Looking for the possibility of artistic interlacing

Photography  x Painting x Digital

Gold with child

Gold with child , 1 / 2019,Oil on canvas with golden power,170 X 112 CM

This tree hides the power and energy that we can't see, the continuous circulation, the golden water, the native gold, the electricity through the wood, the constant flow, to reflect the five elements of energy interlocking. With a blue colour around the child, the child is hope for the future. Wish in the future, the child can master the power to a better life.

Concept 

In order to produce certain sensations, these sensations are in the process of development, not fixed and static. Therefore, they are part of the spiritual world. Also, it can also be done by showing it as being in motion. I was trying an experiment to make a moving image to combine my painting to explore spirituality. 

The first is to use images from dreams or imaginations like the surrealist movement. In my work, I combined the concept of “circulation” with the five elements of China, combining surrealism with the image of my daughter naturally posing in prayer or a natural stretch towards yoga at the age of one (symbol The concept of new life and natural circulation), and then come into the sound of nature (the sound of wind and sand).

With the connection between spirituality and movement, which is very complicated because there is also a spirituality related to tranquillity and calmness, perhaps a continuous cycle of time, or something represented by the image changes with the passage of time, by making the image the way things look at a particular moment. Also, how they attract eye-catching images at specific moments, the purpose is that I am trying to do my works in visual art which have new possibilities.

Process

​My daughter, who was 1Y.  15.4.2016

Using photography as reference material for painting creation, and I also refer to the perspectives explored by photography. 

Gold with child 3 / 2019,Golden motion video  0.52 min 

 About movement Inspiration 

Bill Viola used modern video technology and computers as a means. I saw the combination of traditional paintings and colour language in his works, and I learned how to combine video presentations with the perspective of painting. Since his work pays great attention to colour and layout structure, he used several works as a group of projections. It looks like a magnified painting. The image appears fast and slow, big and small and disappears. From his works, inspired me on how to focus on how the subject, how to master technology media, space, and concepts, the background should match each other and coordinate with each other in his personal creation experience, and his personal insights into video art. It also affects me to explore other levels of thinking that can influence each other between the five elements and people.

 

Bill Viola

Tristan’s Ascension (The Sound of a Mountain Under a Waterfall)

IC-98 his best known internationally for their animated film installations, which combine classical drawing and digital effects.  From IC-98's works, it inspired me if I change my paintings to show the moving image, my paintings may be transforming to become a new way to present the image of paintings. In order to achieve the skill, I started to find different ways to do moving images, trying to combine movement with mixing sounds to base my idea regarding the energy of the Five Elements.  

Child with hope

6 / 2019, Oil on canvas with golden power, 162 X 112 CM

​This child is my son, who was born 15 days. With a blue colour around the child, the child is hope for the future. Wish in the future, and the child can master the power to a better life. Every mother hopes their child who can have happiness and a shining future. A New World, a child, can find an excellent place for you to tell a new story and let the world direct a new way for everyone.

Process

​My son, who was born 15 days.  23.5.2017

Using photography as reference material for painting creation, and I also refer to the perspectives explored by photography. 

The Aesthetic point of view interweaving East and West
The concept of child gaze 

"More than any other sort of information, our eyes seek out signs of subjects – that is, things that look at us, even as we look at them. Newborn children respond to the likeness of two eyes and a mouth in preference to any other type of image. Faces are literally the first things in their world.  In this sense, subjects – of which faces are the chief sign and indication – are the primal, biologically crucial business of visual representation. We need to know about them as a matter of love, lust, company and fear. " [1] 

For me, I communicate with the child's eyes. I can understand his emotions. For the newborn, although he does not express, I can try to understand his needs through the eyes. With my angles to convey my feelings for the child, explore him in my eyes from my perspective, and the moment when my child was staring at me.

According to Jacques Lacan( French psychoanalyst and psychiatrist), the baby's identity consciousness arises from the understanding of the interdependence between subject and object. Later scholars developed it into the concept of personal identity and other, pointing out that the establishment of own identity is inseparable from the other In context, it believed that the status comes from both the individual and the relationship with the other. The roles of oneself and the other can also be transformed.

The Aesthetic Meaning of "Leave Blank" to create a unique space sense

From the initial composition, to create a visual space sense, I specially made an extended version of the frame. To be like a Chinese painting scroll style, I want to try to import the concept of Chinese painting into Western oil painting.
I want my works to be pure and straightforward. The only thing that happens in my works is going to communicate with an audience – with pure colours combining "leave blank" in background. Mostly, "layout and leave blank" in Chinese paintings, is the most important, the ingenious combination of artistry and aesthetics. I think that can make the art reach a heightened state in which the supporting role supports the protagonist, and the supporting role and the supporting role coexist. I believe it has some advantages and is detached with non-visual things, so it can focus on viewing. The purity of sight is connected with some silence because only silence can focus on gaze and eye contact. 

To Present Vital Rhythmic Flow
Emphasizing virtual reality is based on aesthetic needs, consciously setting the subject image and the centre of the screen, and setting empty scenes with virtual whiteness to make the real scene more prominent to present vital rhythmic flow in the background space.​

Far-reaching is an overhead view

I use a virtual three-dimensional as reference for my paintings of Child with hope and Gold with child.

Based on representation of space in traditional Chinese paintings: 

Traditional Chinese paintings generally adopt the 45 to 60 degree bird 's-eye angle as the basic framing device with the bottom foreground remaining unchanged while adjusting the upper part of the painting to a wider angle to take in objects from three angles, eye level, inclining, and bird's-eye view. Therefore, the three distances of horizon, depth, and height can all be incorporated into one frame. This technique of framing can be called "angle-shifting" or "multi-angle" method.

In addition to three-dimensional space, Chinese painting also has three-dimensional space, which is time.. Blank space is a metaphor for the nature of heaven and earth. The sequence and extension of time are formed around and inside the painting. This is true in high-format and large-scale works, especially in scrolls or ancient murals.

Also, I added airflow concept.The belonging of space in Chinese painting echoes the transfer of breath, and the transfer of breath is completely related to the airflow, and airflow is all the driving force.

Medieval Theories of Aesthetics

I describe the objects carefully, and meticulously the purposes are to explore in painting and photograph. At the same time, the description is also analysis and research. The image of the research object is analyzed. Michelangelo of the Renaissance also said: "Art is the ideal nature to imitate." For this "imitation theory" or further "representation theory", art lies in doing its best as an artist. Proportion, light, and symbolism, played essential roles in medieval aesthetics. To me, I also interested in the concept of light: what it is and how it affects everything, especially colour. Symbolism based on the view that the creation revealed God; therefore, symbolic meaning could be communicated through artwork. I explore light, shadow and colour for my work. Light illuminates the colours, which leads to more radiant colours will cause the object to be brighter and, therefore, more beautiful. The incorporeal light for the Christians, God's light and gives splendour to the whole of creation. The view is what allows the beauty of objects, especially their colour, to become illuminated, to display their attraction to the fullest.

 [1]. Julian, Bell.(2017)What is Painting? ( Second Edition)., London:Thames & Hudson Inc,p.88  

 

Using light and shade to bring the image to life

There is a sense in which colour causes beauty since everything has colour. Hence, more radiant colours will cause the object to be brighter and, therefore, more beautiful. The light and shadow in painting, the interlacing of colours, the mutual influence, and the glazing of colours have always been an important point I have explored in painting creation, so I study the methods of different glazing to present changing colours.

Lo Chan-Peng, his paintings reveal that there is a layer of halo on the surface of the painting. The light on his paintings is different from the light under the spotlight of the 17th-century Baroque period. The colour changes under irradiation are various. He does not emphasize the angle or position of light incident on the screen.  He does not deliberately draw the relative relationship between light and shadow; he also does not highlight the colour changes caused by different lighting at different times. So he does not deliberately use the primary colours or complementary colours are juxtaposed to create the effect of visual flicker. His art practice is not directly facing the physical sketch.  Before painting, he will take a digital camera to take a picture of the person to be painted, and then transfer this photo file to the computer, and the software program will process part of it. Presented on the screen, then he traced the image on the screen. Because of the pre-production work after the above procedures, he used his superb skills to describe the image on the screen faithfully. Almost all of his works were glowing. The light on his paintings is the fluorescent light. Which floods the screen, that is, the electron beam shot from the inside to the outside of the screen. This is a contemporary vocabulary that only exists in the contemporary information society covered by a large amount of digital information. This is the universal human visual form after the information revolution, and this is also one of the characteristics of Lo Chan-Peng's paintings that can have the times.

 

Eve's Garden, 2019
Oil on Linen Panel
24 × 24 in
61 × 61 cm

Compared to Lo Chan-Peng, Leng Jun has the opposite view; he emphasized not referring to photos, he emphasized on-site sketching. His work is unique with its unique ideas and extraordinary artistic skills. The most prominent feature of his work is extreme realism, which cannot be replicated. Leng Jun paintings are rigorous and never "overproduced." He only paints one oil painting a year. Because it is difficult for him to draw a satisfactory work, and finding an adequate model is even more difficult. Leng Jun attaches great importance to and emphasizes sketching, because "sketching" is his way of ensuring the vividness, richness and reliability of the source of the picture information, and the method of expression that stimulates action.
He often has to approach the object, scan to find and appreciate every detail that he needs, partly in-depth, overall observation, plus full picture, the perfect unity of detail and the overall effect.
And the use of schema in the picture also has unique insights. This text in the article Self-satisfaction: The purpose of simplification principle in the scheme deliberately avoids the mannerism of classical realistic paintings that piling up objects in large numbers due to their display skills. The use of reduced pictures. It is more substantial because of simplicity, and the concept of classical supremacy conveyed by the method of rarely is more effective in showing the loyalty of the existence of things and the aesthetic ideal of supreme sovereignty in classicism. In this way, because of the "reduction", a lot of content, is not related to aesthetics is also removed, making the picture more pure and sacred, which inspired me. 
 

 

Leng Jun's "Portrait of Portrait-Little Ginger" oil on canvas 120 × 60cm 2011

 

Leng Jun's "Mona Lisa-Design on Smile"

oil on canvas

2004

To see the light of the hope in the dark

​85 x 50x 3 CM,

mix media,

installation, 10.2019

​This work is an installation of mix media, specially made for ‘Crypt Gallery’ in London, the space for ‘ IMMUREMENT’ exhibition. ’Crypt Gallery’ was originally a bomb shelter during World War II, which was later used as a tomb and eventually transformed into a contemporary gallery. 

People who are imprisoned, the heart that wants to break free, the exit that is extended (the light), people wish to find hope. To see the light of the hope in the dark, get salvation

When the pupil of the human eye sees the light in the dark, it will produce an aperture. In this way, the concept of the aperture and the concept of the circle are used to bring out the golden light between the dark black and the indigo, and the response can be seen in the darkness. Wassily Kandinsky in the Introduction to Concerning the Spiritual in Art: A light in the art that the darkness cannot finally comprehend.

In the underground gallery of the church, in response to this historical space (explores the meaning behind the word 'immurement' and the history of the crypt beneath London's St Pancras Parish Church)

Device art intervention space

For the souls that have been injured in the history, the imprisoned soul can be guided the footprint of the hope from light and hopes that the audience can see the light of the church window step by step, to guide the exit, find freedom.

 About light and shadow Inspiration 

Japanese architect Tadao Ando is good at using plain water concrete as the primary building material. The facade is multi-screen in addition to gorgeous exaggerated vocabulary, and the natural elements such as light, wind and water are integrated into the surrounding environment, creating a space atmosphere full of Zen and stepping into its architecture. The works not only get visual feelings but also bring visitors a heart experience.

Under the manipulation of light and shadow, Tadao Ando's works have radiated Zen and poetry, which has become an eternal characteristic. For example, for the "Church of Light" created in the original size at the exhibition site, people can truly appreciate the tranquillity in the shadowy atmosphere. It is a profound experience through light to explore how light becomes a critical spatial element and brings to the building Soul characteristics. Primarily through the introduction of view, it allows the interior of the building to depict various spatial expressions and postures at different times. It is a "praise of light". Thus, deeply influenced by him, I also guide the concept of light guide my work, guiding the audience to see the light on the stairs, and integrate natural light into this space.

 

Osaka: Church of Light

The "Church of Light" in Ibaraki City, Osaka Prefecture was initially called the "Ibaraki Kasugaoka Church". This church is the only church building among all the church buildings of Tadao Ando. The building itself is made of clean water, and the elevated interior space is quite dark. Only the cross carved into the light source is introduced. Unlike the space for ordinary church groups, Tadao Ando hopes to use the "cross of light" to create a private Religious experience field.

Anish Kapoor’s fascination with the void has led him to create some of his best-known works. It has also caused someone to fall into an eight-foot pit, a 60-year-old Italian man fell into a hole that was part of the artist’s installation Descent Into Limbo at the Fundação de Serralves, Museum of Contemporary Art in Porto, Portugal.

The work is on view as part of “Anish Kapoor: Works, Thoughts, Experiments,” the artist’s first Portuguese museum survey, where the wall text notes that “the sculpture is an expression of Kapoor’s interests in the formal and metaphoric play between light and darkness, inside and outside, the contained and the infinite, which underpins his sculptural oeuvre.”The work is a dark pit, about 8 feet deep and 10 feet across, entitled Descent Into Limbo. Painted in Vantablack, the “darkest man-made substance”—a black so black it's not even a colour, it's actually a series of nanotubes that is Kapoor’s medium of choice—it reflects so little light as to give the impression of a bottomless portal into the earth. 

This inspired me to think about the relationship between light and darkness, inside and outside. Also, the colour and space of how to coordinate with each other. Mostly, the safety issue is to consider in the installation. According to Kapoor’s site, a “space full of darkness, not a hole in the ground.” Hopefully, a space full of darkness offers a softer landing. This also let me decide to use the hole or circle to the concept in this work. 

 

Artist Anish Kapoor next to “Descent Into Limbo” at the opening of “Anish Kapoor: Work, Thoughts, Experiments” at the Serralves Foundation in Porto, Portugal, July 2018.

MIGUEL RIOPA/Getty Images

Gold with human

1 / 2019,sculptures with wood and stones140 x 23 x18 cm

 

Woodgrain gold | Originated from nature and attributed to nature

This work is an installation of mix media, specially made for the Laid-Back exhibition.
According to Laid-Back's curatorial concept, based on comfortable living the hustle and bustle of cities, we live fast-paced lives. Spurred by materialism in a global world, this heady pace makes us frustrated, self-closing, anxious and fretful. We would rather not live in a hurry, and find ourselves caught in a trap with the mundane requiring attention, like arriving on time. 

I explored the relationship between humans and materialism, using gold elements and human faces to echo. The work implies that a person is sleeping in gold (metaphorical people indulge in materialism).

This is the first time I tried to make sculptures and add composite media. I used the wood board as a base, then made clay sculptures to fix.  Finally, I added stones for decoration, together with golden paint, my purpose is to explore different Mixture between media.


The use of gold paint is to explore various applications of gold media, gold powder, gold paint, gold foil, etc., and explore the multiple possibilities of gold craftsmanship, and reflect it in my works.

The original idea was inspired by "Mokume-gane or Mokume", which means "texture of trees". It is a unique metal technique that uses multiple layers of metal of different colours to overlap and weld, and after forging and stretching, the surface has a wood-grain pattern. Its "Mokume-gane" name is also derived from this visual effect similar to the texture of wood. The idea of ​​Mumu gold craftsmanship originated in China, but it first appeared in Japan. China's Zuizhu lacquer art is its original prototype. Ancient painters applied lacquer layers to the utensils, and then carved various patterns and lines, which revealed the continuous patterns with overlapping layers of gorgeousness. This kind of Zhuzhu craft spread to Japan about 1192 AD during the Kamakura era, and is locally known as "Qulun". While accepting and inheriting their skills, Japanese craftsmen created "Kimome Gold" on metal materials by the same method.

I didn't use metal in this work, but to combine the concept of lacquer art and gold with wood, combining with the original visual effect of wood texture for response to the gold craft of Mokume.

The Japanese language of wood grain metal craft is "Mukome Gold",

Can be understood as: wood eye metal.

English is "Mokume Gane", Moku means "wood", me means "eyes", wood eyes are the texture and nodules of wood, Gane means "metal"

China's Zuizhu lacquer art

Mokume-gane

Felix Gonzalez-Torres

González-Torres used hundreds of golden candies gleam upon the grey floor. The toffees composing the piece shine like an expansive sea, shaped into a rectangle bounded by nothing but the grey floor.

From Untitled(Placebo landscape for Roni), this lets me think about why we always typically see art as untouchable and are required to keep a physical distance, if not an emotional one? Therefore, this inspired me to think about how to present a no distance way for audiences to visit exhibitions with viewers only feel comfortable taking pieces from the exhibition.

untitled

(Placebo landscape for

Roni) 

Enlightenment and Experiment of Maki-e-gold craft

Techniques and development

Using part of the hiramaki-e [1] technique

 

These works ( Gold with child, Child with the hope and To see the light of the hope in the dark ) combine the gold land (gold powder densely spread over the surface) and pear land (spraying gold powder on the surface with a dithering technique). And the halo painting (I use gold and rose gold powder to overlap slowly, mixed and interlaced). The purpose is to make the ink splash and smudge effect of the ink painting so that I use the dry cloth and the brush and gently brush the impact of heavy ink and light ink.

The new method of experiment

In contrast, it is different from the traditional way of ink painting, that is my work not painted on rice paper or cotton paper. On the other hand, it is different from the traditional lacquer ware that I do not use the lacquer liquid to fix gold powder, but I use rabbit skin glue to brush the first layer. After that, add blue pigment to draw on the wooden board, then brush a layer of oil painting mixed liquid instead of raw lacquer. Sprinkle gold powder on the base of brushed oil painting combined with liquid, brush the layering in semi-dry and semi-wet. To show ink painting: Ink method requires - ink colour, thick, light, broken, splash, stain, scorched.

[1] Maki-e(蒔絵) is a unique technique in Japan, developt 平莳绘”(hiramaki-e)and “高莳绘”(takamaki-e). Use the paint to draw the pattern, and then decorate the gold and silver powder. The powdered powder should use the "powder tube". The powder tube is cut into a slanted mouth with a feather tube, and the veil is covered. The inside is filled with gold powder, the vibrating powder tube, and the gold powder shakes off. The basis of the painting is actually the Chinese lacquer craft introduced to Japan by the Chinese Tang Dynasty dang (618-917). Based on this, Japan has combined the Korean's mother-of-pearl craft and the adhesive process in Vietnam to form the current Japanese enamel painting. In modern Chinese, there is a meaning of “sprinkling” paintings. Because of its most prominent technological feature, it is evenly sprinkled with various metal powders of gold, silver, copper, lead and aluminium into the paint to express rich colours and textures. 

Inspiration / Research

Wang Qing-Shuang, when he was 82 years old, to portray Yushan, the highest peak in East Asia, he repeatedly arrived at the Yushan mountaineering gate of Tataga to see the sketches and feel the momentum of Yushan. After that, he took three years to convert the sketches into lacquer paintings and use 6, 7 The layer of grey paint increases the thickness of Yushan. And finally sprinkles with shining gold powder, highlighting the magnificent atmosphere of Yushan, the exquisite and delicate painting technique, the 120 cm wide Maki-e, lacquer work masterpiece "Yushan" was born and became a representative work.


I visited his studio in Taichung, Taiwan, to learn on-the-spot how to use gold materials and introduction and techniques in his works. He led me into his painting room. When I saw this painting of Yushan, I was very shocked at the moment, because the gold media expressed the delicate rock mountain texture. The light of gold shines on each other, which made me felt the charm of Maki-e. He said that to show the taste of the rock, he ground the gold bars himself because this can make gold powder with different textures and particle thickness he wants. Thus, this made me felt to do art with fine details and how much effort an artist should do.  

 

Yushan
Natural paint, dry paint powder, mineral pigment, gold pill powder, silver pill powder, gold foil
120 × 90 cm

© 2020 copyright Yi Chiao Chen. All rights reserved. 

CONTACT: chenyichiao761002@gmail.com

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CHILD WITH HOPE