I was happy then, and I think you were, too.
Just like a mirror, dropped from great heights time and time again, broken body, shattered bones…
The work of Hsu Meng-Han revolves around the artist’s visions of life, passion, and mortality, both her public and private artistic vocabularies on display. Developing a solid foundation in art from an early age, Hsu has cultivated a practice focused on the visual tension created through metaphor — a sense evident in her acrylic painting series Essence of Pain. In recent years, as Hsu’s practice has expanded to oil painting with the Manuscript Series, as well as photography, installation, and work in other media, she has carved out an individual visual language with an emotive energy that resonates deep within.
Hsu Meng-Han’s language is distinct from traditional dictions seen in photography and new media art. In her series of photography Flesh and the Everydayness, certain aspects are blurred so sharply that they appear as paintings. In her Lilliputians series, Hsu captures scenes that drip with strangeness — the plastic plants and statues found in forests at certain Taiwanese amusement parks. In Hsu’s installation work, the juxtaposition of photos and objects create a space that reflects both the artist’s personal memories and her wider culture.
Hsu Meng-Han approaches her work via her own experience of life, interweaving her personal world through the broader social fabric and giving texture to this unique landscape, which not only speaks to timeless beauty but opens a door for viewers to peer inside the everyday lives of others.