Born in Changhua, Taiwan, R.O.C. in 1949

B.A., National Taiwan Normal University, Taipei, R.O.C.

M.F.A., The City College of The City University of New York

Chairman, Professor of The Department of Fine Arts,
National Taiwan Normal University



Artist's Introduction by Patrick O'Reilly

The first thing one recognizes in Yuan Chin-taa's paintings is their accessability. They have a generosity of spirit which makes them immediately appealing. However, after this initial effect, it also becomes clear that the artist is deeply concerned with a few recurring themes: the interaction of man and nature, man in the modern world, and, in particular, the artist's perception of the change taking place in his own society, as it moves away from the old rural rhythms and moves into 20th century industrial society.

Having had a formal education in art at National Taiwan Normal University, Yuan's early paintings display all the finesse of a highly talented student working to refine his technique. Yet even in these early works, Yuan's themes of natural beauty and country life were invested with a distinct delicacy and gained some confidence, he would move away from the security of form for form's sake, and mature into a serious and gifted artist.

Ironically, as this began to happen, Yuan also started to realize that the theme of the displacement of the old traditional lifestyle, (by that of a metropolitan 20th century) which had begun to preoccupy him, was one that traditional technique could not express very well. 20th century themes needed to be expressed by 20th century techniques, which, by and large, were the property of the West. Thus Yuan went off to the United States to broaden his horizons.

It is obvious that his exposure to western techniques, together with their philosophies and ideologies, had a deep effect on the artist. Not in his personal creed, but in so much that he was given the tools by which to express himself both accurately and coherently. The artist was now in a position to adapt and blend elements of both East and West, without being dominated by either.

Since that period, Yuan has grown in depth and maturity. He has developed and experimented with various mediums, while at the same time deepening his ability to express himself through them. The use of Chinese ink on drafting paper, for example, to execute a silent winter scence of crocuses peeking through the snow, adds a textural
Softness and richness to the colors, which further enhance the mood of the composition.

In Yuan's mature works, one can see the artist approaches his subjects from several different perspectives, from neo-realism to organic abstraction.

The classic perspective of Yuan's earlier, beautifully sensitive, snow secnes can now be compared with the minimalist simplicity but subtle depth of "Figure" (1987). Working in grey and black monotones, the artist has painted a wall of craggy rocks. Hidden within are human-like figures which advance and recede with the lights and shadows.

The artist's scarecrow series (1988) combines technical adeptness without endangering the naive sadness in the inherent wish to hold back the passage of time and social change. In "Upside Down Scarecrow", for example, the rice paddy field, central to the piece, acts as a net both restraining and supporting the scarecrows, symbols of traditional values in decline. A low, tired sun has little to offer. The scarecrows themselves seem despondent, perplexed, surprised, or resigned. Nonetheless, the atmosphere is tranquil, even perplexed, surprised, or resigned, even tinged with humor.

Yuan's understanding of the pressures of modern life is wonderfully expressed in his insect series. One can see the monotony, repetitiveness, and even to some extent the valuelessness of modern society. Yet at the same time it is tempered with a recognition that community in itself has its own inherent value; it is a pattern repeated throughout nature, and that is does have form, function, and meaning. Faces and attitudes repeatedly present themselves in Yuan's work. His ability to cluster significant groups of expressions together, establishes mood. This, combined with his technical expertise in guiding the eye systematically through his compositions, always maintains the emotional and artistic accessability of his work. One is never alienated by ideology or sterile technical virtuosity. On the contrary, one is invited to participate and experience the calm inner peace of this artist who is sensitive to, and in love with, his country and his people. Aware of the past but recognizing the future, Yuan Chin-taa works to capture both spirit and beauty, form and feeling.