In recent decades, the economic inequality in the world, propelled by the ever-greedy corporations and individuals, and aided or even championed by purchased colluding governments of various dominances and ideologies, has widened drastically, and the divide between the haves and have-nots has become such an insurmountable gulf that the people behind are increasingly unable to sustain themselves, let alone catching up with those sitting on top of the socioeconomic pyramid. My The Desolate Souls of Main Street attempt to give a tiny protesting voice to the voiceless and faceless downtrodden, whose dire situation, in contrast to the mind-boggling glitzy world of the gilded, is as heart-wrecking as it is damning.
My monochromatic painting Procession is a visually engaging and topically challenging work, which depicts a group of fantastic birds, treading despondently in a nondescript and barren landscape, carrying a dead companion in the middle of their solemn funeral procession. The overwhelming sadness was manifested in the starkly contrasted white and black color scheme, and the bend and stretched postures of those dejected birds, from gigantic to tiny. The loose brushstrokes and the lack of the last measure of definition, also contributed to the unreal and dreamy atmosphere.
Despite some success of my 2015 painting Waft, which was recently published by Pomona Valley Review (Volume 11, Summer 2017), I clearly saw rooms for improvement, and recently I made a new version of the painting, titled Wafting — much darker and more dramatic, with additional whimsicality and humor, lent by the black flakes, resembling playful butterflies, darting above the little girl, who was, as in the 2015 version, running away from the viewer, holding strings tied to floating human balloons, all in the shape of young women dressed in pure white, against much darker and more ominous background, as if in the process of awakening or drowning. I believe that the latter effort was psychologically more penetrating and indeed a big improvement.
My 2007 oil painting One Fine Day soon will conclude its five-month long exhibition at at McGuire Real Estate Gallery in Elmwood District, Berkeley. This painting, in somewhat sickly moon light tone (pale Prussian blue), depicted a school of agitated and thrashing fish, tightly packed in confining space, bulging eyes telegraphing anguish, straining to escape of a deadly trap they had unfortunately fallen into.
The ironic title I chose, perhaps ought to be ascribed to some lucky fishermen. And that spoke the volume of the relationship of mankind and the unfortunate nature.
My 2003 oil painting Net, currently exhibiting at the McGuire Real Estate gallery in Berkeley as part of the “Crowded by Beauty” exhibit, is a study of alienation and anxiety of our time. The vertical canvas is split unevenly into three narrow stripes – a bright and somewhat richly patterned center “panel”, flanked by two darker and simpler outer “panels”; with the slanting perspectives of the outer panels, the whole image resembles an opened-up triptych. Furthermore, the center panel was covered by repeating yet subtly varied outlines of small windows and some interlocking ladders, which tilt in various degrees; the joyless left panel is a simple building façade, immobile, and featureless, except for some blank windows; the right panel features one large window, and behind the casually divided glass panes, there is a broadly sketched sad-looking man, looking out, tentatively raises his hands, as if attempting to make gestures of hesitant acknowledgement.
The strong contrast of the three panels, with the vivid and colorful middle, and somber and austere at the sides, plus the alien-looking ghostly person locked inside his flat, captures a sense of dislocation and disjointedness quite well.
Not a surprise for a painting created at a sad moment of history – it was done in the year when George W. Bush poised to invade Iraq in spite of the fierce and sound oppositions from virtually every corner of the globe. My painting managed to capture the Zeitgeist then; unfortunately, the overall mood still fits today’s gloomy atmosphere.
The motive behind my oil painting Trot was my wish to explore tonal contrasts and arrive at a certain balance of playfulness and menace.
The subject of this study is a cat, or two. Before I started my oil, I made several preliminary sketches and once I committed my ideas to the canvas, I proceeded with a cat with upright head. Somehow, after the composition had more or less taken shape, I noticed a more dynamic and emotional sketch with a cat whose head was bending down, thus I incorporated that cat into the canvas.
The finished painting more or less achieved my goals, though the subject can be seen as two cats running side by side, or just a cat captured at different time.