21 Feb Spring Frolicking with Puppies
Spring Frolicking with Puppies: A Celebration of Canine Affection
By Chang Li-Hao
In the Chinese zodiac, the dog is undoubtedly the animal most closely associated with humans. Historical records indicate that domesticated dogs entered human life over ten thousand years ago. With their diverse breeds and unique characteristics—some intelligent and loyal, others endearingly clumsy—dogs have not only brought joy and laughter but have also provided assistance in various aspects of life. They often teach us about the inevitability of farewells, becoming an inexhaustible source of inspiration for writers and artists throughout history.
To welcome the Year of the Dog, Daguan Gallery presents the group exhibition “Spring Frolicking with Puppies,” featuring nearly twenty artists from China, Hong Kong, and Taiwan, including Lee Yih-Hong, Lu Shu-Chen, Hsu Yu-Jen, Zhou Chunya, Su Wong-Shen, Lu Hsien-Ming, Lee Ming-Jong, Lien Chien-Hsing, Weng Liang-Yuan, Wu Chi-Tao, Yao Jui-Chung, Chen Ching-Yao, Lo Chan-Peng, Eunice, Cheung Wai Man, Tseng Sheng-Hui, Cheuk Ka-Wai, Cherie, and Chan Kwan Lok. Some have long focused on canine themes, while others explore this subject for the first time. Through various media such as painting, printmaking, and sculpture, they depict dogs rooted in reality or born from imagination, conveying their personal emotions and memories of these companions.
From Life to Art: The Presence of Dogs
Many participating artists have lived closely with dogs, developing unique interactions that significantly influence their creations. For instance, artists Lee Yih-Hong and Lu Shu-Chen moved to Sanzhi in 1993, accompanied by dogs ever since. Over three decades, their canine companions have changed, but the deep familial bond remains. Lu’s work shifted from exploring the female form to focusing on her beloved dogs. Her series “Observing Dogs” captures various breeds with portrait-like precision, while “Dog Phases” documents stages like pregnancy and playfulness. Her expressive, colorful clay sculptures vividly bring these moments to life, often eliciting both admiration and a smile.
Conversely, Lee Yih-Hong, a prominent figure in Taiwanese contemporary calligraphy and painting, rarely featured dogs in his past works. In this exhibition, he presents a rare piece depicting a person and a dog playing by the sea, rendered in ink on two scrolls. Though not a self-portrait, it reflects a personal sentiment, showcasing a harmonious “husband follows wife” dynamic.
Zhou Chunya’s canine-themed works are also renowned. After returning from Germany in 1993, he adopted a German Shepherd named Heigen, honoring his time studying art in Kassel. Zhou once admitted, “Before Heigen, I wasn’t fond of dogs. But we ate together, walked together, and he watched me paint. Through him, I fell in love with this loyal and adorable animal.” His “Green Dog” series, blending imagination and reality, has become a significant part of contemporary Chinese art. The exhibited piece, “Green Dog Head” (2007), uses bold green hues to portray the dog’s form, capturing a range of emotions that reflect the complex essence of life.
Symbolism: Overt and Subtle
For some artists, dogs serve as metaphors. Su Wong-Shen’s connection with dogs began during his time in Tamsui, where he frequently encountered stray dogs. He viewed the streets as their stage, leading to theatrical compositions that subtly critique politics and society. His piece “Oof!” offers a bird’s-eye view of an animal leaping from water to catch a balloon, presenting an absurd scenario that satirizes contemporary society’s pursuit of superficial values.
Similarly, Lien Chien-Hsing’s “The Quantum Leap Formula” employs magical realism to depict a dog leaping to catch a frisbee, juxtaposed with a UFO breaking through clouds. This surreal image humorously questions humanity’s and animals’ place in the vast universe.
Auspicious Symbols for the New Year
Celebrating the New Year wouldn’t be complete without auspicious symbols. Lee Ming-Jong’s “Woof-Woof” features vibrant pink hues, portraying a joyful dog with heart-shaped features, set against a red starry sky with an infinity symbol, exuding childlike innocence. Wu Chi-Tao’s “The Golden Pineapple” diverges from his usual landscape themes, depicting a pug adorned with diamond patterns and pineapple-like ears, set against a backdrop of ancient coin motifs, blending traditional art with contemporary life.
Chen Kwan Lok’s “Dream Path” uses ink and line to create a surreal floating world where humans and dogs coexist harmoniously. Yao Jui-Chung’s “Guai Guai Xue-Te” reinterprets traditional motifs, possibly playfully referencing the saying “painting a tiger ends up resembling a dog.” Other works, like Lu Hsien-Ming’s “The Ocean,” Lo Chan-Peng’s “Dog is Rats,” and Weng Liang-Yuan’s “Pearly Family Portrait – A Play,” realistically portray dogs from their lives, capturing various emotions and scenarios.
Ultimately, whether depicted directly or symbolically, these artworks remind us that dogs, much like humans, face the unknown with curiosity, occasional anxiety, but always with determination, especially in the blossoming season of spring.