2023 ART021 SHANGHAI CONTEMPORARY ART FAIR
SPACE STATION ART CENTER Booth E1-10
Painting is Trimming after the Aesthetic Information Growing Wildly
I have been focusing on the natural flow of painting expression in favor of the true interest and vitality in the painting, controlling complexity in an easy way, emphasizing the expression of spiritual precision, proportion, and law in the seemingly unintentional flow of the unobtrusive. This natural and simple way of expression is a well coordination between mind and hand, and also the beauty of the picture that I have been tempering.It is also, of course, about interpreting and pondering the genuine tradition in order to sprout the heathy atmosphere, discovering and understanding the regularities flexibly, starting from the law and breaking the boundaries between all kinds of languages to find oneself from every action, and depositing this information as a kind of power, which is constantly replenished or reorganized with the adjustment of the concentration of the information. This process of reserving, adjusting and expressing power is also my own so-called creative process.
The better state of painting, for me, is to pour out what is in my mind, to trim and cut after a certain period of aesthetic information that has grown wildly. This kind of communication does not deviate from the main line of pursuing the meaning of the picture mentioned above, but at each stage, there is a kind of reactivation of the previous reserve with new perspectives, and there will be some new attempts, which are more like a re-tuning of some information or an adjustment of the flavor of the aesthetic needs of the moment.In recent years, paintings emphasize more on the expression of inner strength, removing or weakening the language of external modification in a good deal, and, by extending inwardly, emphasizing more on the murkiness and simplicity of the picture, and demanding a more general and condensed painting language to strip the image and implications as completely and clearly as possible out of the picture by using the brush and ink. Before painting, the sense of quantity and the state of the mental image are often clear in the mind, and I hope more urgently to express the power of the mental image with the help of figurative language, and hope that the painting will have the feeling of falling to the ground; so, how to capture and whether to capture accurately have always been the issues that I need to think about constantly. Expressions, at the beginning, are more from the line, and continue to improve, little by little to present the picture, and sometimes also according to the state of creation of the flashback directly present the image, and then go to the target to improve.
No matter what the way is, it is all for the purpose of better grasping the spirit of the painted objects. In my recent paintings, I have also tried to use ink or color, straightforwardly, to draw the shape of the object to be expressed, without details, just an outline with rhythmic changes, based on which using the brush to make it stand out. This process, for me, is as coherent as possible, and it is a kind of immersive expression, and also a kind of flashback, using the image of the picture as a basis for a more accurate sketch of the mental image. Of course, this is all based on a personal love of more holistic shapes. Most of these images are inspired by other artistic disciplines with varied materials related to painting, and although these forms are limited by materiality, volume and practical functions, the treatment of the image in these seemingly restricted forms of expression actually activates the creativity of the creators to a greater extent, and has a richer and more varied expression of natural interest. Focusing on the outline, the image modification is closely combined with the power of the external lines, and there are a lot of delicate strokes, which, for me who is concerned about the connection between the shape and the line, has given me great artistic nourishment in my creation.
During the art field trip this spring, I visited the stone carvings of Huo Qubing’s tomb again, which had been many years since the last time I saw them. With the change of perspective, I was still shocked in re-reading this masterpiece by the delicate emotions conveyed in the highly realistic atmosphere. These stone carvings are typical flashback expression, in which the makers are attracted by the potential and power of the raw stone, and find out what he needs from them, and then carve them in according their natural pattern into shape. What we appreciate is the makers’ choice and delineation of the raw stone. The delineation seems to be bold and careless, but actually the sense of proportion and the degree of grasp are very accurate. In the relatively flat raw stone, the line of cutting, with the rhythm of change, is like a large-scale line drawing works; or with a very simple carving skill to express the object, retaining the shape of the raw stone itself, conveying the unique spirit of the object; or with the help of the natural pattern of the raw stone, there is only a localized delineation. Forming of artifact and nature’s great interactive power, these expressions are based on the initial creating intention, and all the measurements come from the grasp of the spirit of the object. This language, presented between the different shapes, quantities, potentials of the raw stone, is not only very moving, but also has a strong sense of painting. Like the empty and the substantive in painting, the lines and blank space vividly awaken the inner spirit of the raw stone. The echo between the handwork and the inner spirit at this moment is also tacit. When we appreciate this kind of work, we should be more concerned about the makers’ abilities to control the integrity of creation, the boldness to make choices, and the delicate expression of inner spirit.
I am touched by this use of varied language to evoke and enrich a chaotic generalized shape, which is also what I have been thinking about and trying to do in my paintings for some time now. The use of the brush to evoke the cut-out shape of a piece of gold foil is also a continuation of these feelings, including the feeling of painting, and is consistent with my previous pursuit of painting, only with a different material. The softness and length of the gold foil do not allow for too much detail and hesitation in the expression of paper-cutting, more of an improvisation, and the form of the picture content varies, and, the aesthetic, more fragmentary, can be more pure, direct communication of the instant feelings, against some contingency, as well as due to the situation. There is a lot of uncertainties in the process, and the natural peeling of the gold leaf will give an unexpected appearance to the shape, adding a bit of wonderful taste to the already natural shape. Ink and color on the gold leaf sometimes disperse, producing a variety of collision, thus how to deal with the handling is a new feeling. This process also mobilizes a lot of romantic ideas. The rhythmic changes of the straight lines and the progressive relationship between languages present a flavor that is not easy to express in painting, but can be expressed in a simple and general way in the cutting. In the unified space of the gold leaf, you can express yourself in a lumpy or dispersed way, depending on the shape you want to convey and the power of the shape. The use of images requires a greater mobilization of your previous nutritional reserves.
This mobilization is very pleasurable, and the subjects that I choose to express are the ones that I usually like to play with. With your favorite shape or fragmentary or complete cohesion in a point, the blue-sky expression is like a fragment, but you should voice the strong aesthetic feeling, and, on the basis of the shape, as mentioned above, you should outline with trade-offs and reservations, and make quicker judgments and adjustments in your skills between the certainty and uncertainty to maximize the preservation of the fresh shape. Sometimes, over-drawing will cut down the appearance of the shape. How to awaken and how to stop at a suitable point is actually a great test of the initial conception of the image, and it is necessary to fully immerse oneself in the rhythm of the overall presentation and awakening of the creation. This is a fresh attempt at precision and natural expression in painting, mostly done in a compact state, so it is closer to a kind of spiritual materialization, and to the state of ringing-out that I personally like to express. No matter what kind of material I use to express myself, it is all based on my own understanding of the beauty of modeling. I have also adjusted and supplemented some of the customary techniques in my paintings.