Studio PracticeSpace | Time | Perspective
How does cultural fusion can be represented as a contemporary visual art language through landscape painting? I reference the areas between ancient Chinese aesthetics and its art theory as well as the modern and contemporary Western painting practice. I try to transform the form, language and methodology from traditional Chinese painting and calligraphy into a new contemporary language of oil or ink, and also I study some contemporary artists like Peter Doig, Barbara Rea, R. B. Kitaj, Gerhard Richter and Callum Innes, etc. I practice spacial theory and method of perspective by addressing Damisch’s Theory of Cloud (1972) and Chinese Song Dynasty (960-1279) painter Guo Xi’s the three levels of perspective - far distance, deep distance and valley distance in Chinese vertical Scroll Painting. According to the unlimited forms and physical character of cloud, Damisch considered it as a unique pictorial code which can open a spatial substance and explore a new visual order/syntactical space to contribute art history and its methodologies. Song Painter Guo Xi’s theory --‘three levels of depth’ emphasizes to observe the actual landscape through different scenes and profiles, and finally displays in painting a spiritual overall impression of the landscape. So he developed a multi-focus method of perspective to connect the different scenes as well as the process of viewing. As a result, the moving of viewer's viewpoint creates a movement and time development inside of the painting. |
Empty Moments in Time Oil on Canvas 50-100 by six panels 2015
My group of screen paintings explore spatial display, time passing and method of perspective:
The Big Landscape Oil on Canvas 50-100 by six panels 2015
The feeling of time passing also comes from the visual display of the screen painting itself. Just like the idea of Chinese scroll painting, or the ancient Chinese calligraphy bamboo, in which people can open the scroll and read the characters and figures from one side to another side, according to the time development of the work itself. Through the traditional methodology of Chinese culture I provide the flat landscape painting a unique time concept, and the movement in the work can happen from either left to right or bottom to the top. |