The Writing of Time, the Dissolution of Form
Following its 2024 exhibition Softening the Borders, TARTCH Gallery continues to deepen its curatorial discourse with a more introspective lens, presenting the latest solo exhibition by Taiwanese artist Wang Bo-Cheng — Scriptum — an invitation for viewers to enter a heightened state of perception.
Scriptum is not a collection of books, but rather an embodiment of the hidden imagery within “calligraphy” itself. Through the dissolution of brushstrokes and the blurring of form, traces of writing are transformed into temporal imprints — visualizing the passage of time in space. These works transcend visual representation, becoming fields where time, memory, and perception intertwine, guiding viewers to shift their perceptual modes through the act of looking.
Wang draws from the classical “boneless” technique (mogu), allowing brush and ink to diffuse freely without outlines or linear confinement — spreading like traces of water. The contours of beasts and birds begin to emerge within the imagery, yet these forms are not precise depictions, but rather projections of human perception and memory. This approach suspends the works between abstraction and figuration, enabling viewers to break free from fixed visual habits and enter a more open space of interpretation.
Qi and the Awakening of Perception
In Daoist philosophy, qi (炁) is the primordial, formless energy that flows throughout the cosmos — unseen yet ever-present — while qi (氣), acquired postnatally, is perceptible yet elusive. Wang seeks to awaken in viewers a sensitivity to the former, allowing the visual experience to transcend image recognition and enter a realm of subtle energy flow.
Science tells us that human visual perception accounts for merely 4% of the observable universe; the remaining 96% remains a dark, unknowable domain. What we “see” is only a fraction of our perceptual reality. In Scriptum, the veiling of forms and the diffusion of ink blur visual cues, prompting a shift from reliance on sight to an instinctive mode of feeling — where “seeing” evolves into “sensing,” reactivating our innate connection with the cosmos.
On Color:
Cyan and Orange — A Dynamic Balance of Yin and Yang**
In Scriptum, color functions not only as a visual element, but also as a symbol of temporal and cosmic transformation. The exhibition centers on two tones — cyan (a blend of green and blue) and orange — which create a dynamic tension between cool and warm, stillness and motion. This tension deepens the interplay between the visible and the invisible within the artworks.
Cyan, representing life, nature, and time’s progression, appears throughout classical Chinese poetry. In Li Bai’s Spring Longing, he writes, “Swallowgrass, like cyan threads; mulberry branches, drooping green.” Here, cyan signals not only verdant growth but also the revival of life. In the Five Elements, green belongs to wood, aligned with the East, symbolizing vitality, growth, and movement. In Scriptum, cyan becomes more than a color — it is a manifestation of natural temporality.
Orange, a fusion of red’s vigor and yellow’s brilliance, conveys creativity and transformation. Its vibrancy breaks the stillness of cyan, establishing a complementary relationship between yin and yang. In Eastern philosophy, blue-green and red, yin and yang, are not opposites but dynamic poles in balance. In Scriptum, the continual interplay of cyan and orange mirrors the cyclical flow of universal energy — generating a visual and energetic resonance.
An Invitation to Reawaken Perception
Through this exhibition, we invite you to reconsider what it means to “see” — and to “perceive.” By breaking the boundaries of visual experience, Scriptum calls us back to a more essential connection with the universe — to gaze into the infinite within ourselves and rediscover the origin of forgotten perception.