varied reflection of our heart. With puppies, dolls, or robots in change, 3D figures, or series comics, Eddie Kang’s sensitive but fantastic modern city language seems chaos and vague, but in fact implies sharp and wise observations and interpretations.

“I feel pretty much everyone around me feels loneliness in many occasions. And I want to talk about such unbearable loneliness with my dolls, drawings, and paintings. In my works Chaos-like surfaces that I created by using pens, paints, and oil sticks portray the reality of today’s society where is full of people. And, the lonesome dolls (sometimes hand-made, sometimes highlighted) on the surface represent us, lonely grown-ups. Though they look like they are in good harmony in superficial point of view, dolls represent our lonely self in this world full of people.” In Eddie Kang’s paintings, we can see the nature that he wants to escape the societal restriction but at the same time hopes to compromise with this society. His lonely bear actually owns a splendid life and deep life process; it has a name called “ragdoll”.

Art critics Pedro Tseng said, “Kang’s works, in a comic-and-animamix fashion, exhibits personified styles. Together with writings or narratives, they spontaneously form a kind of self-reflective ambiguity or a contemporary aesthetics of the myth full of uncertainty. Expressions experience a greater possibilities and more fun by iconized language which conveyed more messages and communications. A wildest metaphor of no profundity appears in the new postmodern paintings. What have been shown is not illusions, but more like an impersonalized free association of collective subject, the schizophrenic art without schizophrenia, the surrealism that neither has a manifesto and nor the avant-garde project. Kang’s new painting may be characterized as “the surrealism without the unconscious” Eddie Kang presents the fictional social pressure and solitude individual life which he cares with the grown-up tale and solitude subject.”

Myths and adult’s fairy tale are in fact inseparable, especially in today’s art world, it is almost impossible to place myth and art works in two different categories. Jean-Michel Basquiat, as an example, is the leading New York art figure who launches the “cultural attack”. Although he achieved his fame in a short time, Basquiat was able to deconstruct the vanity behind the value system of the 1980s, easily making a shift between the high and the low brow, and went on to absorb pop music elements. Likewise, a truly Asian style animamix art myth can be born in Kang’s work, so let us look forwards to it.