In the West, the eye is said to be the window of the soul. In the Chinese Zen sect of Buddhism, the soul is regarded as a mirror. Both comparisons are based on metaphysics and the principles of art. All the visual arts are the work of the eye and the soul, and none shows the intimate relationship between the two better than photography. The structure of the shutter and the principles of projecting images all stress the coordination between the soul and the eye.
During his 12-year career as a photographer, Hsieh Chun-te has become one of the leading exponents of the art in the Republic of China. His recent exhibition "The Window and the Mirror" represents a new high point in his career.
As an artist, Hsieh is intensely self-conscious, and has relied on the camera to express himself since he was a youth. During the early years of his career, photography was the exclusive preserve of the top echelons of society in Taipei. The mechanical skills required and the expense of buying the films put it out of reach of the bulk of the population in an agricultural society. Even though he was the son of a farmer, Hsieh owned an expensive camera at the age of only 15. By resolutely holding to his ideas, he began to take the first steps in his career as a photographer.
In 1967, Hsieh moved from Taichung to Taipei, where he did oil paintings and design work as well as photography. In 1969, he held his first exhibition, and in the ensuing eight years, he joined the visual arts group, took pictures for magazines, worked on experimental films and documentaries, and was editor of Modern Photography magazine.
At that time, photography in Taiwan was deeply influenced by Western concepts, and younger workers in the field constantly criticized its in-built conservatism. In order to introduce new ideas, and break out of traditional confines, they started to experiment in their work. They caused consternation in photographic circles in their choice of subject and materials as well as techniques, but in the end managed to lay a sound foundation of modernization.
In the 1960s and at the beginning of the 1970s, modernism became the mainstream of culture in Taiwan. Hsieh tried to join the trend by using tricks and gimmicks, and turned to nude photography. In time, however, he found such methods did not satisfy his creative spirit. Once again he left Taipei for Taichung to ponder the essence of photography, and a drastic change in direction resulted. This change is graphically shown in Hsieh's presentation, "My Country, My People," completed between 1975 and 1977. Instead of focusing on grotesque objects and unusual situations, Hsieh's camera captured the images of the land and people in the Re public of China. His simple and straightforward work soon started a new trend.
Hsieh's transformation from modernism has been successfully completed. During a three-month tour of the United States this year, Hsieh took more pictures which seemed to show that his style is still changing.
His most recent collection, "The Window and the Mirror," is a collection of landscapes taken in Taiwan, Europe and the U.S., which shows his objective and unprejudiced outlook. He has finally freed himself from the former restraints involved in trying to put across a message, and found a world full of new images.
Hsieh's spirit of hard work and self-discipline in seeking a new approach to photography has won praise from all circles. His soul has truly become a bright and clear window through which we may see the truth, goodness and beauty of the world. Hsieh has finally achieved his lifetime goal.
Road （Green Islang in Taitung County, southeastern Taiwan）
Life （Tawu in Taitung County）
Wind in the Valley （Techi Dam in Taichung County）
Bridge （Green Island in Taitung County）
Fog （Meinung in Kaohsiung County, southern Taiwan）
Summertime （Meinung in Kaohsiung County）
A Tree Inspires Dreams （Taipei Botanical Garden, northern Taiwan）
Wheatfield （Dallas, Taxas）
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