Home / Exhibition / Artists- Flashmob Art Plan / YANG Shun-Fa
Share on Twitter


Taiwan To Go – No 01, 2018, digital output, dimensions variable. Courtesy of the artist.



Taiwan To Go – No 02, 2019, digital output, dimensions variable. Courtesy of the artist.



Taiwan To Go – No 05, 2019, digital output, dimensions variable. Courtesy of the artist.



Taiwan To Go – No 10, 2020, digital output, dimensions variable. Courtesy of the artist.



Taiwan To Go–No 03, 2019, digital print, dimensions variable. Courtesy of the artist.



Taiwan To Go–No 08, 2020, digital print, dimensions variable. Courtesy of the artist.




YANG Shun-Fa

The Fifth Genre: Festivals/Sandbanks/Green Coverage Ratio



When Yang Shun-Fa’s investigations for the “Fish Snipers” project took him along the coastlines of Taiwan, he often noticed Taiwanese native dogs wading through the sea, moving from one sandbank to another at the guidance of the lead dog. They could not find their way at sea, but they were fearless of adventures and the unknown. This spirit resembles the resilience and vitality of Taiwanese people and became the theme of the Taiwan To Go series. The continents are connected by sea, and waterways played an important role in the history of human migration; Taiwan had also engaged in intimate exchanges with various continents for centuries. Human behaviors and activities in waterways and intertidal areas reflect not only local history but also the long-internalized worldview. If we view the wading Taiwanese native dogs as a representation of the island, country, and people of Taiwan, the pairing of the title “To Go” with the imagery transforms the work series into an inquiry: Where are we going? Must Taiwan be in constant preparation for new headways?

Profile

A native of Shanhua, Tainan City, Yang currently lives in Kaohsiung and is a blue-collar worker at China Steel Corporation. Yang has been engaged in photography for over three decades. His most iconic works include Rebuilding the Kingdom (1977), Rampant Beasts (1999), Home and Rootless (2006), and Hong Mao Harbor, the Beautiful (2007). In recent years, Yang has carried out extensive field studies on Taiwan’s coastlines, involved in the large-scale “Fish Snippers” project, in which the “The Submerged Beauty of Taiwan” series won the 2018 Kaohsiung Award. Yang’s works over the years have been invited to exhibitions in France, Hong Kong, Kosovo, and Northern Ireland, and archived by domestic and overseas art museums.