KAYOKOYUKI is pleased to present Evelyn
Taocheng Wang’s first solo exhibition in Japan, Norwe- gian Music in Dutch Window. This
exhibit had been withheld due to
COVID-19 circumstances and has finally come to be realized after
a year and a half of preparation. We hope you take this opportunity to view this
awaited show.

Characterized by her vast approach in
art–from paintings to performances, installations and calligraphy–with broad themes as an appropriation on traditional Chinese
painting, feminine temperament and cultural identity, Dutch-based Chinese-born artist Evelyn Taocheng Wang, unfolds a scene of boundless interpretation through her recent series of multi-layered intricate
portrayals of windows in Norwegian Music
in Dutch Window.

Windows, specifically Dutch Windows, used as an architectural reference, possess great significance to Evelyn and her works as they and the
sceneries which lie before them have been a symbolic view on numerous occasions
throughout her life. Evelyn renders her Windows through mere memory and metaphysical
existences, as she values impressions to be an alternative in observing our
hyperconsumed and visible
world of today.1

Immersing in rich art history and their
traditions, and having experienced herself as a minori- ty–sexually, ethinacally, socio-economically–she finds the concept of identity
and image to be of substantial interest. Evelyn’s conscious
presentation of material, thin strokes, and playful manner;

along with alignments and compositions of language–as like the words within her works, as well as titles
which carry idiosyncratic grammar and poetic humor2–carefully deliver her
pressures and insecurities in the world around
her.

Evelyn also explores the idea of oneself with her use of multiple media–regarding each medium to be of a single identity–coming to challenge their boundaries, and to accept their coexistence. For this exhibit, Evelyn claims to share a story. One, which may
not perhaps provide a clear and precise
answer, but would hope to function as like a piece of Buddhist Koan, or poetic
haiku. And although Evelyn does not
pose a fixed meaning for her works, with her underlying question of the self projected onto her consecutive series of Dutch Windows, she may be encouraging the audience to take a moment to reflect upon their subtle daily encounters
of people, things, words and contexts,
such as Norwegian Music, and to listen to their sincere tunes, perhaps as a
window to a more insightful understanding of oneself.