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Creation/Research Support
Peeling–Technical Experiments with Everyday Marks

On the street, paint peeling from rusting metal has patterns on its back similar to those of the lingzhi mushroom, and the crystalized rust conforms to the contours of time, documenting almost stratigraphic records of different periods. Before such inferior materials, so commonly seen in our daily lives, are disposed of as useless waste and incinerated into ash, they also serve as an everyday spectacle, marking a sort of micro history. From this history, witnessed by the peeled paint and rediscovered on the street, two experimental ideas thus emerged: The Backside of Restoration and The Lak Tshat Greenhouse.

The Backside of Restoration – The Collection of Marks: By comparing how marks and stains are treated and removed during relic and art restoration, this strand of the project focuses on the adherent conditions of the medium to be removed. Which marks should be taken away, and which should remain? What are the applicable methods for the removal and the preservation?

The Lak Tshat Greenhouse: “Lak tshat” is the Taiwanese term for “peeling paint”. This part of the project attempts to artificially produce and incubate mottled marks in a laboratory setting. These will then be used to investigate the relationship between material aesthetics and historical representations through examination of the patterns and textures formed by the peeling of various materials, created with combinations of different technical parameters and synthetic approaches.


2022.04.01(FRI) 2022.11.30(WEDS)

LEE Yung-Chih

Born in New Taipei City, Taiwan, Lee Yung-Chih received his master’s degree in new media art at the Taipei National University of the Arts. Growing up in the urban landscape of littered streets and factory noise, Lee’s work often involves the displacement and appropriation of scenes of daily life as aesthetic and cultural criticism, albeit as a seemingly futile political movement. His art practice also touches on the sense of place, drawing from his personal experience of growing up in an industrial area, the bodily memory of collective working in the processing plant, and the apparently irreversible status quo in Taiwan in confrontation with internationalization, modernization, and individualization. In this way, Lee’s art is nostalgic camouflage embedded in a future of desperation.

During his professional career, Lee has received the Kaohsiung Observer Award and a Merit in the New Taipei City Art Competition. His work has also been included in exhibitions across Taiwan, Singapore, and Indonesia with recent major exhibitions and events including the Biennale Jogja in Indonesia, The Secret South: From Cold War Perspective to Global South in Museum Collection at the Taipei Fine Arts Museum, the fifth Asia Discovers Asia Meeting for Contemporary Performance (ADAM) at the Taipei Performing Arts Center, and the 2021 Asian Art Biennial Phantasmapolis at the National Taiwan Museum of Fine Arts. Lee currently works as an artist and freelance film editor.