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Journal | Discourse on the spatial concept of INK NOW Taipei Art Expo | INK NOW 水墨現場
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Discourse on the spatial concept of INK NOW Taipei Art Expo
Hom LIOU (Co-founder, Wooyo)

The debut of INK NOW Art Journal was born with our vision of self-media and "More than Art Fair, More than Ink". Apart from issuing paper version of INK NOW Art Journal, we will run our own website -, a multifaceted art platform combines academic exchanges, collector's engagement, curated online exhibitions, and art journal. Integrating online and offline resources to promote ink art and ink-related culture.


INK NOW reflects and defines the representation of Eastern ink wash painting through contemporary materials, forms and spatial vocabulary.
Eastern traditional ink wash painters are often not defined as professional artists, differing in this aspect from Western artists. Often members of China’s literati, their intelligentsia, painting, calligraphy and writing are forms of expression, their self-cultivation and artistic aspiration. What matters are not in brushstroke nor technique but the situation being written about; this differentiates ink wash painting from Western painting. 

Hom LIOU talks about the spatial concept of INK NOW Taipei Art Expo 

The comprehension of ink wash painting is not purely based on its artistic angle. Rather an understanding of the education and life of traditional literati must coincide. The artistic connotation of ink wash painting reflects literati’s belief in universe and nature. In nature man is humble and obedient, born between heaven and earth, man holds the universe as the ultimate destination of belief. This greatly differs from the view of man as the center of nature as originated from the Enlightenment and rationalism in the West. 

The multiple perspectives that characterize Eastern ink wash painting at times shadow and conceal the role of man and architecture creating an artistic composition characteristic of the genre.

Literati’s inclination towards the world and the pleasure of nature, of painting and writing is further expressed in our desire to harness nature into gardens; bonsai and everyday items such as pen-holders and ink slabs imitating the form of mountain-scape. Gardens are our portraits of nature, wandering within them a projection of one’s admiration and respect of nature, a unique awareness of civilisation on Earth.
The spatial arrangement of the Lingering Garden, one of the great four gardens in China, is applied to structuring the venue of INK NOW. Differing from ordinary art fairs where galleries stand in rows representing the single point perspective found in Western spatial expression, INK NOW presents winding and zigzag Chinese-style use of space; imitating a state of winding paths in a garden leading to secluded corners where voids and reality are magnified through white walls in the venue, and steel component and fabric in the public space, echoing mountains, waters, stones and trees of gardens – a living canvass of Chinese style.

Entering INK NOW, collectors will acquire a new spatial experience. It is no longer “all roads lead to Rome,” but wandering on paths among mountains and waters. Artworks are no longer viewed through merely one glance as in the conventional way, but ambiguously perceived. Departing from convention, the booths are no longer similar to one another but presented as organic entities, containing a vitality and uniqueness of their own. The entire touring process is like a journey of life, sometimes meandering yet leading to the silver lining at the end; one strays by wrong corners yet encounters scenic sights everywhere. When collectors make detours, their moods shift and familiar artworks open up brand new perspectives of viewing, with new vitality blooming among view of frame and semi-transparent fabric. 
The spatial design of INK NOW reflects sentiment for natural landscape as well as particular perception of life in Eastern culture.


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