Featured Installation – Wilting Flowers

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.

Wilted Lowers Installation _ DSCN4040 - modified - 800px
Wilting Flowers
Ink on paper and newspaper, aluminum wire, cotton string
40″ x 140″ x 5″
Completed in 2016

Wilting Flowers / 凋萎的花卉 / Wilting Blumen

Featured Painting “Mirage” – A World of Ambiguity

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.

Mirage / 蜃景 / Luftspiegelung
Oil on Canvas
22″ x 28″
Completed in 2016

Niobe – An Installation

I have always been drawn to tragic stories, particularly those of cosmic grandeur, often with Greek origins.  The legend of Niobe, a proud princess and mother of fourteen children, seven sons and seven daughters (the Niobids), who boasted of her large family and jeered at goddess Leto, who had only two children, the twins Apollo and Artemis, resulting in unbearable tragedy, was one of my favorites.

Gods were not to be mocked at and the offended Leto sent her children to revenge her honor.  Apollo and Artemis started to shoot arrows and killed Niobe’s sons and daughters one by one.  Niobe’s plea to spare at least one daughter came too late, and none of her fourteen children were spared.  The loss was so great, the grief so heavy, that Niobe turned into stone, yet even the stone continued to weep tears.

The Weeping Rock in Mount Sipylus, Manisa, Turkey, has been associated with Niobe’s legend since Antiquity, Source: RKTanitim

Since I started my “White Dress” series, I have been exploring the expressive possibilities of this motif and the results often took me by surprise, and further fanned my curiosity, and wanted to probe ever further.

Though my recent well-received “Stringed White Dresses – An Installation” was a success, I felt that the origami dresses in that installation were too prim, too orderly.  I wanted to create something more chaotic.  For the composition, I imagined a large dress, like a queen bee, surrounded by smaller ones; this fit the Niobe story perfectly.

After several attempts, I decided on the sizes of the dresses and chose white dresses to represent female and grey to represent male characters.  Before I folded the origami dresses, I crumpled the paper to give them a more lively look.  I put black ink and brown wash on paper to create the chaos in the background, some areas were covered with white oil wash to enrich the texture and to give more contrast to the dresses taped over the drawing paper, and finally some yellow oil streaks to suggest the ungodly gods’ touches.

To finish the entire assemblage, I pinned the little daughter Niobe tried to save onto her with a needle. Finally, I freely splashed black ink over the ensemble, and that constituted my final touch.

Niobe / 尼俄柏 / Niobe, Paper, Ink and Oil on Paper, Needle, Wooden Frames 33" x 16.5" x 3" Completed in 2013
Niobe / 尼俄柏 / Niobe
Paper, Ink and Oil on Paper, Needle, Wooden Frames
33″ x 16.5″ x 3″
Completed in 2013