Gilbert Hsiao: Jump & Flow, April 27 – June 16, 2012
MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales, Multiple Cultural Venues, Oaxaca, Mexico, March 15 – April 30, 2012
MINUS SPACE: Mark Dagley, Gabriele Evertz & Gilbert Hsiao, The Suburban, Chicago, IL, January 22 – February 26, 2012
Escape from New York, The Engine Room, Massey University, Wellington, New Zealand, April 22 – May 8, 2010
Open House for Butterflies, July 31 – August 29, 2009
Escape from New York, Project Space Spare Room, RMIT University, Melbourne, Australia, May 8-29, 2009
Minus Space, P.S.1 Contemporary Art Center / MoMA, NYC, October 19, 2008 – May 4, 2009
Machine Learning, Gallery Sonja Roesch, Houston, TX, March 8 – May 3, 2008
Machine Learning, The Painting Center, New York, NY, November 27 – December 22, 2007
Machine Learning, Boyden Gallery, St. Mary’s College of Maryland, St. Mary’s City, MD, September 4-28, 2007
Escape from New York, Sydney Non Objective, Sydney, Australia, August 3 – September 2, 2007
Gilbert Hsiao: Two Vinyls, September 2006
I’ve always been interested in the philosophical question as to whether we can be conscious of experience for which we have no words. We constantly evolve as time passes and our culture and technology and the world around us evolves. The potential for the evolution of our senses is limitless; I try to bring into being visual experience that which we have not yet words for, but can experience nonetheless.
Thinking about music has been important in the development of my work. Discussing music in terms of chords, relative dissonance/consonance, rhythms, syncopation, tones, harmony, temp, movement, stillness, and loudness, and so forth, cannot begin to describe the actual experience of listening to a piece. One can describe a piece of music in detail using these characteristics, yet the description cannot take the place of the experience of the piece itself.
This thinking has reaffirmed my goal of making of work set totally in the realm of contemplative experience; conflicting or unbalanced forces may be at work, but these forces end in equilibrium. This is not work about narrative; it is not meant to be explained, it is work to be contemplated and experienced, as a piece of music is to be contemplated. The interesting part of music is the experience, not the explanation. Similarly, I prefer my work to be experienced and not described. Description of the experience of the work is fine with me; description of the work itself is not a desired end.