No language is more impressive than the visual gaze of images
Chen Yi-Chiao: “In order to reproduce images and create visual effects, I explored photography and painting. However, I how to express emotions and feelings through visuals, starting from the perspective of my mother. To show my feelings, angles, and communicate and respond with the audience for this generation, that is what I want to explore.”

The original meaning of gaze is “watching” and “seeing”, but the expansion of the original meaning refers to visual communication; that is, two-way “watching”, or seeing the viewer.

Chen Yi-Chiao: “The characteristic of my use of “viewing” is to explore the personal identity of the viewer and the viewer-the relationship between the two, and extends to the gender, religion, and mother-child relationship of the individual as well as their social relationship. I think the link that is the audience’s personal identity with the emotions between the audience.”

In the context of religion, gaze always has a personal and collective dimension, because it activates the socially regulated spirit, shared images, and concepts, and responds to society’s expectations and norms for the status and expectations of the gazing subject. Attitudes towards what you see.

About the use of the Madonna icon on the blue background.
Observe carefully the religious art of the past 700 years. Pay attention to anything consistent? Madonna is almost always decorated in blue.

Chen Yi-Chiao: “In this series of works (part of works ), I don’t want to use blue in cloth, I was trying to use blue in the background to set off the golden fabric to showing a mother with radiance. The use of color contrast method to enhance visual perception with the blue background to show a particular state, something about them seems to shine or glow on the mother. Therefore, blue is very vital for the image of the Virgin, so I keep the icon and used the vital blue color as the background to highlight the golden clothes and the yellow-skinned Madonna to correspond.” As Peggy Orenstein has written, “pink was considered the more masculine hue, a pastel version of red. Blue, with its intimations of the Virgin Mary, constancy and faithfulness, was thought to be dainty.” Therefore, blue is very vital for the image of the Virgin, so I keep the icon and used the vital blue color as the background to highlight the golden clothes and the yellow-skinned Madonna to correspond.

The blue and gold series show “the blue of faith” and “the sea blue of the virgin”, self-reported in the blues of gold, sprinkled and presented in a reborn way. Another series of gazes portrays the intertwined emotions of gazing at people through “transformation” and ” with the concept of “mixed”, Chen Yi-Chiao used the iconic Western classical image and added Asian characters in her works, to reflect the contemporary art in the 21st-century.