Wu Tien-Chang's A Dream of a Spring Night is FLASHY in every sense of the adjective- kitschy balustrades flaunting the glimmer of its faux metallic finish while showcasing the girl's bold hands cupping her breasts over a traditional schoolgirl uniform clean and bright, accessorized with a heavy gold pendant resting on the cleavage (between her cupped hands and beneath her shirt) and a pair of flamboyant catty sunglasses on an apathetic face. As a painting (with a gaudy frame), its gesture, material, and contrasting techniques all seem excessive. As an installation, flash and exhibitionism cohere.

In a small darkened room with Taiwanese songs from the 1950s playing in the background, sexuality flashes to the beat of blinking lights - mimicking the erratic pulse during an absurd dream-- responsive to the rhythmic fluidity of music or of lust.

Sexuality in parody is a show that never fails to grab our attention, and the flashing lights are its generic advertisement which repeatedly simulates that first attraction by momentarily shutting off visibility so as to re-introduce the show. The only subtlety possible seems to be in that chanced resonance of flash and pulse and beat within the spectator. Serendipitous magic-- all in the spectator's experience; none on the part of the satirical artist.

But amidst all these flashiness Wu Tien-Chang did leave space for subtlety. The image of the coasting ship glows in sepia as it gets caught in the spotlight meant for the girl. In contrast to the winking lights meant to attract and disrupt the attention of passersby, the painted luminosity takes on a sense of dignified constancy for those who care to look.

Sue Lee

Light Waves