A Reality Defined by the Coexistence Between the “Present” Tense and the Condition of “Not Me”
By: Joanne W. Chen

Diagnosed with a learning disability at adulthood, Davina Hsu made the notion of the "self" and the "observation of crowds" into important elements to her artwork.  Even though her introspective, shy, and sensitive personality made leaving her home a great challenge, she jokingly said about herself: "When I was a kid, my teachers at school thought I was a troublemaker.  Who would have known that I was actually dyslexic? (laugh)"  Combining the Chinese characters, "wu" and "yan," results in the formation of her last name, "Hsu."  This was her method to make sense of words during elementary school.  She said:  "Even to write my own name, I had to deconstruct and recombine characters.  I also did not understand why I I had such difficulty just to write my own name."   It was only when Hsu went to study at Parsons School of Design that she was diagnosed with Dyslexia, and solved a mystery that her family and teacher could not find an answer.  This syndrome is often accompanied by Attention Deficit Disorder (ADD).  With this diagnosis, Hsu finally understood why she was different from other people.   In the Taiwanese educational system, such a diagnosis is rare.  According to the conventional wisdom in Taiwan, "studiousness," "hard-work," and "diligence” are the means for which one makes up for their dullness.  This rationale was also used to explain the disadvantages of those suffering from learning disabilities.  Most people have no idea just how much vain effort is placed in making psychological adjustments just to endure and meet standards on par with the expectations of society.  Unable to fully comprehend abstractions associated with written language, Hsu channels her talent into the creation of images.  Spaces that are restricted within letters and words are simplified onto the planar surface of her paintings.  Within a world of images, her imagination can run free without constraints, and create her own unique lexicon.  

Objective Insights into the Present Time

Gary Hume, who described himself as a “beauty terrorist” is known for his flamboyant sense of creativity.  After creating his new series of highly-praised abstract works, Door, he used glossy paint to draw decorative flowers, birds, and simplified human figures, resulting in the creation of a new style of pop art that drastically altered viewer expectations.  Every stage is an attempt to overturn the public’s "single interpretations" of his works.  For her 2012 exhibition, Mysterious, Hsu is planning to use a "non-singular" approach to present a dynamic set of works, expressing her doubts regarding "popularity" and "singularity," and exploring the boundaries of the aesthetic tastes and standards of the public.  She is probing the essence of art in an attempt to understand its rudimentary form.  Having resided in the United States for more than ten years, she first used familiar Western faces as one of her creative subjects.  Yet, she discovered that a topic common only to Western standards had an alienating effect on the East.  Residing in the cultural melting pot of New York, the center of the world stage, Hsu chose to instead use an objective perspective to view the progression of our modern world.  Through this approach, she is able to explore the visual and psychological facets to the essence of painting.   Using expressions that can be “tangible, misleading, and comprehended,” she creates works that can be interpreted in many different ways.  Whether abstract or figurative, right or wrong, her works do not require a definitive interpretation.  It is as if she does not want the titles of her works to dictate viewing experience of the audience.  Therefore, many of her works are “untitled.”  She believes that this is the kind of inclusiveness that defines the essence of art.  Cultural critic, Michael Bracewell, once said:  "A sense of the archival is now able to attach cultural significance to almost anything, and is always in search of new seams of arcane cultural activity to mine: found collections of yearbook photographs, someone’s snaps of their girlfriend, cheesy Christmas cards. What used to be a sideshow is becoming the main event."  (Note 1)  Hsu incorporates the concept of found objects into her abstract series of works, prompting an alternative way of thought regarding objects found in daily life.  Residual carbon paper used by a fax machine become objects Hsu uses to describe the passing of time and representation of values.  Through repeated rubbing and transcribing, carbon paper that is normally treated as trash forms rich contours across the painting.  Amongst the various, zigzagging black, grey, and white tones that intertwine on blank spaces originally intended for copied content, overlapping realities and rich colors evoke a sense of spaciousness.  Influenced by Eastern ink and brush paintings, she leaves blank spaces in a natural fashion, adding depth to planar dimensions.  Whether through slow coloring or rapid carving, she tries to capture the passage of time and static images of memories within her paintings.

The Modern Physical and Psychological Notion of "Not Me"

Hsu's sensitive personality gave rise to an astute ability in observing human nature.  And, her multiple personalities also influenced her artworks.  She once said, "Sometimes, I cannot tell if I am living in a dream or reality.  My dreams are too real.  It is as if I live two lives."  Hsu expresses herself through painting by drawing from various sources, such as personal, third-party, cultural, historical, or daily experiences.  As a satire of the confused psychological state of modern people, she paints characters who lack brains or have incomplete bodies to express the various guises of the self.  They are like empty shells that lack a will or soul.  The theory on the Spectrum of Consciousness by transpersonal psychologist, Ken Wilber states that: “There are many levels to the human psyche.  At the top level, the environment is an exterior realm.  On an ego level, the body is also an outside aspect.  On a persona level, the environment, body, as well as inner shadows, become exterior entities.”  Modern people live in opposition to nature.  Amongst the conflicts between third parties and the true self, aimless wandering has become the norm.  Many of Hsu’s works feature sections of human or animal figures, walking legs combined with geometric shapes, and legs within an intertwining dark realm.    All these are expressions of the conflicting nature to an aware self-deception.  This is like a disconnection between the mind and body - a psychological and emotional turmoil marked by loneliness.

For this exhibition, we can see the allusion of Hsu’s figurative images to a fragile and paradoxical nature of humanity, as well as witness the unrestrained compositions of her abstract paintings.  Due to her innate inability to complete a series in a sequential fashion, Hsu’s creative process is very sporadic.  The artist once said of herself, “My creative process is not linear.  I do not complete a series before I move onto the next series.  Many different series are created in an overlapping fashion.”  It is as if her consciousness is automatically divided into many different consciousnesses.  I believe that after long-term observation, we can find the grammar to her unique artistic language.

Note 1：Michael Bracewell, ‘Postcards from the Edge’, Frieze, January-February 2003, p52