Tuesday, January 3, 2017

Historical Aspects of Mark Making

jawing into my artistic production is the like going on a very suicidal journey, one that requires the participants to let go of their security and preconceived mindset, and mustiness be willing to experiences enquiry and suffering. From the beginning of my artistic career, I was deeply in sexual love with the Ancient Chinese calligraphy, not because of my affinity as an Asian person, but because of the essence. In my summit of view, the essence is the source that is scalelike to the truth. Ancient Chinese talking to is elusive, it can have multi-meanings and multi-levels of reason depend on from each one individuals cultivation. See the insert below for example.\n\nFig.1 nick Shimei. River. 2008 \n\nThe Ancient Chinese geek for river, one wriggly cablegram in the middle and a few lines on four-spot corners. Can you get the root? From this jump off point, I develop an eye for tick off makings. I learning that to shape marks is the first tonus in deconstructing an idea or concept of a categorical artwork. Historically, I was influenced heavily from Rembrandts paintings. I dont think he is a virtuoso painter, but I appreciate the quality of minimal and simple, slap of paints that he puts on the canvas to show the justness of light. Here I am not talking to the highest degree the chiaroscuro, but the part that is in the darkest area of most of his painting. It seems like nothing, but it is everything! See the figure below.\n\nFig.2. Rembrandt.\n\nWhen care fully observe Rembrandt painting, I discover that each brushstroke is bet and right to the point, nothing is wasting. Analytically, I adapt the idea of alter my marks, thus is able to keep up energy, and at the same time, utilise the reserve energy to do more. Which bring up some other key artist, Tom Freidman, that I found very interest and able to appropriate some... If you deficiency to get a full essay, order it on our website:

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