chinking into my artistic creation is similar going on a very unsafe journey, one that requires the participants to let go of their security and preconceived mindset, and must be willing to experiences doubtfulness and suffering. From the beginning of my artistic career, I was deeply in approve with the Ancient Chinese calligraphy, non because of my affinity as an Asian person, but because of the essence. In my header of view, the essence is the source that is nigher to the truth. Ancient Chinese voice communication is elusive, it can have multi-meanings and multi-levels of perceptiveness depend on individually individuals cultivation. See the auspicate below for example.\n\nFig.1 slit Shimei. River. 2008 \n\nThe Ancient Chinese fictitious character for river, one wriggly row in the middle and a few lines on four corners. Can you get the sentiment? From this jump off point, I develop an eye for control makings. I learning that to get through marks is the first g rade in deconstructing an idea or concept of a savorless artwork. Historically, I was influenced heavily from Rembrandts paintings. I dont think he is a virtuoso painter, but I appreciate the quality of minimum and simple, slap of paints that he puts on the canvas to show the justness of light. Here I am not talking some 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 luxurianty observe Rembrandt painting, I discover that each brushstroke is level and right to the point, nothing is wasting. Analytically, I adapt the idea of modify my marks, thus is able to preserve energy, and at the same time, apply the reserve energy to do more. Which bring up another(prenominal) key artist, Tom Freidman, that I found very thought-provoking and able to appropriate some... If you destiny to get a full essay, order it on our website:
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