Jawshing Arthur Liou, ‘Anicca’, 2010, Pictura Gallery

expansive landscape turned my thoughts inward. There was no immediate enlightenment, but gradual realization—that the pilgrimage is an external mirror to my solemn confrontation with past and future. The kora, as a circle, has no beginning or end.Music composition by Aaron Travers and Melody Eötvös Aaron Higgins, field recording, camera co-operator Federico Agostini, solo violin Warren Haggerty, solo cello Ji-Woon Jung, violin Erin Rafferty, viola Melody Eötvös, electronic sound performance Jawshing Arthur Liou / ANICCA “ Anicca” is a Sanskrit word for impermanence. It is central to Buddhist teaching that one’s individual life is merely a process in the cycle of births and rebirths. Relative to the scope of the greater continuum, things that we hope to be permanent are always ephemeral. I traveled to Japan in 2009 and filmed the landscapes around the ancient Buddhist temples in Kamakura, Koyasan, and southern Kii peninsula. I seek inspirations from the aura and history of these sites. The video installation and animation aim to evoke the transitory nature of time and space. The Anicca series is comprised of 2 pieces, Anicca is a vertical video that displays a continually ascending spiral form. The textures and shapes change slowly but surely, with an organic appearance of nature and seasonal change. Nachi, on the other hand, is a four-video installation. Each video represents a perspective about the famous waterfall, Nachi. The Japanese consider Nachi a sacred site, where many ancient religious ceremonies are still performed each year. The installation creates an immersive environment for the viewers, and allows them to freely approach a meditative experience.

About Jawshing Arthur Liou

b. 1968

Fair History on Artsy

Chi-Wen Gallery at Art Basel in Hong Kong 2016
Chi-Wen Gallery at Art Basel in Hong Kong 2015