Persistent Existence-Abstract Painting of Ava Hsueh: 持續存在-薛保瑕的抽象藝術

Abstract art has its historical evolution. This paper discusses the drift from group to
independent abstract from the 1980s to the present, and how abstract painting has been conformed in the Chinese-speaking world, from Lee Chun-shan to Ava Hsueh. How has abstract history continued from having a Western theoretical foundation as its basis, whilst creating abstract art in the non-Western language territory of Taiwan? How are the ‘rediscovery’ of ‘viewpoint’ and transformation of form put forth in abstract works, and how are the multi-layered views generated through administering on canvas a continuous explosive release of sense of speed and physicality, can express the intensity of life, intangible phenomenon, the dimensions of space and the depth of history, returning from ideas and coming back to reality? How to maintain links with today’s realities while at the same time coming up with new concepts is the challenge abstract artists face. Placing focus on post-1980s abstract art, this study aims to investigate how abstract art has been transplanted into Taiwan through China, Japan and the U.S. in different stages. This paper would argue that what came with this very art form were experimental modes under specific socio-political conditions that artists aiming to transform and to exit from their existing boundaries and realities, and utmost, questing for democracy and their Taiwanese identity.