Language is a human communication tool to discern all things and connect all things. However, while language certainly enables us to quickly understand the meaning of others and helps us achieve effective communication, it does not instantly instill deep emotional exchanges.
Unlike language in human relationships, animals depend on the sense of dependency accumulated through interaction, observation, and companionship; And, naturally, such a meeting of souls is beyond the reach of the language so presumably acclaimed by humans. As such, “wordless communication” with animals serves as a different sensory and neurological trigger for humans. Therefore, his past experience and understanding of keeping large numbers of Formosan dogs has convinced Poren Huang that dogs are particularly significant examples, and he hopes to use the imagery of dogs to evoke innate human instinct and genuine emotions. . In short, in his “The Dog’s Notes”, Poren Huang intends to urge humanity to reflect on human comedy using a very solemn but gentle approach.
Miracle: an impossible happiness index
In fact, everyone hopes to live a life of success, happiness, freedom, and hope. However, such pure happiness does not come naturally, because fate inevitably lurks, and therefore humans can only hope, wish, and imagine a dream come true. In his book “Negative Dialectic”, the 20th century German philosopher Theodor Ludwig Wiesengrund Adorno points out that an abstract utopia is an adaptation to the sinister tendencies of reality. Likewise, in Poren Huang’s creative works, happiness embodies positive forces and ideas, but does not entangle the moral and political realities of life. In “The Fawner” (2005), while the hands folded in front of the chest and the knees slightly bent express “not wanting to become a flatterer”, the posture also represents the act of “buttering someone.” In the same way, in “Snobbery” (2005), the arms crossed over the chest and the chin titled slightly upwards arrogantly show the contemptuous side of the people. Using canine metaphors as creative expressions, Poren Huang demonstrates Adorno’s admonition that “for the sake of happiness, art must not abandon happiness and wishes must survive through art.” In his reverse psychology, Poren Huang’s personification of dogs suggests a warning and is consistent with the aesthetic motto of the 19th century French writer, Stendhal Dahl: “The promise of happiness”, the promise of happiness. However, in the first place it is convenient to tell people today that this promise is constantly being broken, so a true utopia must be achieved from the purely negative.
In “Politics”, the ancient Greek philosopher Aristotle divides life into two parts, as useful and necessary actions versus aesthetic actions. Therefore, aesthetic creation is a purely internal state unrelated to reality, and people can derive happiness from the arts regardless of the realities of life. In other words, alienation, lack of freedom, and sadness in real life can be overlooked in the arts; the only mandate of art is to give abstract form to the hope of a perfect life. Poren Huang feels the futility of the reality of life, but by entering the world of sculpture and unconditional internal dialogue, the object of creation becomes completely independent of a vaguely ordered context, and the energy of negative thought is transformed. in delicious ways. This is due to Poren Huang’s sculptural talent for simplifying the complex, which is indeed his creative intention, and his careful attention to the selection of materials.
Works of art are a form of instructive gesture. On the one hand, it is a way for the audience to re-understand the world and, on the other hand, it is a way for artists to re-understand their personal media. Regardless, a work of art inevitably points in a certain direction, and whether for the audience or for the creator, it is a directing aesthetic object. For Poren Huang, “The sculpture of a dog is an artistic philosophy. From birth, humans are taught to adapt to society and get along with others; this is like having a dog where it is taught to obey the rules and adapting to the habits of its master. My art is an inspiration and a guide for life. At the very least, it is a means for people to believe in the possibility that good may prevail. The distinctive simplification of the complex tries to show that the process of polishing a molded sculpture is like the process of taming a dog: through repeated strokes and adjustments, it acquires the content of socialization. ” The artist’s dog sculpture confirms the philosopher of the Frankfurt School Herbert Marcuse, who in “Art as a form of reality” wrote: “Art is the ultimate happiness only in itself; despair is sublimated and pain becomes beauty. ” On the one hand, through idealization and spiritualization happiness and pleasure are allowed, and on the other hand, they are overcome by reality.
The dog as a manifestation of the artist’s soul
A review of his creative process shows that in the early days, Poren Huang’s family did not support his artistic desire. After suffering countless oppressions and indifference, he finally received the affirmation for his dog-themed creations. Initially, he mainly chiseled vivid images of dog behavior on all fours. For example, in “Hogar” (2005), the bowl is used to associate the relationship between the master and the pet, and hints at the desire for family warmth; in “You Cannot Pass!” (2006), the severe tone differentiates the ultimatum of each individual. Little by little, the artist internalizes and endows his images with “non-canine” elements, maintaining recognizable canine shapes. For example, in “Happy Time” (2006), the wings mounted on the dog’s body express the desire to fly without restriction, and in “Sticking to My Post” (2007), the radar embedded in the dog’s enlarged ears does not it only highlights the dog’s acute hearing, but it also emphasizes the connection between dog and human. In other words, Poren Huang’s dogs are no longer a general representation of dogs, but are endowed with human duties and expectations. Therefore, it seems inevitable that the artist progresses towards anthropomorphic creations.
In other works such as “Attending a banquet” (2006), “El vaquero” (2007) and “El sabio” (2008), human intentions are portrayed through dogs. In these subversions of traditional human imagery, the titles not only demonstrate the dependence of human society on dogs, but the vestiges of the dog’s tail and ears expose the artist’s philosophy of life learned from dogs. However, like the artist’s personality, this creative ingenuity remains restricted and subdued at this stage of creativity, and the allusion to ridicule or social criticism is relatively low-key.
However, according to the aforementioned Adorno, art impacts society through its redemptive characteristics, shocking experience, a sense of critical detachment and exploration of the current revolutionary vision, because “the core of the problem is not in the judgment social, but rather in the creation of a social theory based on explanations of the internal aesthetic attributes of an object or its lack “. A study of the subsequent personification of dogs by Poren Huang, such as “Gimme a Hug” (2007), “My Territory (3)” (2007) and “My Dream” (2009), shows the human posture of dogs. dogs, where dogs are able to hunch or walk on their feet and stretch their hands in different directions. At the same time, dogs are assuming increasingly adorable and cartoonish forms. In “What the Heck!” (2010), “Content” (2011) and new creations from 2014 like “Little Rascal” and “Hello”, the dogs have exaggerated big-headed dog shapes and eloquent expressions. Poren Huang said: “In” The Dog’s Note “, tenderness is a priority to trigger the instinctive desire to touch. First, it is the natural delight of people to see the dog, second, it is the reinstatement of the purpose of sculpting; and third, like the process of domestication of socialization, it is not only the establishment of a connection, but also of reflection “.
Compared to realistic renderings, Poren Huang believes that reducing cumbersome lines and uneven surfaces on a body can enhance and strengthen its spirit and presence. “Representing the unique image and orientation of my dog is the most important thing. I like the simple and clean lines. It is more compatible with the modern spirit and in line with the aerodynamic designs of a technological society.” In other words, the meaning of the simple and cute cartoon version of the Formosan dog lies in the abbreviation of its characteristics in a more general representation. However, the artist is still rich in his descriptions of details and contours, and in addition to his expressions, the dog’s body language is included in the representation of the dog’s attention. The diversity of muscular changes with emotions, as in the legs, the meat, the spine, the tail and the ears, denotes precisely certain affects. In other words, it’s not a mere cartoon version and feature removal, but rather a compromise between the cartoon version and reality.
In the darkness there will be light; in the stillness, dancing. (Note)
Poren Huang indicates that the creation of these dogs is a transcription of personal feelings and a feeling evoked by the evolution of modern society. Therefore, from the progression of his sculptures over the last decade, a narrative similar to an autobiography is evident. These sculptures are, in fact, portraits of his repeated concern with human practicality and social development, and the turning point in his personal mindset. Gradually, those who ridicule themselves when discouraged and embrace the world when encouraged can now let go regardless of joy or pain. “In contrast to human intrigue, dogs are benevolent and generous to humans,” and from such observations of dogs, Poren Huang learned the philosophy of dogs.
Being cute is not limited to being adorable. The various behaviors of dogs or their encounters with other objects (such as the depiction of the panda from China or the silver spoons and the golden bottle symbolizing wealth) not only inspire human imagination (although they are mostly veiled), rather, they are worldly admonitions planted within humorous wit. . Demanding a meticulous production process, creation is a metonymy of realistic allegorical fable and human comedy, and a way for the artist to motivate himself to survive through creation.
Here, the dog is like a work of art, a mirror that reflects the things of the world.
Faced with rapid technological development, we become emotionally alienated. As a member of the animal kingdom, our affections must interact with another species to develop a compassionate soul. Specifically, the human couple is no longer just another human, but more often than not, even since ancient times, it is life with another species. According to Poren Huang, “Since ancient times, the oldest human companion has been the dog,” which implies that, in addition to dependence and affection for the dog, there are underlying layers of inevitable human contention for survival and resources. In his creative process, Poren Huang’s mastery of techniques has elevated such inevitability to an aesthetic revelation that blesses all people. It is not the gallant tears that mourn reality, but the magnanimous realization that all things are but the result of karma, like a dog welcoming its master. In a spirit of dedication, “The Dog’s Notes” tries to give the audience the energy to face the world once again.
[Notes]
Excerpt from TS Eliot’s collection of poems, “Four Quartets”.