photo: NAKAMICHI Atsushi / Nacása & Partners

People's Gallery 09.10.04-21.03.05

ArtistMichael LIN
Year2004
Material/ Techniqueacrylic paint on plywood, chair Chairs: Michael LIN in collaboration with Kazuyo SEJIMA + Ryue NISHIZAWA / SANAA
Size/ DurationWall: H396×W2700cm Chair: H87×W46×D76cm each (15 chairs)
Copyright Notice© Michael LIN
Year of acquisition/ donation2007
DescriptionBorn in Tokyo, Japan in 1964. Lives and works in Taipei, Taiwan.

Michael Lin’s art has emerged from his experiences living in different cultural spheres, from his childhood days in Taiwan and youth in the USA to his life in Paris after college graduation. It accordingly transcends boundaries of tradition, style, and culture and engages our sensibilities with intimate warmth. Around 1999, Michael Lin established his style of creating large paintings on walls and floors, employing as motifs the floral patterns of traditional textiles used in bedcovers and other household items in his native Taiwan. Today, his installations unfold in the spaces of cafes, offices, public spaces, and other places where people congregate, as well as on furniture, cushions, and other utility goods. He creates works giving sensitive consideration to his relationships with everyday things and the people and world around him in daily life, and the character of the exhibition venue as a place.

In producing this work, Michael Lin resided in Kanazawa and observed fabric dyeing processes at ‘Kaga Yuzen’ kimono fabric studios, giving emphasis in his research to his interest in classical patterns. The floral pattern he conceived as a result now covers an entire wall of the Museum’s bright, sunlit People’s Gallery and the rockin chairs, created in collaboration with SANNA, situated before the wall. Its title reflects the gallery’s name and the term of the exhibition occasioning his production of the work. For Lin, the special character of a place, the activities undertaken there, and the exhibition’s function as a time axis are important elements. Embodied in this work is Lin’s stance of going beyond the display of objects to propose ways in which art can be an event that connects the artist, the place, and the visitors and promotes exchange between them. Interweaving colors and shapes, the work exudes a cheerful, robust energy that diffuses outwardly beyond the wall and chairs and seemingly erodes the neutral white spaces of the Museum. While introducing variation into people’s experience of the spaces, it draws out the possibilities latent in them.

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