TAIPEI.- White — the end of all colors and the origin of all things. Bluerider ART Taipei·Dunhua presents the White Trilogy of Love: White Realm at Bluerider ART Taipei·Dunhua, White Light at Breeze Center, and White Jade at Hotel MVSA, on view from December 6, 2025 to February 28, 2026. Across a festive season that spans Christmas, New Year, and Lunar New Year, the trilogy unfolds three exhibitions across three distinctive venues, uniting Fine Art, refined taste, and elevated sensibility into one integrated experience.
As Nietzsche wrote, “Art is the highest affirmation of life.” Michel Foucault’s concept of the technē of the self posits that one shapes existence through style; Heidegger’s notion of “poetic dwelling” reveals beauty as a mode of being and perceiving. In resonance with these philosophies, the White Trilogy of Love presents three forms of dialogue: White Realm channels the urban pulse through purity and clarity; White Light situates simplicity within the language of luxury; White Jade refines sensibility into the texture of contemporary living. Together, the trilogy articulates three realms of Fine Art — elegance within white, balance within luxury, and nobility through detail.
White Realm — A Paper Trio Exhibition returns to the elemental qualities of paper — whiteness, luminosity, fiber, and breath. Rather than seeking spectacle, the exhibition pursues restraint, elevating the lightness of paper and the weight of thought to their highest expression. In the hands of three artists across generations and cultural backgrounds — Cao Jigang, Angela Glajcar, and Bay Tang Jiaxin — paper transcends its traditional role as a carrier of text and history, becoming space, depth, and a pure state of mind. Through diverse paper materials including Xuanzhi, industrial paper, Korean paper, and cotton paper, and through distinct conceptual approaches such as traditional landscape perspective, hand-torn structures, and pierced surfaces, the artists reveal the resilience, humility, and stillness inherent in paper. Here, white is not merely seen; it is perceived as the texture of being — a meditation unfolding between presence and silence.
Throughout Eastern and Western art history, paper has remained a domain of freedom. It has been written, painted, folded, cut, torn, and sculpted, repeatedly tested across cultures and epochs, becoming one of the materials most capable of containing spiritual depth. From the qi-filled voids of East Asian landscape painting to the shadow-sculpting practices of Western paper relief, the medium gradually breaks free from its traditional confines and enters more abstract, multivalent space. The layering of Cao Jigang, the ruptures of Glajcar, and the punctures of Tang together construct a metaphysical realm — a convergence of force, energy, tranquility, and tension.
Cao Jigang（China，b.1955）
Renowned for his tempera landscape paintings, Cao Jigang presents a distinct body of work created with century-old Anhui Xuanzhi paper. Integrating the traditional “three-distance method” of Chinese landscape painting — high, deep, and level distance — with contemporary structural aesthetics, he extends paper from two-dimensional plane to sculptural depth. By cutting, stacking, and assembling Xuanzhi, he translates abstract, rationalized geometric forms into spatial interpretations of shifting perception. Multiple variations of white paper are employed, preserving irregular, natural edges formed during production; these edges become essential visual elements, allowing the material’s inherent qualities to speak with minimal intervention.
Angela Glajcar (Germany, b.1970)
Angela Glajcar transforms heavy German industrial paper into sculptural architectures through hand-torn layering. Her works are defined by the tension between force and fragility, exploring the philosophy of rupture and renewal. Each tear serves as intention and memory, reorganizing irregular forms into new spatial order. Through light and shadow, Glajcar composes poetic passages of air and luminosity, where fragmentation becomes order and vulnerability transforms into strength. Her works reflect the delicate nature of human existence while suggesting how individuals find balance and resilience after rupture.
Bay Tang Jiaxin (China, b.1995)
The youngest artist in the exhibition, Bay Tang Jiaxin uses piercing techniques on thick cotton paper, lifting fibers with fine needles to build a meditative rhythm of creation. This near-silent act generates intricate textures, turning fragility into a form of strength. Her works resemble carved webs of time, where silence becomes cadence and white becomes heartbeat. Each puncture holds accumulated time and distilled thought, presenting a contemporary interpretation of the coexistence of delicacy and resilience.
White Realm — A Paper Trio Exhibition invites viewers to encounter paper at its most intimate register: its fragility, its weight, its luminosity, and its quiet. Through three distinct artistic languages, paper is transformed from everyday material into a site of contemplation. Here, white is the white of time, of thought, and of the inner light that opens within the human spirit.
