Interview with Kate Huang

https://www.instagram.com/youngpowerart2023/

My name is Kate Huang, I was born in 1983 Kaohsiung City, ROC. In 2011 graduates from the Taipei National University of the Arts Fine arts Creation. Specialties-Graphic Design, Painting (Acrylic, Sketch, Watercolor), Clay, Computer Graphocs.

Most of my creations use brain cells as the theme of creation to illustrate the interpersonal relationship between people, and combine the abstract internalization with the external scenery to express the internal and external states.

Exhibition experience:

2025 Barcelona Art Fair, Barcelona, Spain.
2025 WHATZ International Contemporary Art Fair, Sheraton Hotel, Taipei, Taiwan.
2025 New York Art Fair, New York, USA.
2025「Response」 solo exhibition, NUIL TAIPEI, Taipei, Taiwan.
2025 "Art Blooms Joint Exhibition", Paris, France.
2024 STAART ILLUSTRATION ART FAIR , Solo exhibition, Kaohsiung City, ROC.
2024 American Art Fair, San Diego/Electronic Screen Show
2024 Mirror Solo exhibition, Young Power Art, Kaohsiung City, ROC.
2024 European Art Fair, Amsterdam/Electronic Screen
2024 Monaco Art Fair, Monaco, Electronic Screen Exhibition
2024 Time Solo exhibition, Young Power Art, Kaohsiung City, ROC.
2024 "Fighting Formation" Joint Exhibition, Grand Hyatt Hotel, Taipei
2023 "You and Me in the Mirror" Solo Exhibition, Chengfeng Bookstore, Kaohsiung
2023 STAART ILLUSTRATION ART FAIR , Group exhibition, Kaohsiung City, ROC.
2023 “Taiwan Annual 2023” ( Online Exhibition )
2023 FUNHOUSE , Speechless and Dialogue- All aspects of the internal and external fields of the four seasons Solo Exhibition, Tainan City, ROC.
2023 Circle Foundation Artist of the Year Award "Earthly dream 02 – Not Perfect" Artistic Excellence Certificate.
2023 “Taiwan Annual 2023”( Online Exhibition )
2022 STAART ILLUSTRATION ART FAIR , Group exhibition, Kaohsiung City, ROC.
2022 Circle Foundation for the Arts “ 6th CFA Artist of the Month contest “ Who do you love, who do you hurt ? ”Shortlisted for Excellence.
2022 “ Time ” Solo Exhibition, pony800909 Kaohsiung City, ROC.
2022 “Cover glass” Solo Exhibition, ShiroiUsagiM Tainan City.
2022 Three Leafs Brand Join Cooperation Exhibition- CITY WALK ART + TEA EXHIBITION, BaganHood Group exhibition.
2021 “Taiwan Annual 2021”( Online Exhibition )
2020 Oxford Art Fair Electronic Screen Exhibition, “Original Me”shortlisted.
2020 MIDDLE NAME COFFEE “ Memory Sum “Solo Exhibition Taipei City, ROC.
2020 Ludique Crème “Variant cell” Solo Exhibition Taipei City, ROC.
2020 mori coffee “Original Me”Solo Exhibition Taipei City, ROC.
2019 “Taiwan Annual 2019” 8/31~9/08 expo Taipei EXPO Dome.
2018 “Taiwan Annual 2018” 9/27~10/07 expo Taipei EXPO Dome.
2014 Artemperor Artistic county fair” Artist Fair 2014” 9/19~9/29 Taipei Xinyi Place A9 9F.
2014 “Squinting vs Cover glass” Dogpig Art Café, Kaoshiang City,ROC. Solo Exhibition.
2013 Artemperor Artistic county fair” Artist Fair 2013”10/25~11/10 Taipei paper mill 1918.11/01~11/10 Tainan Cultural and Creative Industries Park.
Artemperor Artistic county fair ”Artist Fair 2012”9/28~10/07 Taichung Cultural And Creative Industries Park.11/2~11/11Taipei Songshan Cultural and Creative Park-Warehouse No.2.
Artemperor Artistic county fair “ Artist Fair 2011”. 8/19~8/28 Taipei Bo-Pi Liao. 9/9~9/18 Kaohsiung The Pier-2.
Art Center 2011 “The second session can affordu the artistic exposition”.
2011 “ Investigation of cells ” in National Yang-Ming University exhibition.
2006 “The 12th session of international print. The sketch pair of year exhibition” the sketch is accepted.
2005 Taiwan Semiconductor the branch campus to draft the exhibition

Kate, your work bridges the gap between traditional craftsmanship and modern technology. What fundamental artistic principles guide your creative process, and how do they manifest in your patented "Linked Single Panel Painting Method"?

My works are like memories of layers of pigments stacked up. By chance, I invented the "linked single-panel painting method" to present memory images with the thickness of pigment stacking. Because the main axis of my creation is the mutation of brain cell neurons, it highlights the fusion and translation of internal and external landscapes. This newly invented patent makes the work look like a single print, but it is not a print. It is a new art style between printmaking and painting

Your inspiration for this technique originated from observing brain neuron imaging. How do you translate scientific structures into artistic expression, and what deeper meanings do you hope to convey through this fusion of science and art?

Before creating, I will look for photos of brain nerves, draw mind maps to come up with ideas and compose a creative narrative. Different from other artists who only express their emotions, I create my artworks in a relatively rational way.

I hope that by using mind mapping to compose ideas, we can achieve a state of "unity of mind and brain". When you create a "mind map", write down whatever comes to mind. Your brain will work faster and faster, and your thoughts will become clearer and clearer. In this process, you will combine sensibility and rationality, and find that only a balanced state of mind and brain can exert the greatest power. Just like a generator, the power comes from the heart and brain in an endless stream, exerting the greatest effectiveness.

You describe your technique as a new category of painting. In what ways do you see this innovation expanding the language of contemporary art, and how do you hope future artists will engage with it?

Today, contemporary art has no boundaries, and the public looks at contemporary art with a broader mind. This new technique I invented looks like a monotype print and a painting, and is a new way of presentation. I hope that more and more people will appreciate and recognize my work in the future, and that more artists will develop their own unique artistic techniques and create unique works of art

Your technique emphasizes layering and permeability—both physical and conceptual. Beyond the canvas, do you see these ideas reflecting broader themes in life, such as interconnectedness, memory, or even human consciousness?

In addition to using this technique on canvas, I also use it on Taiwanese religious divination blocks (a tool used to communicate with gods when asking questions in Taiwanese temples, which is similar to the translation of my creative concept of brain cells to explain internal and external landscapes and interpersonal relationships), and gourds that represent the symbol of fortune and luck for Eastern Chinese (symbolizing both blessings and wealth). These products of traditional culture not only retain traditional cultural connotations but also give them new cultural meanings, combining retro traditions with fashionable innovations.

Patents are more commonly associated with science and engineering rather than fine art. What challenges did you face in legitimizing your invention as a patent-worthy innovation, and how do you think this step changes the landscape for artists seeking intellectual property protection?

Before obtaining the Taiwan patent, some of my friends felt that there was no need to apply for a patent and that it was just a waste of money. But I didn’t think so. I had invented the invention 10 years ago before I graduated from graduate school, but I didn’t apply for a patent at that time. After 10 years, I really feel that I should protect my invention patent. After all, it is a new technique that I invented with great effort.

When an artist develops his or her own original technique, I think he or she should apply for a patent to protect his or her rights.

This is to prevent the intellectual property rights that you have worked hard to obtain from being copied by unscrupulous businesses to make illegal profits.

Many artists struggle with the dilemma of commercializing their work while maintaining its artistic integrity. How do you navigate this balance, especially with the patenting process and its commercial potential?

When their works become commodities, many artists face a big choice between the artistic quality and commercial value of their artworks. For me, it is important to distinguish between general commodities (cultural and creative products) and high-priced commodities. First, distinguish some low-priced works from high-priced works, and distinguish their uniqueness to produce different cultural and creative products. For some special works, make limited edition cultural and creative products or collaborate with big brands to turn them into limited edition brand co-branded products.

Your work has been described as a "scientifically rigorous and artistically fluid" innovation. Do you see a future where more artists embrace technology and patents as part of their creative journey, or do you think there’s still resistance within the art world?

Although the current art world is still not very accepting of the effects of combining techniques with patents, I believe that in the near future, artists will have more knowledge about intellectual property rights and know how to protect their own rights.

I feel this is a major breakthrough. Art is not just about expressing emotions, but an all-round development combined with science, which can resonate with more people.

You are in the process of applying for a patent in Germany, a country known for its strong art and design heritage. What strategic importance does this hold for your vision of integrating your technique into the global art scene?

As a pioneer in art, craft and science, Germany's application for a national patent for its technology at this time will undoubtedly help me have more opportunities to be seen on the world art stage, help my artworks connect with the world, and allow more people to see and understand my artworks.

Beyond visual impact, your work also holds therapeutic potential, particularly in medical art. How do you envision your technique contributing to fields such as art therapy, neuroscience, or even emotional well-being?

Art itself has healing functions. I just use my talent to draw out the power and essence in my heart. Although art therapy cannot be emphasized in Taiwan, I hope that in the future, people can pay more attention to the importance of body, mind and spirit for their own power and balance.

You’ve spoken about art being a force for social progress. Looking ahead, how do you see your patented technique influencing not only artists but also industries, education, or cross-disciplinary collaborations?

If an artist invents a unique patented technology, it will not only promote social progress, but also be a great leap forward in science, and will give people a new definition and insight into artists.

The purpose of education is not only to let us learn new skills and professional knowledge, but also to let us know that knowledge is boundless, without boundaries and restrictions; to give more artists more unlimited possibilities and the power to change the world. Start from a young age, and you will find that everything is very simple. As long as you are willing to do it, you will definitely have the opportunity to succeed.

No matter what kind of new technique is invented, the patent interweaves infinite possibilities, various cross-field combinations and cooperation opportunities, so that art is no longer confined to that narrow framework.