Exhibitions

| 2003 Out of Focus
| January 3, 2003 — January 9, 2003
| Tainan National University of the Arts, Tainan, Taiwan


| Artist's Statement

Memories are like shells on the shore, they come in many shapes and sizes. When the waves wash the shells ashore, some remain intact, but most are broken. Some shells are carried away by the next wave, some are picked up for collection, while others remain on the beach.

Each person's heart is like a shore for the shells of memories. The waves of time bring in, and wash away, a variety of memories in each person's heart – the sad, happy, whole, and shattered ones.

I am trapped in persistent doubt, uncertain if the mental images I hold as memories are accurate, or inauthentic. Perhaps the real memories are different from my initial perceptions? Every person who has ever interacted with me becomes a part of my memory. Through various experiences and encounters with people, my memories are continuously being created and updated, and sometimes, rewritten.

“The choice to remember or forget pertains to our desire for redemption. Remembered things are rescued from nothingness, while the forgotten things are left behind. If all things were to be constantly observed by an omnipresent, supernatural eye, then the distinction between remembrance and abandonment becomes a judgment of value, and a choice that resides within our own sense of justice…” Excerpt translated from Image Studying（影像的閱讀）

I wanted to depict the images of my memories. However, when faced with vast and distant memories, I felt lost without any guiding principles. Thus, I followed the convictions of a Venetian monk and cartographer:

"To present the Earth within the firmament, and the firmament within the Earth; I aim to make my map the archetype of all maps scattered throughout time and space. Through this map, the world will obediently present itself in fragments to the curious gaze of every individual. It may sound naive, but I hope this map can serve as a guide for more maps to come. Excerpt translated from The Dream of the Cartographer: Notes of a Venetian Monk（地圖師之夢：威尼斯修士筆記）

My objective of repairing memories is to prove the existence of time, of humanity, of value, and of my own existence. Otherwise, how else can we prove existence? Memories allow the energy of life to be manifested in new states distinct from their original forms. They rely on the understanding and imagination of others for sustenance. I believe that the “Out of Focus” concept portrays memories in their most authentic state, and serves as the theme for my works.

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Early Memories／“Mother and Me”

The “Early Memories” series plots “me” in time and space, in hopes of finding the intersection of memories between them. My mother, and my memories, are interconnected and I often discover my existence in her memories. Of course, my life carries on the legacy of my mother's memories. Why am I me? This profound question triggers various memories of my past…

"Mother and Me"    Four-layer Warp, Polyester／50×50 cm  (2 pieces)    2001

"Mother and Me" (Detail)

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Early Memories／“Subway Map”

The “Subway Map” depicts the visage of memory and space. Originally, I simply wanted to remember my first impression of entering a city, so I chose a London Underground map to represent this memory. 

The subway often serves as the gateway to my exploration of the city, and any station name marked on the subway map could become a part of my memory. During the journey, my experiences of the city are often eclipsed by the presence of fellow travelers, casting a shadow over my memories. Is the city beautiful or ugly? My memories have since become blurry and indistinguishable...

"Subway Map"    Hand Woven, 6-layer Warp, Iron, Paper, Transparent Sheets／35×35, 42×42, 53×53, 65×65, 77×77, 86×86 cm    2002











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Revived Memories／“Let's Go Out”

In “Let’s Go Out”, I attempt to depict the fragmented memories of my encounters with adults in my childhood, some forgotten, others, vivid in my mind. By piecing these fragments together, I was able to get a glimpse of my own growth journey. 

The standards of judgment and morality discussed by the adults have subtly formed the framework of my own values and principles. Although the stories and memories from my past were somewhat hazy, they continued to accompany me unconsciously as I grew up, and became a source of reliance through the complex interpersonal relationships in my life.


"Let's Go Out"    Hand-woven, Copper Wire, Stainless Steel Wire, 6-layer Warp／184×25 cm    2002

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Revived Memories／“Towels and Pillows"

Objects used in daily life bear direct traces of living and retain the visage of memory. As memories gradually fade away over time, every imprint left on an object remains as evidence, waiting to evoke the forgotten, longing to be forgotten, and unforgettable memories. “Towel” and “Pillows” are used to explicate the muddled memories of oneself, and of oneself and others. 

The prolonged use of objects often engenders a sense of trust and reliance, just as the intimacy between people deepens over long periods of bonding. However, this affection could become estranged from changes in time, space and other factors, causing the memories to gradually fade away, and no longer be remembered.




| 2007 Dozing
| May 5, 2007 — May 27, 2007
| Huludun Cultural Center, Taichung, Taiwan

| Artist's Statement

The works exhibited in this show are primarily jacquard weaving creations and designs, including both personal creations and industry-academia collaboration prototypes. My personal creations are displayed across four themes: "Interpretations of Sketches", "Prophecies of Notes", "Landscapes", "Dozing".
The first three themes were created in 2006, while "Dozing" extended the creative concepts further, by using the folded layers of textiles to illustrate the relationship between the front and back of the weaving, to explore my personal perceptions of reality and death, space and boundaries. The term "Dozing" connotes a feeling of being lost, like an inner anxiety towards the unknown road ahead after the passing of a pet goldfish. Through the structural relationship between the front and back of the fabric, we find an outlet towards death; life itself is like fabric, both bearing a surface (front) and a hidden side (back). The surface is what we’re laboriously trying to weave, yet at the same time, we’re also weaving what we do not wish to see (the unknown of death) into the back side. The boundaries of a textile, like those of life, are predetermined from the beginning. The folded layers in the works represent the idea that both life and death exist within the confines of the textile, never disappearing. This exhibition also displays collaborative jacquard fabric designs and prototypes, along with works that integrate jacquard into handbag designs, through which I hope visitors can gain insights into the various facets of Taiwan’s fiber arts culture and industry.

| 2008 Between Ratio
| June 22, 2008 — July 20, 2008
| National Cheng Kung University Art Center, Tainan, Taiwan

| Artistic Conception

The theme of this exhibition, "Between Ratio", is the artist's interpretation of the facets of memory, presented through textile weaving. The gradual evolution of memories within the mind – at times clear, at times vague – along with the endless illusions swirling in the mind, depict scenes of inner turmoil and ambivalence.
During the creation process, objects implicated as memory carriers and imagined moments in time are digitally combined into composite images. The lines and colors from the images are then represented through the interlacing of the shuttle and warp to illustrate a series of stacked and crumbling structural states within space, as an expression of the mutual reliance between the artist and memories. Each inch of the woven fabric is like an extremely compressed space, like a vital layer of existence I rely upon for survival every day. The exhibition includes a few series of works created since 2003: "Early Memories", "Revived Memories", "Fragmented Memories" from 2006, "The Brewing of Notes", "Sketch Interpretations", and the 2007 series "Dozing", along with the newest works from 2008. Through this exhibition, I hope to examine and organize nearly a decade of my fiber art learning journey, while also providing the public audience with a new creative perspective.

| 2013 Setting Up (Taipei Exhibition)
| May 11, 2013 — June 9, 2013
| National Taiwan Craft Research and Development Institute, Taipei, Taiwan

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| Artist's Statement

In my "Setting Up" exhibition, I sought to use fabric to measure the spatial dimension, and to initiate discussions on the temporality of time that people can often feel through fabric. The Chinese name for this exhibition is "四維", which translates to "Four Dimensions", a term I used to define objects in space, and to discuss the relationship between fabric and space.

Walking Relentlessly towards the Frontier of Reality
I have had stories to tell ever since I was a kid. I told stories to myself while drawing. The stories were often about animals that my family raised. That was how I spent most of my childhood. Later on I often followed my instincts to stick to narrative patterns as I created my own work. As I grew older and took up still life drawing lessons, I became inspired by impressionism and the use of intricate, bounties of colors, a practice that has since become my signature of creativity. Ever since my university years, my creativity went beyond the relentless pursuit of reality, space, light and shadow and went directly to the realm of my fantasy. For me, creating is like taking a voyage. I loved to plan ahead for every trip, but I also appreciated the surprises that awaited me as I found myself getting lost along the way. I will always remember the first time when I learned warping. To begin with, I started to wind a very long yarn in the space I was in. From that time on, I would often consider warping creation to be deeply related to space. Though, eventually, the final product - a piece of fabric - can be viewed and understood as a flat surface. Nevertheless, in light of fabric creation, it remains a structural composition when the warp and weft meet to create a third, fourth and even more colors. For me, the weaving procedures are simple and yet complicated. As an artist, I often find the art-making process fascinating because it is infinitely unknown and unexpected, and it is that unpredictable nature, beyond planning, that seriously appeals to me. I have often looked at fabric as a vehicle to carry around all kinds of memory. As a matter of fact, I collected photos and images ranging from past to present to construct visual and pictorial elements for my fabric work. On that basis, I applied the weaving structure to present the vehicle of memory and time where people and people, and people and objects meet. The look of fabric in space reflects people's daily experiences with it. Whether suspended or folded up, fabric has its own distinctive looks.
Fabric is the Vehicle of Memory I read fabric through "time" and imagine the material as the vehicle to carry around all kinds of memory. From a photo taken, I sieve out fragments of personal memory. I try to piece together death, memory and impressions that reflect peoples' daily routines, imaginations and dialogues to oneself. "The Brewing of Notes" series describes, from a bundle of old pictures, my own memories. But, what I eventually piece together were broken and distorted fragments of the images.

The Suspending and Folding in Everyday Life 
I used to find, by surprise, little fragments of notes in pockets or inside books. The fragments, for me, were bridges between reality and memory. The randomly folded notes reveal the forgotten messages and images in life. As time passes, they evolve to become different vehicles of memory to be carried around all the time. The "Dozing-Vector" series draws inspiration from an invoice or a note found in daily clothing. After taking a closer look at the randomly folded fragments of paper, I started to notice a new relationship taking shape when the front and back sides of the paper met. This new discovery opened up new interpretations of life and individuality, where opposing forces of life mutually coexist to form the integral parts of life and existence.
In daily life, fabric has all kinds of different appearances and designs. When the fabric is suspended, it looks like a net catching objects and shadows. When it is folded, it appears like a container of memories, concealing individual obsessions, the obsessions that people indulge in. The front and back relationship of the fabric transforms through the folding process. The "hide-and-seek" series seeks to demonstrate that fabric is more than just a one-dimensional story teller. It can be interpreted as a whole, through its own unique shape and structure, like a piece of soft sculpture.

An Ordinary Field of Time In broad daylight, people tend to treat movement of an object's shadow as messages given by time. Weaving, however, is like writing against time. When time is gone, the fabric grows in length. For me, fabric is a container holding every moment in life. In the "Ordinary Days" series, I drew inspiration from ordinary, insignificant instant photos of daily life. I use the Jacquard setting of warp and weft to depict space and objects in shadow and light, as a gesture of appreciation and gratitude towards ordinary life. However, when darkness pursues, my mood changes accordingly. I believe objects and shadows in the night create unwavering disturbances as if they were ominously ushering in the unknown. I would like to highlight that, in this series, I have chosen to use rush grass fibers, a very Taiwanese weaving material that gives off a distinct aroma inextricably linked to the island.
Digital Tools Transcribe Fabric Creation in Contemporary Times  
Fabric weaving is a time-honored, traditional art form, but as the human race relentlessly pursues new frontiers in materials and tools, we have started to incorporate new digital technologies into the creation of fabric art. The various eras of civilizations are often defined by the tools they had, and in modern age, digital tools endow artists with a vast, new medium for self-expression, and an indispensable tool for creation. However, digital technologies undermine the analog, handmade qualities highly valued among artisans. Hence, the merits of contemporary, digital art are often hotly debated.
From the perspective of fiber artists, the accuracy and precision of digital tools greatly enhances their ability to realize their ideas. Intricate, novel fabric structures that are far more complicated than traditional handwoven structures can be created through the use of digital programming, becoming the language that defines the characteristics of contemporary art. I sincerely hope that this exhibition will provide new inspirations to the Taiwanese audience and fresh perspectives that challenge the preconceived notions of traditional weaving. This exhibition will also be displayed at the K. A. Almgren's Silk Mill and Museum in Stockholm, Sweden in September 2013, and I hope it will be a bridge that introduces contemporary Taiwanese textile art to Swedish artists and audiences. I look forward to more contemporary art collaborations between Taiwan and Sweden in the future.

| 2013 Setting Up (Sweden Exhibition)
| September 17, 2013 — October 19, 2013
| K.A. Almgren Silk Mill and Museum, Stockholm, Sweden

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| Museum Director's Foreword
 
In late 2009 we came across the works of Chia-Hui Lu for the first time. We were preparing for an exhibition in cooperation with Fiber Art Sweden called Urban Weft. We were presented with some of her works and were astonished over their expressiveness and the Jacquard technique she used.  The exposition then focused on the works of the American artist Lea Cook and the English-Greek artist Ismini Samanidou. They also worked with the Jacquard weaving technique. As we do. As Chia-Hui Lu does. We had a connection.

The Almgren silk mill and museum was founded 1833 and was a fully operating silk mill until 1974. In 1991, it was reopened as a museum, as well as a silk mill operating with 170 year old looms. We are still operating these Jacquard handlooms for special orders only and producing mainly reproductions of old pattern designs. For the last six years the museum has concentrated on exhibiting new textile art and design. We are the only place in the capital that concentrates on textile exhibitions, and the exhibits are mostly made by Swedish artists and designers. But our aim is to widen our focus to the international scene and in this context we are now introducing the amazing work of Chia-Hui Lu to the Swedish public. 

When the Swedish artist Tabea Durr introduced us to Chia-Hui Lu, we were immediately convinced that we wanted to present her to the Swedish audience.  When we met in August 2012 and had a fuller presentation of her works, the decision was made: we had to show the Swedish public these strong pictures and images that were so masterfully expressed.
What we saw was a fascinating utilization of the Jacquard technique to present images that described fragments of memories, fragments of time, capsules of messages from moments in life that needed to be expressed and not to be forgotten. Those woven pictures are not to be mistaken for frozen moments but to be understood as expressions of movements in time that reach the audience like a wave. A wave that embraces us and forces us to consider and reconsider experiences of our own fragmented and crushed memories.

These pictures’ delicate and beautiful technique makes the expressiveness of the motifs even more compelling and convincing. Thus mastering the technique, Chia-Hui Lu gives us means and possibilities to meet the universal memories that we share, expressed through the personal impression and expression by a master. She wants us to share and find paths into our own forgotten and perhaps misplaced fragments of a lived life, and to be prepared to meet the future.

The Almgren Silk Mill Museum is proud to introduce the young Taiwanese master Chia-Hui Lu to the Swedish public and we are convinced that this is going to be a lasting and whole memory to be shared by our audience for years to come.

Jan Lindo
The K. A. Almgren Silk Mill and Museum Foundation

| 2014 Woven Handicrafts
| October 25, 2014 — November 12, 2014
| Shanjiao Elementary School, Yuanli, Taiwan

"Woven Handicrafts" — Shanjiao Rush Grass Weaving Craft Exchange Program

This project uses the "Woven Handicrafts" exhibition as a platform for art exchange between the community and schools, to explore the potential for dialogue about various handicraft techniques and creative designs. The century-old traditional rush grass weaving techniques from Yuanli, Taiwan were mostly developed and practiced by women. Traditionally, the men worked outside in the fields while the women stayed at home to manage general household chores. In Yuanli, these women also had to weave straw hats. Young girls were required to learn the weaving techniques from their elders: mothers, grandmothers, or sisters-in-law. Upon reaching a certain age, they would begin collaborating with the seasoned weavers, like their mothers, to hone their rush grass weaving skills. For these young girls, proficiency in weaving was viewed as a coveted asset that increased their opportunities of finding a good marital family, as they could bring considerable income into the household. Unfortunately, the female-dominant rush grass weaving industry did not experience much developments in their techniques or creative expressions. As Taiwan's economy transformed in the 1970s, this industry began to gradually decline. Project 1: The "Woven Handicrafts" Exhibition The Woven Handicrafts are like symbols of life, enabling new domains for community dialogue. Yuanli’s rush grass weaving industry transformed the town into a cultural living space like no other. For the local residents, the straw mats were important symbols of shared life experiences and memories. This exhibition aims to stimulate new forms of dialogue, using the individual techniques and skills as a starting point for the exchange of ideas and knowledge, encouraging self-expression through rush weaving. The exhibition venue at Shanjiao Elementary School is a former Japanese colonial dormitory building. The architectural history evokes memories of the past, serving as a historically significant setting for dialogue. We hope that through interactions with the exhibition and workshops, community members can exchange inspiration and knowledge, and share personal life experiences with each other. Project 2: Breaking away from the conventions of woven handicraft design The everyday objects around us provide inspiration for our imagination. The rush woven mats not only serve a functional purpose but also exude a natural feel. Its dense and delicate texture, crafted by the hands of the weaver, offers a comforting touch reminiscent of motherly love. Through the project, the community of students were introduced to leather-working techniques to create the "Breath Collection" woven containers, by using circular straw pieces as a foundation and learning to incorporate leather into the crafting process. This project strived to encourage new frontiers of creativity in the field of rush weaving. When the artworks were completed, we were pleased that everyone was able to derive a greater sense of motivation through the creation process. Project 3: Discovering new tactile sensations through haptic learning of the weaving techniques Handicraft weaving lectures were integrated into the university curriculum, as a new avenue for learning traditional rush grass weaving. The rush grass brought in by the local weavers infused a rich herbal aroma into the otherwise stale environment of the art studio. Although deeply rooted in Taiwan’s culture, today’s new generation of Taiwanese artists are largely unacquainted with rush grass weaving. As the scent of grass permeated the studio, the skilled weavers’ demonstrations sparked curiosity and dialogue. Each mentor guided three students, beginning with a foundational weaving technique known as “壓一編” (pressing one fiber strand), and learning to select, pluck, and hang grass. Next, they learn to use bamboo rods to lay the grass, set a starting point, measure the width and separate the top and bottom sections. Through hands-on learning, the students develop the tactile and muscle memory associated with the various weaving materials and techniques, and learn to exchange ideas and discussions with one another.


| Curated Exhibition／2019 Greenhouse Monsoon (溫室季風)
| November 2, 2019 — ⁠⁠November 17, 2019
| Gallery Life Seeding, Taipei, Taiwan

| Curatorial Concept

Creative Imaginations about Island Life
In this exhibition, three artists seek to portray the natural adaptations of the plant fibers to the island's tropical, monsoon climate. Meina Chen (陳梅娜) uses cotton and linen fabrics to create a sensory space for the body; Aya Yamanaka (山中彩), employs fabric dyeing and printing techniques to depict delicate luminous spaces; and Chia-Hui Lu captures the essence of everyday life through woven materials.

Through handicrafts, these natural fiber materials become a form of inspiration sought after in today’s society, evoking thoughts and ideas that enable people to resonate with nature, and integrate nature-based handicrafts into their daily lives.

| 2020 Re-writing and Re-enactment of Memory
| August 22, 2020 — September 27, 2020
| 182artspace Gallery, Tainan, Taiwan

| Artist's Statement

In this exhibition, I tried to use fabric as a medium for storytelling. From drowning in memories to wild imaginations, I am a narrator, and a creator, of memories.
  1. Image Rewriting: In "Mother and Me", the relationship between the subject and the object in the memory of the work is represented by the multi-layered structure of the fabric to show the splicing of color blocks, depicting a blurry state of inner memory. 2. Events Interpretation: In “The Brewing of Notes”, the books, notes, and photos that hold my old memories are disassembled and distorted so they can no longer convey the chronicles of the past. I then constructed new "events" through collage, and with a feeling of triumph, weaved them into a tapestry that tames the anxiety stemming from old memories. 3. Fictional Story: In "The Third Kid", after the "self" is removed from memory, the relationship between the characters in the photo becomes the main subject in the fictional story, while the folds in the fabric form an ambiguous boundary between fiction and reality. 4. Time Rewriting: Folded textiles, shaped by stories, become mediums that manifest in various forms, while light and shadow shape the presence of time. "Field of Light" attempts to transfer the light and shadow of everyday life into the story, by weaving them into the fabric to convey images from my inner memories–a recollection of daily life. The fabric is then folded to give the fragments of daily life a more defined sense of existence.


| Curated Exhibition／2023 Flunctuation: Lifestyle－Craft Context
| Curators／Chia-Hui Lu, Fangyi Zhu
| January 13, 2023 — January 29, 2023
| Tainan Wu Garden, Tainan, Taiwan

| Introduction

This exhibition serves as an exchange of contemporary handicraft creations between the Tainan National University of the Arts (TNNUA) and the Okayama Prefectural University (OPU), showcasing the current state of creative handicraft designs and thinking in Taiwan and Japan.
The theme of the exhibition is "Fluctuation: Lifestyle－Craft Context.” The concept of "fluctuation” symbolizes the projection of an artist's state of mind during the creation process. An open mind embraces new encounters and challenges to unlock new possibilities, and the artworks reflect this open-minded approach in the face of the uncertainties in the future. Through this exchange between Taiwanese and Japanese craft artists, the exhibition seeks to explore the styles and contemporary craft context derived from different cultural backgrounds and time-space settings, and help the audience rediscover the warmth of handicraft. The exhibition comprises the ceramic and textile works of 14 artists from Japan and Taiwan, and seeks to encourage dialogue about the roles and possibilities of handicraft creations in the present and the future, and looks forward to engaging with the audience in their explorations of the art form.

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Hanging Installation
 Wei Lin Yang    "En Guete"
Tapa, Paper Thread, Bamboo／85×300 cm    2017  



















On the ground
Wei Lin Yang    "The Big Sleep"
Rusted Iron, Cable Tie, LED Lamp／105×42×33 cm    2018
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Misao Watanabe    "Changing"
Cotton, Water-soluble Vinylon／90×80×20 cm (5 pieces)    2022
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Kumiko Namba    "Connecting #2"
Natural Dye, Silk Thread／33.5×145×55 cm    2012
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Chihiro Imada    "Wavering"
Silk, Acid Dye, Mineral Pigments／95×200×10 cm (2 pieces)    2022
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| 2023「現代工芸のダイアログ」Evoking Dialogues by Contemporary Craft
| February 12, 2023 — February 19, 2023
| Kurashiki Monogatarikan Museum, Okayama Prefectural, Japan

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The midsummer night sky was covered with dark clouds, and as the air rang with the cacophony of frogs and owls, I soothed the restless mind with tea to wash away the drowsiness. 

Thinking about the indigo-dyed rush grass from years past, the color was bluish and gloomy. Sitting on the mat, weaving the whole night, time passed leisurely. The night faded away with the break of dawn, leaving behind a scene of sleeplessness.

Chia-Hui Lu    "Sleepless Night"
Hand Woven, Indigo-dyed Rush Fiber／65×8×15 cm 2022
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Chia-Hui Lu    "Tea Mat in Sleepless Night 1"
Hand woven, Indigo-dyed Rush Fiber／24.5×36 cm   2022
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Fang Yi Zhu    "Tea Cup"／Chia-Hui Lu    "Mat"
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