The exhibition “Energy” represents Penghu, where the fierce northeast monsoon sweeps in winter, the vegetable gardens are built with uneven coral stone fences, and the place the artist was born. It was not until 2020 that Hsu had the opportunity to go back to his childhood home after more than five decades because of an official document. Hsu describes it as a place where the coral reefs and the ocean merged as one, and the vegetables and fruits grew exuberantly in winter. It was also where he had to go out to scoop water bit by bit from the well. He has moved to Kaohsiung, headed north to study, served in Kinmen, ran a business, and devoted himself to creating artwork; nevertheless, Hsu’s childhood home has always accompanied him in various forms of energy conversion.
Hsu’s grandmother has never left him either. This exhibition takes its inspiration from a photo Hsu took in 2018. It explores what death is, the meaning of death for humans, and why people need to occupy space after death, providing the audience a glimpse of the “Energy” which accompanied him to grow up, run a business, and create artwork.
Room 102 displays three wooden beams removed from his home, which were assembled by traditional technique, a series of works of deadwood wrapped in white cloth that symbolize the bond of life and death, recently photographed portraits of the exhibition staff, and white leadtrees, a species of pervasive plant in his hometown that immersed in the artist’s memory.
Room 103 lies a universe established by construction scaffolding, the documentary of log shipping, and the photography of the interior of the artist’s childhood house that has been left untouched for more than half of a century, a voidness consisting of coral stone, deadwood, white cloth, screen, land, and death. Through this exhibition, the audience will be guided to ponder the meaning of death, the issue that the artist and all humans will inevitably encounter.