My first oil painting completed in 2017, The Wash, continued to explore and express spatial relationship and (ir)regular patterns. This landscape was inspired by some haunting though dimming images crossed path with me a long while ago, of some laundered white sheets, blown wildly by strong wind, struggling to remain on the laundry lines. The rhythmic movements of those flapping sheets generated an atmosphere of both orderly and unruly, and such sense of drama was heightened by the stark contrasts between the blindingly bright sheets and the dark soil and sky, which foretold a menacing storm, poising to ruin the pristine cleanness of those vulnerable sheets.
Recently I created an installation Wilting Flowers and fully documented the creation and installation processes.
This new effort was spurred by my continued fascination with paper material – delicate, malleable, and transitory, characteristics well suited for hinting at, versus representing, a world full of fragility and vulnerability, constantly under the threat of total destruction.
My local newspaper, “The San Francisco Chronicle”, served as the foundation: a segment of our time, distilled and encapsulated. Inky strokes and splashes were added to the newspaper sheets, which were folded and tied up to form large flowers, with aluminum wires wrapped with dyed twine as stems.
For the background, I chose five sheets of plain white paper, streaked with similar black strokes of ink diluted with various amount of water.
To install, I attached these background paper to a wall in an uneven row, then affixed those flowers, 13 total, to those sheets. There were no strict rules about how to lay out the background sheets and flowers, as long as the finished installation looked balanced, and the flowers largely faced outwards.
I have installed these sheets and flowers on different surfaces – a colorful graffitied plywood wall, or somber looking wooden fences, at different times of the day. The differences between the surfaces, the different light cast on the wall or fence, background sheets and paper flowers, all contributed to a murmuring polyphony.
My Mirage, a fantastic painting, was based on a vision visited me when I was falling asleep but with enough mental presence to get up to make quick notes – a distant town, whose outlines barely discernible, in the manner of those commonly seen in old Dutch or Flemish landscape paintings, overwhelmed by several enormous and boldly sketched black feathers floating above the sky. Behind those dark and somewhat ominous feathers, a delicately pretty pale blue sky flashed through persistently. Yet, despite the seemingly menace, those dark feathers also looked rather protective and comforting. A world of ambiguity.
My 2000 oil painting, Stairwell, is a monochromatic and atmospheric piece, which captures when early morning light, through side window, penetrates the darkness in a narrow stairwell, casting bright light into the confined, darkness permeated space. Though means of chiaroscuro, together with more subtle interplay of light and dark, I managed not only to have created an overall dramatic atmosphere, also given a clear definition to the tricky space through receding orders, and added depth and accenting details to the sparse and otherwise flat and dreary confinement.
This painting has been snatched away as soon as the paint dried, and last week I received this notification from Owen Wister Review of University of Wyoming:
The OWR would really like to publish your art pieces “Ink and Watercolor Lilies,” “Stairwell,” and “Rafting” in this year’s issue. The colors in your pieces spark emotion in the composition and the texturized strokes are memorable in your work. Attached is a consent form; if you agree please print the form, sign it and scan it back, then email it to us or send it in by mail. Again we really liked your work.
I am quite thrilled and grateful for the recognition.
I am very proud of my 2007 oil painting “Mackerel”, in which I managed to capture both beautiful and sinister elements of a daily object, fulfilling a most tantalizing pursuit of mine.
With its intense colors and bold strokes, this painting economically presents a sleekly fish, intently staring upwards, as if ready to confront its captor; at the meanwhile, its eye also betrayed the fish’s sad resignation to its imminent demise. The background of the painting was plain drop cloth, hatched lightly, and dominated by sickly greenish-yellow from the left and graduated to an intense blue to the right. The intense vertical blue patch also represents the deep water being turned upright, in a disorientated world.
This painting was just awarded of 1st 2015 ArtSlant Showcase Winner.
It was also selected for exhibition at ViewPoint 2009, 41st Annual National Juried Art Competition, Cincinnati Art Club, Ohio, November 2009.
The medium or media we choose to convey our deepest feelings and expressions, etc., however competent, can never fully convey the whole complicated concepts our brain formed mysteriously, thus the endless striving to meet the challenge, to do a better job still in the next given opportunity, thus the hunger to develop and grow as an artist, be it visual, musical compositional or a writing kind.
It also occurs often enough that one form of artistic creation, spurs on the re-interpretation with another media of either the whole story or a fleeting moment, not necessarily to prove a better job can be done; rather, to add another dimension to the engaging concept while hoping to complement the original.
I have been stimulated, on multiple occasions, by novels I read, sometimes the whole atmosphere of the book, such as Blindness by José Saramago, or sometimes, just a specific passage which may not even be pivotal in the whole scheme, such as my newly completed oil painting, Arabesque, inspired by a passage from The Known World by Edward P. Jones: “… looked over at the open chiffarobe [sic], whose door was broken and so would never close properly, looked at the black dress hanging there. It seemed to have its own life, so much life that it could have come down and walked over and placed itself over her body. Fastened itself.”
I actually was quite stirred by the passage and the image just flooded into my mind. Incidentally, this painting also fell into a painting scheme of mine – I have been working on a series of “White Dresses”, which I saw as both liberated and restricted, at once individual and impersonal, simultaneously beautiful and sinister. Now it started the companion series “Black Dress”.