While growing up in Taiwan, I had the opportunity to study traditional Chinese brush painting and calligraphy with several accomplished masters. And ever since, I have incorporated that training into my experiments with modern materials and idioms.
I choose abstract because I’ve always been intrigued by form, pattern and colors. My interest may have started when I was four years old. I remember seeing the floating, shining dust particles reflecting the sunlight in the stale attic air of my family’s old house. The magic quality of nowness left an unspeakable feeling in my mind.
Chinese is mainly a pictorial language of Yin and Yang principle. Each symbol has its vibrant life. When executing the brush strokes, I am particularly mindful and aware of the space in between. The empty space becomes a crucial component of the painting itself. The work is alive within the space and energy of those marks and colors, imbued with the spirit of the artist.
I use the materials to reflect the feelings and perceptions I have experienced in life – the ever changing, flowing moments of this chaotic yet harmonious world. Rather than building up like an oil painting, I use surfaces that soak in—canvases prepared with grounds that behave like traditional rice paper, pulling the paint in. Thus the space is infinite. And the time is timeless.