Entirely hand-made, Su Chang’s sculptural language brings us back to our sense of sight and touch. Each work, crafted with the reverberation of a subtle pulse in the artist’s palms, is like a indigenous container, simple and sensual, or like a breath carefully wrapped up and placed right in front of us.
Su needs no reason to sculpt. For him, it’s a career, a dream and a way of life that he could never change. “My works may give an impression that they weren’t complete or polished, it’s because I’ve purposefully avoided such correctness and accuracy, and the inevitable ubiquitous industrial refinement that would ensue. For me, a work’s raw clumsiness is its strength. I also try not to imbue a work with more significance than what it can contain. Explanations weaken our judgement toward the language of sculpture itself.
“Sculptural aesthetics, to me, is like DNA, something that we’re born with – we know innately what kind of sculpture we like, and we just need to discover and ascertain this connection through encounters. There’s no need to train ourselves to appreciate a style which doesn’t naturally appeal, and it’s even more meaningless to force an appreciation through reading or other ways. That’s why I often make works with no specific purpose – I do it to search for the possibility that such inborn connection exists on a subconscious level.”