Nai-Wen Chang has the dual love-hatred feelings toward arts, within which he believes there is no absolute true and wrong. He doesn’t believe in any particular religion, but he concerns much about religious situation and obstacles in real life. Through his creations that are with the shape of his metaphors, Chang manifests his criticisms and challenges the authority power of religion.
His works range from the simple abstract shape to figurative, dedicating in the exploration of materials and its connection to the senses. Gaining inspiration from Buddhism classics, Chang not only lingers in fluidity of meanings but also attempts to pioneer carving multiple forms and meaningful words in modern sculptures. He carves the weird faces of Buddhism gods and creates a series of special sculptures that mix the images of “gods” with “devils”, eliminating the line between human and monster, good and evil, perfection and fragment, normal and abnormal. The opposite dual natures have become two ambiguous extremes, conveying a sense of mystery, unknown and threats from the supernatural power.
The creation of Nai-Wen Chang used to ponder about derivative status that seeking possibility into the interface of modern art; therefore, his controversial creations arouse much discussion. The recurrent motifs, metaphors, mocking and ridicule, in the works seem like the rebellion, but actually they are merely a game.