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 small gouache painting Weave served as a little window to a bigger universe, literally and figuratively, opening to a vast expanse of sky and ocean, which emerged from alternating tall windows and hedges in the foreground. The painting is quite still, as it was dominated by the forlorn and hushed landscape; yet it was also dynamic, with the sky streaked with dark clouds, and blue ocean interrupted by light and dark waves, and the hedges grew wild and almost hallucinative, twisting their relationship to the windows and the outside world into optical confusion. One small relief was the disc of the sun floating atop, providing a counterpoint to the dissonance below, even though its presence, obscured somewhat by wisps of clouds, was rather bleached.
Through a blurry, fluid, and background randomly dissected by some diagonal strokes, several uncertain, twisted, and sad faces emerged, telegraphing the terrified and oppressed people in our uncertain and increasingly inhospitable time and climate, and they were my observation and report in my recent painting Piñatas. The fear, the apprehension in their averting eyes, and the tears streaming down their downcast faces, pulled in and turned away the viewers by our collective shame over our helpless fates and our inability to avoid disasters. We were all beaten piñatas.
Dream Forest continued my exploration of monochromatic paintings consisting of interlocking patterns and shades, some simple, some more intricate. This small gouache painting depicted an imaginary forest at night time, when moon light shimmered over truncated trunks and branches, contrasting starkly with dark surrounding. Also, the image somehow resembled a microscopic view of organism, a tiny sliver of macrocosm.
Away is a fantastical portrait of a young man, whose striking features outlined in broad and loose strokes, staring at viewers unflinchingly. Lifting the portrait beyond realism realm were two white patches hovering just below the sitter’s eyes, as if two small wings had grew out of his deep thoughts and were ready to bear him away, from the confinement of the tight space allotted to him, from the heavy vertical bars on both sides, and from the ruined bridge and houses on the corners of top right and lower left, respectively, testaments of some traumatic past.
A landscape as an enigma is the impression of my monochromatic oil painting, Interlocked, which depicts a semi-abstract, difficult to decipher landscape, under the threat of heavy and broadly zigzagged clouds in the upper region, while underneath, an orderly and calm swatch of staggered and slightly angled roofs, indicates order, and furthermore, social hierarchy and constraints. The dripping liquids permeating the landscape lends the notion of connectedness and the interlocking nature of the environment, natural or man-made.
A horizontal canvas divided into two zones, upper part is a white space being invaded by dark clouds from top, while the lower half uniformly dark. Connecting and separating these two spaces are five slightly wilting white flowers, caught in the no man’s land between these contrasting zones, with some of these flowers disintegrating and dipping further into the innermost of the dark space, like invading roots grew into hidden soil. This highly contrasting painting, C Major, depicts a world which was both harmonious and polarized, and the little exchange of these two worlds simultaneously terrifies and entices. Additional layers of lines, spots, and scratch marks, give the painting a patina of an aged photograph.
C major, one of the most common key signatures used in western music, was often the key for many Masses and settings of Te Deum in the Classical era, such as works by Haydn and Mozart. Without flats and sharps, C Major perfectly encapsulates the seemingly absolute separation of order and chaos. Though a bit dated and fading, like an old family album, we still yearn for it, for its orderliness and predictability, which seems forever beyond reach; in today’s world, no matter which key dominates, dissonance persists.
My little idyllic painting, Brook, depicted a thin stream snaking through a quiet grove, seen through imposing placed black trunks in the foreground, and enclosed by delicate silhouettes in the background, behind shimmering bright light like a liquid curtain. The sedate creek, painted impasto, with paints dragged downward rough bottom edges, as if a living creature planting its roots or sinking its teeth into the meadow; meanwhile, its varying somber colors, and the impossible spatial relationship between the tree trunks and the seemingly floating creek forks, simultaneously ups and downs, and in front of and behind those tree trunks, created a sense of disorientation, uneasiness, and otherworldliness.
Identifying myself primarily a representational artist, does not exclude me from time to time being drawn to purely abstract visions, which excite with contrasting or even clashing colors, interplay of of shades, lines, and intricacies of patterns and forms. One of my successful results is a recent gouache painting, Time Frame, which intrigues viewers with ever expanding viewfinders, appealingly complementing secondary colors, and an array of ever shifting lines of different lengths, angles, and hues.
This painting will be exhibited at Berkeley Expression Gallery, September – December 2018, as part of the “Autumn Colors” group exhibition.
Immediately after the devastating 2016 US presidential election, I was in the grip of a stark vision, when innocent and powerless people were rounded up by oppressive strongman regime, and that was the inception of my new project, “Our Winter of Discontent”, to capture the image of miserable, unhappy, discontent, and angry people, whose almost anonymous heads, shut behind a sprawling web of barbed wire, and oppressed by menacing dark clouds from above. This vision was not paranoid fiction; it was based on observation of Donald Trump’s increasingly divisive and hateful rhetorics leading to his ascension, which reaffirmed the ugly political and cultural reality of the almost apocalyptic US.
The world at large had been threatened by the rising totalitarian and nationalistic trends, and the diminishing of liberal democracy, and the situation only got worse by the day, under the weight of Donald Trump’s daily assault on democracy, free press, and rule of law, etc. My warning vision had become a sad prophecy, when many asylum seekers and their underage children were brutally separately, and summarily detailed. And thing could only get worse, and those behind the barbed wires could well extend beyond those “illegal migrants”.
A good vision doesn’t necessarily lead to good painting. After many months’ struggle, I put aside my first attempt, which became somewhat too belabored, and a bit unyielding, and started over with version two. Yet, though satisfying to a certain degree, it became a bit regimented, less spontaneous, and also a bit removed from my vision of a manic world of disorder.
Learned my lessons from those two attempts, I started a third version, and it largely achieved what I set out to document, with proper unsettling and fluid visual style matching our disturbing and depressing zeitgeist.
Here, the final product, “Our Winter of Discontent”.