Skyler Chen, 32, lives through pictures, not words. He grew up with dyslexia, a disorder that went undiagnosed until just a few years ago.
A diptych by Skyler Chen.
"When I was growing up in the 80s in Taiwan, rote memorisation was still widely used in all classrooms. Around second to third grade, when all kids are expected to read aloud, I was terrified when called on, as the words became jumbles and I couldn't produce anything. I would freeze, go blank and cry in frustration," he recalls.
He coped with the learning disability by turning to art.
"I found a place where I could finally express myself with ease," he says. Born in Kaohsiung, Taiwan, Chen attended art school at 16 before moving to Utah in the US, and later to New York City in 2006. He now lives in Amsterdam.
Chen draws inspiration from absorbing as much information as he can, be it from reading historical novels or about current events. This allows his ideas to germinate, then translates the input of textual information into an output on canvas.
Evoking Edward Hopper's realist depictions of modern American life, "Peach Blossom Valley", Chen's current exhibition at Serindia Gallery in Bangkok, probes into escapism in the contemporary world. The characters in his painting appear alone, even when they are not. In the current digital world, where more and more tools are available to remove people from the rigours of daily life, Chen's subjects retreat into surrealist exotic dreams of circus performances and acrobatic feats, all while looking earnestly bored. They are dark and alluring. Each diptych or triptych encompasses a round stage, putting forth the Confucian ideal of harmony.
Can you tell me about the origins of "Peach Blossom Valley"?
I am intrigued by old tales and stories which are still relevant to and impact our current lives.
This led me to an old poem written in the fifth century: Peach Blossom Valley. The poem is about human curiosity, mystery and exoticism. Peach Blossom Valley was wildly popular in Chinese society, and there is even a common Chinese expression, "shiwai taoyuan", which translates as "the peach blossom valley beyond this world".
To the Chinese, it represents a place of wonder and a chance to escape ordinary life. Even up to the 19th century, first class courtesans often performed this poem in order to draw people into their world of "fantasy and escape". Such practices don't exist anymore, but the Chinese still find ways to escape to the peach blossom valley, whether it be through luxury boutiques or Hollywood movies. The need to escape is as strong now as ever.
Is this what drew you into the idea of a utopia?
I am more interested in failed visions of utopia. Many philosophers set forth different ways of thinking in order to reach that highly desired society. Confucianism is one of most important schools of thought in Chinese society.
In a Confucian world, everyone knows their place and the role he or she must play to keep society harmonious. But this kind of utopia created a lot stress, as creativity, innovation and personal expression were discouraged. As an artist, I want to open a dialogue about the consequences of a perceived utopia.
Do you have your own version of a utopia?
I think more on lost opportunities. I always wonder how it would be if some of the ancient civilisations had never been overthrown or destroyed by nature. What would our advanced society look like today if it weren't guided by Confucius or the Greeks, and we had entirely different ways of viewing the world, society and nature?
Does the form of the triptych and diptych, then, inform perceptions of your work? Why have you divided the images up? The paintings in a set are sold separately; can each painting stand on its own?
Triptychs and diptychs create different dimensions and space, and I can show my own vision of how the pieces interplay. My own vision becomes more complete. However, my vision is only my vision, and people can find their own ideas or vision in my work. The pieces can definitely stand on their own as viewing them individually, you can feel that something is missing, but each viewer can create what the missing part is. It adds more by its incompleteness. I also like the idea that if they were sold separately, they might one day be reunited.
What about the words in the paintings? Why include them?
Throughout my life, I have dealt with dyslexia, where text and words often play tricks on my eyes and my mind. To me, words sometimes lose their written meaning and become symbols or even art. As a boy I developed a stronger visual memory by putting text or words along with my paintings. It helped me better understand the meanings of the words. But for this series, much of the text is from the original poem.
How do you think having dyslexia has influenced your art?
Dyslexia can affect your self-esteem and you often doubt yourself. Producing art, however, gave me a sense of confidence, knowing that there was something I could contribute to the world. Dyslexic brains work differently. Many who are dyslexic show great aptitude for art and conceptual thinking. Though we may have trouble with reading and writing, we excel at things like learning computer programs, through use, not study, and processing things in a very visual way. Many dyslexics excel at maths, while others excel at design. Dyslexics' visual memories are usually off the charts.
"Peach Blossom Valley" is on show at Serindia Gallery from today until Sept 30.
The gallery is located at O.P. Garden, Charoen Krung Soi 36. Call 02 2386410.
Moonlight.
Measureless.
