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IN-Tension Artwork Series
IN-Tension Artwork Series
Beijing, China
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IN-Tension Artwork Series
Beijing, China
We are creatures of changes and
transformations. Through time and circumstances we change within and with the
planet we live in. There are no consistency in our existence and our
environment and physicality thrives on constant transformation.
Through
the ages painters has always try to capture the transformation of light and
shadow within their art while sculptors create physical objects that distort
the perception of reality. The painter allows us a window to view an
alternative reality envisioned by him/her while the sculptor manipulates
objects into 3 dimensional creation. I always believe the painter is more
attune to our viewing perception as we all see the world through a bounded
framework; the design of our eyes. Our vision is controlled by the shape of our
pupils and eye lids as well as our cerebral cortex. A painting provides a
“window” towards the artist’s imagination and the sculptor construct an object
of his/her imagination for us to interpret. What the sculpture mostly fails is
on distorting the reality beyond the created object while painting can frame us
within his/her canvas.
There
is a short coming of a painting though. Whatever
technique he/her employed in which ever medium him/her have chosen it seems
always to fail to capture the essence of change within our world. This is
mostly related to the fact that a painting, in its 2 dimensional form, cannot
fully absorb the true essence of light, shadow and time.
Our
world cannot be viewed without light and shadow and this 3 dimensionality formulates
rules and boundaries that guide our activities and action. This is of course
related directly to time as the change of lights and shadows becomes intertwine
with our behavior and action.
For
the better part of the last 10 years I have always quest for a method to
capture the transformation of these 3 elements. I have struggle intensely to overcome
the inadequateness of my paintings and try profusely to “paint”, or “sculpt” inconsistency into my art but have always been
disappointed with the result. Thus this year, 2012, a revelation happened in
the pursue of my philosophy in embracing the ideology of chaos.
I
realize myself, as well as many artist before me, has been seeking a solution
to replicate this transformation in the wrong way. We have been trying so hard
to mimic this naturally occurring phenomenon I realize we have completely gone
in the wrong direction. We should not have been to mimic, but to embrace these
changes through methods that are much more related with a sculpture.
The
method I realize is to create a painting by first considering all 3 elements of
light, shadow and time as the preliminary criteria and not to add them
afterwards. I realize we have to stop trying to capture the moment of the light
rays or shadows during that specific period of time and embrace all the moments
in one single stroke. In other words I realize the French Impressionists methodology
were wrong.
In
order to capture the instability of the aforementioned elements we have to be
honest in accepting them. Fabric is one of the most malleable materials in the
world and it is so flexible and variable in texture and transparency that the
possible geometrical composition is infinite. Owning my background to
architecture, the fabric has been used extensively in many building design and
one of the most common method of usage is that of the tensile membrane
structure. This is engineered by pulling the fabric very strongly in any
appropriate direction and introducing protruding structure to create a taught
and stable solid form. The form itself can be created in an infinite amount of
composition and it is with this amazing level of manipulation that I start to
think about the play of shadow and light.
The
first series of “tension” paintings is about the 5 seasons.
But
there are only 4 seasons in our planet so what does the fifth entails? The
first series of spring, summer, autumn and winter painting are connected to my
feelings of Beijing and its seasons. The fifth is about the overexpansion of
the city that escalates pollution, which in turn affects all these seasons. It
is a metaphorical reminder of how progress can change the perception of the
weather and how we, as part of the city and planet, need to constitute
reflection in our attitude towards the environment.
Each
painting composes of the same geometrical theme of tensile fabric structure in 3D
protrusion but each form is unique to the relevant painting. The color and
texture employed are also relevant to the theme of each artwork but all of them
share the same idea: when different angle, time or luminosity strikes the
artwork, the light and shadow alters differently to the created form. This can
all be achieve by means of natural light guided by the essence of time as well
as by artificial illumination. The location placement as well as direction of
the canvas also alters the aforementioned qualities and this represents the metaphor
of constant transformation in our world.
Alternate
reality has become so imbedded in our lives where 3D TV, touch screen
technology as well as virtual reality cyberspace has subconsciously merges with
our physical reality that the boundary of what is real and artificial seems
blurred. I believe paintings needs to embrace this change and introduce chaos
and tactile physical form that remind us we need adaptation in our lives and
nothing is ever static!
transformations. Through time and circumstances we change within and with the
planet we live in. There are no consistency in our existence and our
environment and physicality thrives on constant transformation.
Through
the ages painters has always try to capture the transformation of light and
shadow within their art while sculptors create physical objects that distort
the perception of reality. The painter allows us a window to view an
alternative reality envisioned by him/her while the sculptor manipulates
objects into 3 dimensional creation. I always believe the painter is more
attune to our viewing perception as we all see the world through a bounded
framework; the design of our eyes. Our vision is controlled by the shape of our
pupils and eye lids as well as our cerebral cortex. A painting provides a
“window” towards the artist’s imagination and the sculptor construct an object
of his/her imagination for us to interpret. What the sculpture mostly fails is
on distorting the reality beyond the created object while painting can frame us
within his/her canvas.
There
is a short coming of a painting though. Whatever
technique he/her employed in which ever medium him/her have chosen it seems
always to fail to capture the essence of change within our world. This is
mostly related to the fact that a painting, in its 2 dimensional form, cannot
fully absorb the true essence of light, shadow and time.
Our
world cannot be viewed without light and shadow and this 3 dimensionality formulates
rules and boundaries that guide our activities and action. This is of course
related directly to time as the change of lights and shadows becomes intertwine
with our behavior and action.
For
the better part of the last 10 years I have always quest for a method to
capture the transformation of these 3 elements. I have struggle intensely to overcome
the inadequateness of my paintings and try profusely to “paint”, or “sculpt” inconsistency into my art but have always been
disappointed with the result. Thus this year, 2012, a revelation happened in
the pursue of my philosophy in embracing the ideology of chaos.
I
realize myself, as well as many artist before me, has been seeking a solution
to replicate this transformation in the wrong way. We have been trying so hard
to mimic this naturally occurring phenomenon I realize we have completely gone
in the wrong direction. We should not have been to mimic, but to embrace these
changes through methods that are much more related with a sculpture.
The
method I realize is to create a painting by first considering all 3 elements of
light, shadow and time as the preliminary criteria and not to add them
afterwards. I realize we have to stop trying to capture the moment of the light
rays or shadows during that specific period of time and embrace all the moments
in one single stroke. In other words I realize the French Impressionists methodology
were wrong.
In
order to capture the instability of the aforementioned elements we have to be
honest in accepting them. Fabric is one of the most malleable materials in the
world and it is so flexible and variable in texture and transparency that the
possible geometrical composition is infinite. Owning my background to
architecture, the fabric has been used extensively in many building design and
one of the most common method of usage is that of the tensile membrane
structure. This is engineered by pulling the fabric very strongly in any
appropriate direction and introducing protruding structure to create a taught
and stable solid form. The form itself can be created in an infinite amount of
composition and it is with this amazing level of manipulation that I start to
think about the play of shadow and light.
The
first series of “tension” paintings is about the 5 seasons.
But
there are only 4 seasons in our planet so what does the fifth entails? The
first series of spring, summer, autumn and winter painting are connected to my
feelings of Beijing and its seasons. The fifth is about the overexpansion of
the city that escalates pollution, which in turn affects all these seasons. It
is a metaphorical reminder of how progress can change the perception of the
weather and how we, as part of the city and planet, need to constitute
reflection in our attitude towards the environment.
Each
painting composes of the same geometrical theme of tensile fabric structure in 3D
protrusion but each form is unique to the relevant painting. The color and
texture employed are also relevant to the theme of each artwork but all of them
share the same idea: when different angle, time or luminosity strikes the
artwork, the light and shadow alters differently to the created form. This can
all be achieve by means of natural light guided by the essence of time as well
as by artificial illumination. The location placement as well as direction of
the canvas also alters the aforementioned qualities and this represents the metaphor
of constant transformation in our world.
Alternate
reality has become so imbedded in our lives where 3D TV, touch screen
technology as well as virtual reality cyberspace has subconsciously merges with
our physical reality that the boundary of what is real and artificial seems
blurred. I believe paintings needs to embrace this change and introduce chaos
and tactile physical form that remind us we need adaptation in our lives and
nothing is ever static!
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