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Feilai Peak 飞來峰, 2015
Feilai Peak 飞來峰
Archival pigment print on baryta paper 泛银,硫化钡纸
20 3/4 x 31 1/2 in (53 x 80 cm)
Qimu Stone #2 啓母石 2, 2016
Qimu Stone #2 啓母石 2
Archival pigment print on baryta paper 泛银,硫化钡纸
28 3/4 x 43 1/4 in (73 x 110 cm)
Tomb of Prince Lu #2 鲁王墓 2, 2016
Tomb of Prince Lu #2 鲁王墓 2
Archival pigment print on baryta paper 泛银,硫化钡纸
43 1/4 x 28 3/4 in (110 x 73 cm)
Wen River 汶水, 2016
Wen River 汶水
Archival pigment print on baryta paper 泛银,硫化钡纸
28 3/4 x 43 1/4 in (73 x 110 cm)
Heavenly Queen Pool 王母池, 2015
Heavenly Queen Pool 王母池
Archival pigment print on baryta paper 泛银,硫化钡纸
31 1/2 x 20 3/4 (80 x 53 cm)

Chambers Fine Art is pleased to announce the opening on March 31, 2016 of Taca Sui: Steles – Huang Yi Project. This will be the artist’s second solo exhibition at the gallery. In his first exhibition, Odes (2013), Taca presented a body of work that was inspired by the ancient poetic heritage of China, specifically the Book of Odes (Shi Jing). Traveling to remote locations that were associated with these ancient lyrics, he photographed landscapes and evocative details that were remarkable for their poetic intensity.

The latest body of work collectively titled Steles (2015) focuses on the stone steles that have played such a crucial role in the documentation of the history of China. In this case he was inspired by the late Qing dynasty imperial bureaucrat Huang Yi (1744 – 1802) who in his leisure time was also a dedicated amateur archaeologist, painter, poet and calligrapher. In the last years of the 18th century he made two trips in which the focus was on documenting steles mainly located in Shandong Province and Henan Province. Through his travel diaries, paintings, and rubbings, he provided an invaluable record of cultural artifacts that otherwise might have disappeared altogether through neglect. In planning his own trips, Taca consulted Huang Yi’s diaries, Diary on Visiting Steles near Mount Song and the Luo River and Diary on Visiting Historical Steles from Jining to Tai’an.

Like Huang Yi 200 years before him, Taca embarked on expeditions to locate traces of the past as preserved in steles but whereas Huang Yi could still identify, describe and catalogue actual examples, Taca had to be satisfied with inscriptions that are largely erased through the passage of time or exist only in fragmentary state. Recognizing the futility of his task, he nonetheless perseveres in preserving whatever he can. At the opposite end of the spectrum from documentary photography, Taca’s images have a forlorn and timeless beauty that are simultaneously totally specific and yet evocative of the relentless passing of time.

To accomplish this, he uses silver barium sulfide photographic paper which contributes greatly to the effects he wants to convey. As a result of its intrinsic qualities, this type of photographic paper results in elusive images since unless seen from a specific angle, they dissolve into silver reflected light.

Taca is the latest link in a chain that began with Huang Yi when he recorded his discoveries in his diaries and shortly before his death showed his painting to friends when they came to visit him, as well as sending them to Beijing and Hangzhou. Copies of the 400 or so rubbings he made were also widely circulated. Taca followed in Huang Yi’s footsteps and contributes to the ongoing dialogue not through additions to the scholarly record but through his own poetic insights.

The exhibition Odes and the accompanying limited edition of a selection of the photographs by Chambers Fine Art established Taca as one of China’s outstanding young photographers. His work has entered the collection of the Metropolitan Museum of Art, New York and was included in the recent exhibition Chinese Albums at the same institution.

前波画廊诚挚地宣布将于2016年3月31 日起为塔可举办展览《碑錄—黄易计划》,这将是艺术家在前波画廊的第二次个展。在其2013年的首次个展《诗山河考》中,他展现了一系列深受《诗经》启发而创作的作品。他亲身造访了这部古代文学著作中提到的地点,并通过摄影里充满诗意的风景和令人思绪驰骋的细节特写,来寻觅那个古老世界留下的痕迹。