This article, written by Shu-An Wu, was published in the December 2016 issue of ARTouch Magazine.

“Roaming Souls and the Chronicle of Life: A Brief Discussion on the Aesthetics and Serendipity Left by Val”

To begin with, in those almost deformed semi-architectural
constructions, it has always been placed with one or multiple slim
human figures whose spirituality remains but flesh and body are
deprived of.  Whether the figures are walking or pausing, secrets
are hidden in their sunken eye sockets. These secrets are never the
same but they belong to each individual. Never are we able to
understand their thoughts, or actions. Perhaps, rightly because of
this, these sculptures possess the serenity as such. Lost,
wandering, diverged, or pondering, silence is the common language
amongst these human figures. Gladly, the figures made by Val
(1967-2016) always have the power of storytelling. Although
sculptures may never voice or move, through various subtle
implications and outlining, we still project our own imagination
towards these sculptures inevitably.  These figures enable different
people to observe different stories. More importantly, those stories
match the feelings we have deep down in that moment. It is as if the
sculptures or the human figures are coming to life.

The architectures that surround or resemble the human figures often
have a life of their own. Either having edges and corners or
entirely rounded, this group of architectures displays a temperament
of tenderness. Guided by the breeze or the gravity, they seem supple
yet rigid. Soft in the frolic lines and areal shape; hard in the
thick yet malleable bronze materials. It seems simple and easy, but
not necessarily so. The density of the architectures not only comes
from its components, but the visual presentation itself delivers the
conflicted imagery of hard and soft. At times, it has a flexible yet
tenacious image, just like tofu or jelly. Other times, it is flowing
like a stream. More frequently, it shows the perseverance like a
long bamboo stick. Under the influence of wind, the sculptures
present the strength aroused from the abstract silhouette itself.
There is no danger or fright; the human figures elegantly and
naturally walk inside, on top of, aside, or in the middle of the
architectures. Despite pacing on the beams, these human figures take
each step steadily. They fully enjoy this situation, nonchalantly
being at peace with themselves in the same place. Maybe, the
features of such sculptures are reflective of their creators.
Residing in South East Asia, Val freely travels around the world and
continues her creation process in every corner of earth, which
allows her works to exuberate a strong sense of freedom.

Val once said that she wished her artwork could become large-scale
public arts, with the human figures equal to the size of us actual
human beings. This way, audience could meet these sculpture figures
at eye level, and roam with them in that twisted, deformed, and
fantastic architecture. Indeed, with encouragements from people all
around, Val successfully enlarged the 20-centimeter high sculptures
to 500-centimeter ones in height. Unfortunately, after her largest
public art, a 36-meter artwork, was finally established in Mid
Taiwan, a car accident ended Val’s life and the peak of her creation
halted unexpectedly. Eternally, she returned to her faraway hometown
on the other side of the world. She never had the chance to witness
the final presentation of that large-scale public art.

Occurrence 1 : Encounter with Philippe Staib by serendipity

Philippe has been running art gallery since 25 years ago in New
York. Yet, in his eyes, Val is irreplaceable despite the many other
more renowned artists that he has represented. Because of her
father’s career, Val traveled a lot in her childhood. Thus, her
hometown consists of lands spreading across South America, Africa,
and Europe. Philippe and Val’s agency relationship is an intimate
one that the agent visits artist’s studio in Bangkok two to three
times a month when Philippe is in Bangkok. Their discussion covers
arts, creations, exhibitions, philosophy, and even metaphysics, a
common interest that they share. This close collaborative
relationship has an impact on both of them. In Val, Philippe
observes the liberty unconstrained by any customs. For someone who
is unfamiliar with art business, Val is able to explore the
boundless universe outside of her own little world from the
conversations with Philippe. Val did not return to Europe when she
grew up, but she continued on her creations in South East Asia.
Val’s artistic creation spanned 13 years, during which the
exhibition, selling, and promotion of her works were mostly
commissioned by Philippe and his art galleries.

Her slim and graceful figure often in earth tone clothing delivers
a temperament of stability and natural vibe. Coupled with her soft
talking voice, Val’s fervor is never a one-sided passion, but a
mutual communication. Val looks anxious when she is by herself at
the exhibition. However, when someone inquires or starts the
conversation, Val instantly becomes the person who introduces her
own artworks most eloquently. She shares her creations with audience
in excitement and confidence. In fact, Val did not have an education
background in arts and the skills needed for creation mostly come
from her own experiences or advice from others. Perchance, that is
why there is always a unique beauty in her creation. The products of
this ordinary, subtle, and conceptual aesthetics allow us to meet.
Her multicultural upbringing frees her from the constraints caused
by the difference between nationality, race, gender, or ideology.
Val perceives and understands her surroundings, the society, or even
the world from her own perspective. Nonetheless, it is not always
so. The attitude she held when she first had contact with the soil
or the so-called additive sculpture was definitely different than
today’s. Just as the interview I had with Val two years ago, Val
possesses the sophistication with a blend of French romance and
exotic sentiment. Her smile and voice seem to embrace all that
happens in our vast world.

Occurrence 2 : Val, Gin Huang, and Gin Huang Gallery

When it comes to the reason why Val’s creations receive such large
amount of exposure in Taiwan, one has to mention the person who
makes it possible. Back in 2004, Gin devoted herself to working at a
top art gallery while still studying in university. Besides working
at Lin& Lin Gallery at the early stage of her career, Gin also
held a position at Soka Art Center in Beijing later on. Gin shared
that although she experienced many frustrations because of a lack of
ability, vision, and interpersonal skills back then, she has sharpen
a sense for artwork and has cultivated professional techniques
during the process of becoming more and more competent. A graduate
from National Taiwan University of Arts, Gin had grown within these
years of trials and tribulations. However, it was not until when she
worked with Philippe and met Val’s artworks that she began to settle
and became a professional art manager. Right now, she has founded
her own art space, “Gin Huang Gallery,” in Da-Zhi and collaborates
with Philippe to manage Val’s artworks. A little over a decade is
the time frame of Val’s sculpture creation, which surprisingly
happens to be the same amount as Gin’s efforts in realizing her
dream. The sunrise beam is glaring yet glowing. We start to wonder,
is this also destined.

Regarding Val’s art creations, what Gin admires the most is the
perfect balance that Val strikes between the abstract and the
concrete. Val always abstracts the most concrete part in a sculpture
but also gives the most hypothetical image a body. The combination
of these two distinct ideas is certainly different from students who
received professional trainings in arts. It takes a lot of time and
efforts to experiment the many techniques, calculation, molding, and
composition of an artwork. Yet, Val is curious and passionate about
everything just like a child. Perhaps, Val is as curious about the
sculpture models that she makes with her own hands. Such eagerness
to learn and try new things shows a huge difference from the
traditional standardized education. Val’s unique way of thinking and
experiential learning endow her with a special power, the liberty
and vitality that spring from within.

Occurrence 3 : Re-encounter Val

We have already known one facet of Val from the depiction above. To
be more precise, it is only one amongst the many facets of Val.
However, it is not possible to get to understand Val more directly
or thoroughly now. What we could see and reach are left with these
fragments of words. Instead of being depressed and melancholic, a
person as positive as Val would definitely hope that people around
her could carry on their lives peacefully. The last thing she wants
to see is that people do not move on because of this car accident.
Today, Gin Huang Gallery is officially open and Val now has a place
in Taipei. The gallery promotes Val’s creative works exclusively in
her last two years with Philippe Staib. Meanwhile, Gin Huang Gallery
also sells other rising artists’ art pieces. Small yet
sophisticated, the gallery fits perfectly with Val’s small-size
sculptures. Along the way, there will be more young artists and
middle-age pillars of strength joining.

Occurrence 4 : Punctuation

In fact, Val who resides in Bangkok is only a face of her. The
other half of her has a life in Paris. She was once a professional
marketing manager in Paris. It took her only two years to change the
trajectory and pursue a career solely in arts. Luckily, she met
Philippe in Bangkok soon enough. In 2004, with positive feedbacks
coming in from her first solo exhibition in Bangkok, Val has built a
reputation of her own and has gained confidence as well. To
encourage Val to create even more ambitiously, Philippe offered Val
three assistants. Moreover, in hoping that Val can continue creating
without any concerns, Philippe also assigns his own administrative
assistant to work for Val.

It is time for an epilogue. In comparison to words, I would like to
make an ending with punctuation. Punctuation can travel through time
and space, and still deliver the messages it carries. This set of
punctuation is often used, “!?” Indeed, it is a combination of a
question and an exclamation, just like the amazement, curiosity,
hesitation, and attraction that Val’s artworks bring to us. These
artworks in front of us could not be described in words, but our
hearts and minds are filled with emotions and imaginations upon
watching them. Yet, before we could fully grasp these feelings, it
is cut off by a ruthless accident. Val’s works then become an
enigma, or perhaps an incident of consternation. However, we need
not fall in a total despair because the artist has already left with
us a multitude of pieces to appreciate, among which the most
spectacular ones are preserved in Taiwan. The destiny has brought
Val’s artworks to Taiwan and her aesthetics is forever kept
here.