Hou I-Ting’s ‘White Uniform No. 5’: A Silent Chronicle of Labor and Colonial Echoes

“White Uniform No. 5,” created in 2017 by Taiwanese artist Hou I-ting, isn't merely a monochrome illustration; it’s a meticulously constructed meditation on labor, memory, and the lingering shadows of colonialism. The artwork immediately draws the eye with its stark simplicity – an airplane rendered in shades of grey against a textured background that suggests both distance and the relentless passage of time. Yet, within this apparent minimalism lies a complex narrative woven through subtle details and a deliberate stylistic choice.

The piece’s foundation rests on Hou I-ting's exploration of ‘bendong,’ a traditional Taiwanese boxed lunch—a “bento box” as it was often referred to during the Japanese occupation. These lunches, packed with simple provisions like rice, seaweed, and occasionally, propaganda leaflets, became a ubiquitous symbol of daily life for many Taiwanese residents. The film and photographic series that informed ‘White Uniform No. 5’ documented the women who painstakingly prepared these ‘bendong,’ their work a quiet testament to resilience and adaptation within a complex historical context.

A Graphic Language of Hatching and History

Hou I-ting's technique is characterized by an almost obsessive attention to detail, primarily achieved through the masterful use of hatching and cross-hatching. This painstaking process isn’t simply about creating shading; it’s a deliberate homage to woodblock printing, a method deeply rooted in Taiwanese artistic traditions. The resulting texture mimics the grain of paper, adding a tactile quality to the image and subtly reinforcing its connection to historical processes – specifically, the reproduction of designs on ‘bendong’ boxes.

The monochromatic palette amplifies this effect, lending an air of solemnity and timelessness to the scene. The airplane itself is depicted with clean, geometric lines, almost as if it were a schematic diagram rather than a fully realized object. This stylistic choice further emphasizes the artwork's conceptual focus—it’s less about capturing a specific moment in time and more about distilling the essence of an experience.

Symbolism Woven into the Grey

The airplane, a potent symbol of modernity and technological advancement, is placed within this historical framework, creating a compelling tension. It represents both progress and the forces that propelled Taiwan’s development during the Japanese colonial period – a period marked by intense railway construction to facilitate the export of natural resources. The inclusion of Japanese text alongside the image subtly acknowledges the enduring legacy of colonialism and its impact on Taiwanese identity.

Furthermore, the subtle hints of wartime propaganda embedded within some of the ‘bendong’ designs—images of bananas from Taichung or advertisements for sandwiches – serve as a poignant reminder that even seemingly innocuous objects can carry layers of political meaning. The artwork invites viewers to consider how history is often obscured and reinterpreted through everyday experiences.

A Reflection on Labor, Memory, and the Journey

Ultimately, ‘White Uniform No. 5’ transcends its historical subject matter to become a broader meditation on labor, memory, and the human condition. It evokes the feeling of a long train journey—a space where time stretches out, thoughts wander, and personal narratives intertwine with collective history. The image captures the quiet dignity of those women who tirelessly prepared these ‘bendong,’ their work a testament to their resilience and adaptability in the face of challenging circumstances.

Hou I-ting’s artwork is not just a visual representation; it's an invitation to contemplate the complexities of Taiwanese history, the enduring impact of colonialism, and the quiet beauty found within the rhythms of everyday life. It’s a powerful piece that rewards repeated viewing, revealing new layers of meaning with each encounter.