“Read me carefully, follow me closely, doubt me not. I am the earth in the palm of your hand. Without me, you are alone and lost.” – BERYL MARKHAM, 1983

Exploring the rich history of cartography unveils humanity’s enduring fascination with mapping the world we inhabit, from ancient cave drawings to today’s sophisticated Geographic Information Systems (GIS) and ubiquitous tools like Google Maps. Cartography, from a scientific standpoint, offers us a tangible comprehension of our environment, delineating borders and pathways for exploration. It serves as indispensable geographical documentation and archival data, contributing to scientific epistemology, while also wielding cultural and political influence in shaping global perspectives.

Amidst the evolution of cartography, J.B. Harley’s critique underscores a perceived loss of artistry and its social implications in mapping. Traditionally valued for their scientific accuracy, maps are fundamentally human constructs that interpret landscapes through a lens of representation. In JI Zhou’s “Maps” series, intricate maps are transformed from their usual flat representations into textured vistas resembling heaves of mountain ranges. These visually captivating artificial landscapes challenge our perception of reality, grounded as they are in the traditional conventions of cartography. While color blocks delineate territories and latitude and longitude provide directional bearings, the representation of oceans and islands underscores the constructed nature of these codes. Zhou’s stereoscopic maps prompt us to ponder how these human-created symbols and constraints influence our understanding. They highlight the paradox that while maps strive for scientific accuracy, they also evoke realms of pure imagination.

LIAO Yichia takes a completely opposite approach to Zhou with his new series “Shihlin Weir” and “Peaks.” Instead of using maps as source material, he employs a primitive form of mapping: photography. He simply captures pieces of “land”, uninterested in aerial shots or pre-researched planes, and is fascinated by how humans can map the world emotionally and poetically. By intertwining stones, natural oil stains on water surfaces, and mountain peaks as pointers and guideposts, he creates his own unique fictional maps. These elements of nature become micro representations of actual mountain ranges, rivers, and borders. Like his newfound tokens, he moves and reshapes them with distinct angles, forming miniature representations of idealized maps through straight photography. Particularly those in “Shihlin Weir” photographed in Miaoli, Taiwan hold personal and cultural significance, making his mapping process realistic in execution but delicate and figurative in concept.

On the other hand, CHEN Xiaoyi’s work focuses on the geological timescale, with her exploration and creations centered in the Hengduan Mountains. Her starting point is abandoned mining areas, now mostly suspended spaces. In her piece “A Star Atlas from Hengduan’s Core,” she uses her stylus to mark ore deposits, creating a starry sky effect through an oriental folding screen installation. The “Kataskapos” series adopts a contour mapping technique, simultaneously marking abandoned trails. Tracking these sparse and dense lines evokes the warmth of human fingerprints. Throughout these processes, the artist’s hand is palpable, conveying a complex connection to the land. In “Reverberation Guide,” she further suggests that sounds may be part of the mapping process, often experienced during the vast task of cartographing these mountains. She attempts to describe the changes experienced in the mountainous areas, with the suspended spaces’ desolation echoing the footprints of past human activity. These remnants, like blank spaces on a map, take on new forms of existence through the artist’s personal cartography.

In this exhibition, UP Gallery warmly invites you to explore the diverse and imaginative ways artists interpret and represent our world. Through the works of JI Zhou, LIAO Yichia, and CHEN Xiaoyi, experience the intersection of cartography and art, where scientific precision meets emotional depth, challenging our perceptions and expanding our understanding of mapping and the landscapes it represents. Echoing Markham’s sentiment, maps are indeed more than mere tools; in the hands of these artists, however, they take on new meanings and forms, becoming guides for our emotional states and shaping how we perceive the world around us.