her spirit may reach more admirers and art historians through Notes, inspiring them in new ways—just as Wang herself was inspired by reading the works of creators she admired.