We find the concern of the edges in all the pieces of the artist. They allow the artist to assume the frontal relationship to the screen and remind us that we only ever see the painting through a prism. Rounded, the corners of the monotypes Yeux fermes pour voir call for a grip, reminiscent of a tablet. Placed under the press, the inks mix under pressure and combine in random ways that allow the exploration of the colors of the spectrum. As if seen through a closed eyelid, these works evoke retinal persistence and sun spots. Kai-Chun Chang concocts traps where the light is caught just like our eyes.
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“Look at your room, when the evening is already advanced and the colors are still barely visible; then turn on the electricity, then paint what you saw in the light of dusk. There are paintings of landscapes or half-dipped rooms in the dark: but how do we compare the colors on a painting and those seen in the semi-dark? »