【E.SUN Art Awards 2026】Looking Up at Yushan: A Child's Gaze Toward the Future — Interview with 2022 Winner Hu Hsien-Wen

The international open call 'E.SUN Art Awards 2026,' hosted by Taiwan's E.SUN Bank, E.SUN Financial Holding, and E.SUN Culture & Education Foundation, is currently accepting submissions from artists around the world. The 2026 theme is 'Yushan' and 'music.' Artists are invited to create paintings that express the natural landscapes and cultural characteristics of Yushan National Park, or the power of music.

For Japanese artists, 'Yushan' may not be a familiar presence.

Can one truly depict Taiwan's highest peak without having climbed or even seen it? Some may feel uncertain about this.

Hu Hsien-Wen, who won in 2022 with her work 'Looking Up,' had never climbed Yushan at the time of creation. Nevertheless, she completed her award-winning piece by projecting feelings of aspiration and challenge onto children gazing at the mountain.

Having studied as an exchange student at Tokyo University of the Arts, Hu continues to create works that connect figures and landscapes, painting and bodily expression. We spoke with her about her motivation for applying, the thoughts behind her winning work, and her message to Japanese artists.

Table of Contents

1. Exploring Expression Beyond Painting: Body and Video

2. An Open-Ended Creative Environment at Tokyo University of the Arts

3. 'Aspiration' and 'Challenge' in the Winning Work 'Looking Up'

4. The Biggest Challenge: Securing Time for Creation

5. Winning Expands Opportunities for Art to Be Seen

6. A Message to Japanese Artists: Connect with Unfamiliar Themes Through Personal Experience

Exploring Expression Beyond Painting: Body and Video

— First, could you tell us about your current artistic practice?

Currently, I mainly create realistic paintings that combine figures and landscapes. I've always been interested in classical realism and have continued to draw figures with precision. However, landscapes are just as important to me as figures. Rather than making either the sole focus, I consider how both elements interact within a single work.

At the same time, I don't limit myself to painting alone. I'm also interested in video works and bodily expression. Since I practice tap dancing, I've explored how movement and rhythm can be integrated into painting.

An Open-Ended Creative Environment at Tokyo University of the Arts

— What was your experience like during your exchange program at Tokyo University of the Arts?

I was affiliated with the Fifth Studio of the Oil Painting Department. Although it's called an oil painting studio, the faculty encouraged us to explore beyond medium-specific boundaries and respected each student's individual artistic direction. This allowed me to deepen my practice in painting, video, and bodily expression—continuing the path I had already been on.

One particularly memorable experience was witnessing Japan's seasonal changes. The sight of ginkgo leaves covering the ground in autumn, rarely seen in Taiwan, left a deep impression. I incorporated the sensation of tap dancing on those yellow leaves into semi-abstract paintings.

— So your interdisciplinary approach, including bodily expression, was well received?

Yes. Professor Nishimura, who supervised me, showed interest not only in painting but also in space, structure, and conceptual expression. He was particularly intrigued by my tap dancing and how I might connect it to painting.

I had submitted a portfolio before arriving, so the university had some understanding of my artistic direction. But actually going to Tokyo and discussing my work with professors gave me new opportunities to expand my creative scope.

'Aspiration' and 'Challenge' in the Winning Work 'Looking Up'

— What inspired you to apply to the E.SUN Art Awards?

I was introduced to the opportunity by a senior at school, who said, 'There's this chance—why don't you give it a try?' At the time, I was working on a series depicting children. So combining children with Yushan felt like a natural progression in my creative journey.

— In your winning work 'Looking Up,' the composition of a girl gazing toward Yushan is striking.

Yushan is an extremely high mountain, and it's not easy for children to climb it. That's why I incorporated a touch of imagination into the piece. The image of a girl looking up at a towering mountain symbolizes confronting major challenges and aspirations in the future.

The title 'Looking Up' carries the ideas of gazing upward, yearning, and challenging oneself. When a great obstacle appears before us, how do we overcome it? This theme serves as encouragement for children and also resonates with my own artistic journey.

— Did you personally climb Yushan at the time of creation?

Actually, I had not climbed Yushan myself. I used photographs taken by a professor I studied under in Taiwan, who frequently hikes Yushan and has taken many photos.

Of course, I hope to experience Yushan with my own body someday. But even without climbing it, Yushan holds a symbolic, almost spiritual significance for Taiwanese people—similar to how Mount Fuji does for Japanese. Even without firsthand experience, everyone can imagine its presence. That's the kind of symbol it is.

The Biggest Challenge: Securing Time for Creation

— Were there any difficulties in preparing the artist statement or submission materials?

Writing the statement wasn't particularly difficult for me, as it involved organizing my creative intentions and thoughts into words.

The biggest challenge was the creation process itself. I work with oil paints, which require significant drying time. At the time, I had about five months until the submission deadline. Just drawing figures in detail takes time, and I also needed to render the details of Yushan's landscapes and plants, so it felt like 'only five months.'

— How did you approach the creation of 'Looking Up'?

My works employ classical realist techniques and are often described as 'photorealistic.' This means I must render every detail precisely, requiring immense time and effort.

The child in the winning piece was based on an actual model—a friend's daughter who helped by wearing hiking-inspired clothing and hats. We took many photos, from which I selected poses, hand gestures, and clothing impressions, combining them with the landscape of Yushan to compose the painting.

Because I had to depict not only the figure but also the intricate details of Yushan's scenery and flora, the workload was enormous. It was a demanding process, but the sense of accomplishment upon completion was equally great.

Winning Expands Opportunities for Art to Be Seen

— Do you remember when you found out you won the Grand Prize?