INTERVIEW: Unevenness is the way ARTIST
[ Exclusive Interview ] ARTIST Cheng Nung-Hsuan
1. Your works seem to incorporate elements of mythology and various religious stories. Do you have a particular interest in these themes? Are there any stories that you especially love or that have profoundly influenced you?
Nung-Hsuan: I do have a fondness for these kinds of stories, but to be honest, I haven’t conducted in-depth research or been particularly influenced by any specific one. To me, they feel more like a reflection of reality—within their fantastical elements, there is an essence that closely resembles real life. That slight sense of distance, yet at the same time a feeling of familiarity, is something I find truly fascinating.
2. In recent years, your works have shown connections to stage and theater aesthetics. Do you frequently watch theatrical performances, or have you been inspired by specific books or texts that have shaped this creative direction?
Nung-Hsuan: I don’t really have that habit. In fact, I’m not particularly fond of time-based art forms like film or theater. Maybe it’s precisely because I want to reject these forms that I choose to express myself through painting, which is a spatial art form. It’s kind of like, “Kukuku~ I’ll use your magic against you!!”—that kind of mindset.
3. Your earlier works more directly reflected narrative elements, often revolving around clear themes such as desire. In contrast, your recent creations seem to be more open-ended, focusing on the state of your creative process rather than explicitly defined subjects. What prompted this shift in your approach?
Nung-Hsuan: I think I’m someone who enjoys change. When I stay within a particular narrative framework for too long, a sense of resistance naturally develops within me. In a way, this relates to the previous question—it’s also a form of rejection, a refusal to “continue a single narrative.” That’s why each of my major exhibitions explores different ideas.
I hope that when viewed over a long period of time, my works will appear as a collection of fragmented thoughts that converge into a broader visual experience. I believe this is also one of the unique aspects of painting as an art form—because it isn’t time-based, it requires a much longer duration to tell its story.
4. The Messenger continued the visual and narrative style of your Classical Narrative Series. Does your latest exhibition, Unevenness is the way, similarly extend from The Messenger? Both explore the state of creation at a given moment—do these two series follow a sequential development, or do they coexist within the same overarching storyline?
Nung-Hsuan: Classical Narrative series (referencing my 2020 solo exhibition Please Stay, Let Me Tell You a Story) explored the distance between a painting’s narrative content and the act of viewing. The Messenger series, on the other hand, focused on painting itself—it had a sense of self-referentiality, a concept of painting extending upon itself.Unevenness is the way, however, is not about painting as an object but about the act of painting itself. While the visuals may appear similar—figures, scenes, and fluid brushstrokes—each exhibition addresses a different subject. As I mentioned in the previous response, I hope my works ultimately come together as a convergence of many different ideas.
5. This time, your works predominantly focus on human figures, with fewer depictions of animals or mythical creatures compared to your previous pieces. Is there a particular reason behind this shift?
Nung-Hsuan: I think it relates to the concept of this exhibition—the state of painting. This state involves the physicality of the human body, and if I were to paint other animals, it might feel a bit too detached.
6. Flags have frequently appeared in your recent works. Could you share what they symbolize in your creations?
Nung-Hsuan: When you wave a large flag, sometimes you are leading the flag, but other times, due to wind resistance, the flag ends up leading you. This feeling is very similar to painting—sometimes you control the composition, the brush, and the paint, but other times, they guide you forward. The concept of this exhibition was formed based on this idea.
7. Your exhibition statement describes a state of “ruggedness,” and the theme itself is titled Unevenness is the way. Since “unevennes” can often be perceived as a difficult or challenging state, what is the reason behind your choice to embrace and sustain it?
Nung-Hsuan: “Unevenness” is a metaphor I use for the state of painting. It represents a psychological state of ups and downs, swaying side to side—on one hand, you need to move forward cautiously, but on the other hand, you also need to step forward with determination. The longer this state is maintained, the more satisfying the work tends to be. Painting is indeed more challenging and exhausting than one might imagine, so if the term “unevenness” can evoke a sense of struggle in the audience, I think that would be great!
8. The background colors in your latest works carry a slightly hazy, muted tone, contrasted by more vibrant clouds and beams of light compared to your previous works. Was there a specific intention behind this color choice? Does it relate to the theme of Unevenness is the way?
Nung-Hsuan: When painting the background, I was primarily considering the technical aspects of creating a sense of depth in the composition. Initially, I toned down the background to a grayer shade to push it further back. However, I didn’t want everything to recede too much—each element needed to maintain just the right amount of distance. To bring the background back into balance, I introduced higher-saturation colors. In my work, elements such as tone, color, and structure are all carefully refined in a similar manner, accumulating into the final visual outcome. This process of constant adjustment and refinement feels like navigating through uneven terrain.
9. You also explore animation and manga—have these mediums influenced your artistic practice? Is there a particular work that has had a significant impact on you?
Nung-Hsuan: Hmm… I don’t think there’s any particular work that has influenced me deeply—it comes and goes in phases. But overall, these influences do play a role in my creation, especially in the way I depict human gestures and imagine things beyond reality.
10. Over the past year, your works have been exhibited internationally, from Japan and China to as far as the United States. Additionally, you participated in the artist residency at Chishang Art Village. Have these experiences brought new inspiration or changes to your creative process? Were there any memorable moments or challenges you’d like to share?
Nung-Hsuan: The creative inspiration and changes brought by the residency were quite noticeable. I think it’s because the overall environment and circumstances were different from my usual setting, which naturally led to changes in how I approached my work. One particularly memorable experience was a filmed interview during the residency. I suggested doing the interview while painting at the same time. Since my attention was divided and I had to coordinate with the filming process, I ended up painting in a somewhat forced manner. Interestingly, this led to new realizations on a technical level.
