SAMUES LEUNG RMIT University Master of Fine Art Appropriate Durable Record (ADR)
RMIT University Master of Fine Art Appropriate Durable Record (ADR)
Front cover image: a photography taken on my research and travel in Kyoto, Japan, 2014
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Table of Content Acknowledgement ...........................................................................................................................................
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Brief Description .............................................................................................................................................
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Aims ..................................................................................................................................................................
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Research Questions...........................................................................................................................................
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Rationale...........................................................................................................................................................
8-9
Methodology and Visual Documentation of Project.......................................................................................
10-11
Part 1: Self-directed Project A
13-39
Project (1) - In Praise of Slow – (2-D installation on niche bar )……………………….……………………………..……..
13-20
Project (2 )- Narcissus love Part A (Oil painting) ……………………………………………………………………………..……..
21-24
Project (3) - Narcissus love Part B (Mixed media Installation) …....………………………………………..………….…..
25-39
Part 2: Self-directed Project B
41-65
Project (4) - 50 work of flat base installation (Photography )……………….…………………………….………….
41-52
Project (5) - Zen on Sand (Multi-media artwork) ……………………………………………………………………………...….
53-65
Part 3: Major Project A
67-95
Project (6) - Solitude versus Togetherness in The Hong Kong Flâneur (Photography )…………………….……
67-71
Project (7) - Solitude / Solo (Performance base photography) ……………………………………………………….…….
72-83
Project (8) - Stories of Deserted Villages series (Mixed media artwork and installation) ………………….…
84-95
Part 4: Major Project B
97-127
Project (9) - Poetic Landscape #1~ #6 (Mixed media on wood board) ……………………………………………….…
97-107
Project (10) - Hidden Memory I and II (Mixed media on wood board) ……………………………………………….…
108-111
Project (11) - Memories of Shadows (Wire sculpture trial installation and assessment exhibit) ….………
112-127
Conclusion ...................…………………………………………………………………………………………………………………………….....
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Appendix (1)-(13) About the Artists …………………………………………………………………………………………………………....
129-135
Appendix (14) The travel and research in Japan, 2014 …………………………………………………………………….……….….
136- 139
Appendix (15) Highlight of flied trip in Japan and snap short sharing..………………………………………………………...
140 -148
Bibliography ......................................................................................................................................................
149-150
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Acknowledgement My warmest gratitude to my wife and perfect partner, Fanny, whose love and belief in me made all this
possible with her fully support. My deepest heartfelt appreciation to my Academic Advisor, Rhett D’Costa, for his wisdom, guidance and support since on the first day of my MFA class. I was surprised by strong feeling of anticipation, as if I had arrived at another new threshold in life since I graduated my first Master Degree in 1997. I have blessed my good fortune to have had at this opening juncture in my work the counsel of such a mentor! I am so indebted to my MFA fellows and friends - Takahata Sanae, Ken Morinaka and Dr. Kenny Wan for their
kind advises and support. My special thanks to the Lecturer of the Art of School, RMIT University, Dr. Phil Edwards for his generous support in this ADR writing, and Sunny Chan who has contributed greatly to the shaping and polishing my writing during the passage of study with her patience and understanding. It is really a blessing for me to have such great learning opportunity making me feel truly inspired, exciting, enlightened, but also overwhelmed and satisfied!
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Brief Description The research explores how an appreciation of the beauty of Japanese aesthetics and aspects of Zen
philosophy may be used to consider ideas of impermanence in the art making process of fine art context. Included into the investigation are considerations of the ideas of “consciousness” and “minimalism”, which come directly from my interpretations of the universal ideas relating to Wabi-Sabi. The term and philosophies which Wabi-Sabi embraces centre around a holistic way of living and being in the world. Wabi-Sabi embraces ideas of incompleteness, beauty, solitude, imperfection and profundity in life and nature. It aspires to ideas of slowness and simplicity and ultimately authenticity, where the marks and gestures of the passing of time are accepted and revered. Through my research, the “Zen”-related concept such as “Minimalism”, which encapsulates the idea of ‘redundancy’, and the ideology of “Solitude (“Sabi”) are explored and expressed in different media and contexts, by exploiting various processes and materials to the fullest, which echoes with the Aims and Rationale of my research. I have also drawn personal experiences from my own life as subject matters. There are precious moments where I stopped to reflect on my Research Questions, and tried to answer them with my art, which I have redirected from time to time, to align with my Research.
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Aims
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To make art in a simple way that may be associated with the philosophies of Zen
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To explore how various art media, including paintings, sculptures and site-specific installations may be used as vehicles for expressing the idea of impermanence
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To experiment with a range of materials and motifs based on Wabi-Sabi principles [1]
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To use personal experiences from my own life and its physical spaces as subject matters from which to develop an art practice that is conceptual and explores the idea of “redundancy� in art
[1] The term brings together two very distinctive Japanese concepts: wabi is the transcendental beauty achieved through subtle imperfection, and sabi is the beauty that comes with time and aging. The Wabi-Sabi aesthetic is characterized by asymmetry, roughness, irregularity, simplicity, economy, modesty, intimacy and an overall appreciation of the ingenuity and integrity of nature. Lidwell, Holden & Butler, Universal Principles of Design, http://www.doctordisruption.com/design/principles-of-design-56-wabi-sabi/
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Key Research Questions 1.
How may Wabi-Sabi concepts of impermanence be used in a contemporary fine art context?
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In what ways can processes and materials be utilized to explore ideas relating to Wabi-Sabi?
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How can linearity (the pertaining to or resembling a line) be applied in 2 and 3-dimensional media to articulate spatial considerations of time in the context of Wabi-sabi?
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Rationale I remember reading from a local newspaper about Wabi-Sabi (侘寂). It was a term which I had not heard of before. The article was written by a renowned local columnist called Budming (畢明) [2], which is her pseudonym. In the article, she associated the philosophy of Wabi-Sabi with the city of Kyoto including its folks and life-style. It aroused my interest in further studying Wabi-Sabi. Having researched more literature on Wabi-Sabi, learning about its principles, spirit and application to the art practices, I became even more interested in searching for additional knowledge about how , in particular, it may be used to explore design features in materials, color, space, and ideas of balance, beauty and freedom of form. Since that time, I have had the aspiration to become a “Wabi-Sabi type of artist” because the free spirit of Wabi-Sabi appeals to me. Although the Wabi-Sabi principle was historically applied to traditional tea ceremonies, poetry, garden design and flower arrangement(Ikebana) in Japan a thousand years ago, it is still relevant to today from an artistic standpoint. My intrinsic love for the very essence of Wabi-Sabi spirit in art embraces the natural, simple, rustic, originality of the Zen nihilist cosmic view. Wabi-Sabi is about seeking beauty in the imperfections found in all things, being in a constant state of flux, evolving consciousness from nothing and devolving that consciousness back to nothing.[3]
[2] Budming web site: https://budming.wordpress.com/ or Facebook: https://www.facebook.com/BudmingBudming [3] Andrew Juniper, 2008, Wabi-Sabi, the Japanese art of Impermanence, TUTITLE, page 118
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Although I am not a Buddhist, I love the wisdom in Zen thinking, and I appreciate Wabi-Sabi art which uses the evanescence of life to convey the sense of melancholic beauty that such understanding brings. (hence I would like to share some with my selective photos taken on my travels through Japan in this ADR herewith in the appendix 15) I particular like the theory “Art is sometimes better defined by what is left out than by what is put in” as quoted by Andrew Juniper [4]. Aspects of Japanese design often come down to the determination to keep both art and everyday designs to a functional minimum. So, what are the differences between Wabi-Sabi and Minimalism in visual art? How do we learn and employ this technique and apply to contemporary art? These could also be the key research questions. In a wabi-sabi worldview, the concepts of purity and honest are vital, and the concept of “MA” (間)
(maah in Japanese) is emphasized, while Minimalism is limited to the physical form and space. “MA” in essence is what makes minimalism possible, i.e. Less is more. [5] Inspired by “MA”, I became interested in searching ways to develop a balanced space and even to define the impact of using negative space and time in artwork. Moreover, while the term Wabi-Sabi suggests such qualities as impermanence, humility, asymmetry, and imperfection. These underlying principles are diametrically opposed to those of their Western counterparts, whose traditions are rooted in a Hellenic culture (or Hellenic art view) that value permanence, grandeur, symmetry and perfection. I intended to explore my appreciation for these respective values in the research informing my art practice.
[4] Andrew Juniper, 2008, Wabi-Sabi, the Japanese art of Impermanence, TUTITLE, page 1 [5] When Less is More: Concept of Japanese "MA“, WAWAZA, 2015, http://wawaza.com/pages/when-less-is-more-the-concept-of-japanesema.html
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Methodology and Visual Documentation of Projects Combining these intrinsically related ideas together with my own lived experiences, my artworks attempt to encapsulate the essence of Wabi-Sabi, through materials and processes across both paintings and more linear sculptural and spatial forms, where cast shadows become as important as the physical form in considerations and meditations on the art of impermanence. All the projects in this research, however diverse it seems in both form and content, are commonly grounded in the philosophy of Wabi-Sabi. According to the author Leonard Koren, Wabi-Sabi is the “quintessential Japanese aesthetic”, a beauty of things “imperfect, impermanent, and incomplete”, “modest and humble” and “unconventional”. It could even be called the “Zen of things”, as it exemplifies many of Zen’s core spiritualphilosophical tenets” [6]. When creating expression with Wabi-Sabi materials [7], and deploying and defining Wabi-Sabi into contemporary art practice. There are two levels of approach. The very ethereal level where beauty and enlightenment merge, and the more practical level where Zen can guide the artistic aspirations of mere mortals. According to the author Andrew Juniper, “Although a perfect philosophical understanding of art and aesthetics is an unrealistic goal for most, the art of Wabi-Sabi still has much to offer modern art theory [8]. A lot of inspirations have been acquired from these studying, analyzing, evaluating processes, and ultimately they turned out to be an intensive learning on what objects, scenes, or other mental stimuli would evoke these Wabi-Sabi sentiments.
[6] Leonard Koren, 2008, Wabi-Sabi: for Artists, Designers, Poets & Philosophers, Stone Bridge Press, page 12 [7] The original exponents of wabi-sabi advocated the use of materials that occur naturally – mud, clay, wood, bamboo, cloth, paper, hemp, grass, and even iron. [8] Andrew Juniper, 2008, Wabi-Sabi, the Japanese art of Impermanence, TUTITLE, page 21
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The research processes explored much of the essence of the Wabi-Sabi spirit by appreciating influential artists such as Korean artist Lee Ufan (South Korea) [appendix 1] and Japanese artists including Takesada Matsuani [appendix 2], Shoichi Ida [appendix 3], Hiroji Noda [appendix 4] and Keizo Tawa [appendix 5]. Moreover, there are some western artists whose works and documentations provided me with a lot of inspiration and formative practice examples for the research. They are Otto Donald (Canada) [appendix 6], Joseph Cornell (US) [appendix 7], Anselm Kiefer (Garman) [appendix 8], Gabriel Orozco (Mexico) [appendix 9], Antoni Tàpies (Spain) [appendix 10], Gregory Crewdson (US) [appendix 11], Randy Cooper (US) [appendix 12] and Herbert Ferber (US) [appendix 13].
One of my great realizations, to my amusement, was that there is no artist who can be described as a “WabiSabi artist”/painter; neither is there an official nor academic term such as “Wabi-Sabi” art. The truth about “Wabi-Sabi' is that it is an aesthetic attitude that comes naturally; it is not an art form itself. That’s why WabiSabi style art can never be forced or manipulated; otherwise it would diminish its spirituality and transient nature. And it should be imperfect! Consequently, although my initial art projects were mainly based on practical research and practices, I realized I had a wrong perception in the very beginning during my art making process, which was, fortunately,
corrected. I assumed that if I was making “imperfect art”, why should I need to rework once it is finished? My assumption was fundamentally flawed as I ignored the fact the imperfection of Wabi-Sabi that is not an excuse for not perfecting and bettering art through trials and errors, but it is an attitude of accepting things as they are, that nothing is perfect, and this truth ought to be respected.
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Part 1: Self-directed Project A
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Project (1) - In Praise of Slow (Figure 1 - 3)
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Project (2) - Narcissus love Part A (Figure 4)
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Project (3) - Narcissus love Part B (Figure 5 - 10)
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Project (1) - In Praise of Slow Description and Intention Apart from being an aesthetic philosophy, slow Living is also a choice of lifestyle. Authors Beth Meredith and Eric Storm summarize slow living as follows: Slow Living means structuring your life around meaning and fulfillment. Similar to "voluntary simplicity" and "downshifting," it emphasizes a less-is-more approach, focusing on the quality of life. [9] Slow Living addresses the desire to lead a more balanced life and to pursue a more holistic sense of well-being in the fullest sense of the word. The series of “In Praise of Slow” features graphical or painting collages of installations originating from my personal collections. They were derived from thoughts in my mind, about “Slow Living” with a sense of Wabi-Sabi, a philosophy that has recently fascinated me as a busy city-dweller. With “Slow Living” as the newest incarnation of the simplicity movement, the search for fresh inspiration on the ways to live a more authentic life became even more important to me. Turning to Eastern traditions, many people are discovering the Japanese concept of Wabi-Sabi life-style [10]. Acting as a perfect antidote to today’s frenzied, consumer-oriented culture, Wabi-Sabi encourages slowing down, living modestly, and appreciating the natural and imperfect aspect of the material culture. While defying definition, Wabi-Sabi in art is best expressed in brief, evocative bite-sized moments of expression.
Intended food for thought for viewers: Having lived and worked in a fast-paced city like Hong Kong for many years, I could not help but wonder what would happen if we all slowed down our pace a bit to discover and appreciate the natural aesthetics and organic compositions of the little things around us.
[9] Slow Living introduced by Authors Beth Meredith and Eric Storm, Meredith, Beth and Storm, Eric. "Slow Living - Learning to Savor and Fully Engage with Life". Create-The-Good-Life.com. 2009. Retrieved 2011-3-20. https://en.wikipedia.org/wiki/Slow_living
[10] Diane Durston, Wabi Sabi: The Art of Everyday Life, (Aug 1, 2006)
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Figure #1
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Figure #1 Fish and Dish It is not only about an easy rhyme, but an actual experiment using two apparently unrelated items combining together in an oddly harmonious composition with the 2-inch bars, and becoming a single compositional unit.
Medium: Installation-based photography in black and white printed on 40 x 40cm photo paper Found objects placed on niche wood bar and wall in 6cm depth Installation: dimension variable
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Figure #2
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Figure # 2 Feel at Ease “Don’t you feel just at ease as I did when I put these together?”
Medium: Installation-based photography in black and white printed on 40 x 40cm photo paper Found objects placed on a niche wood bar and wall in 6cm depth Installation: dimension variable
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Figure #3
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Figure #3 Home is where the heart is “Where is my home?” — The everlasting beauty of home sweet home - delicately made of enamel- is quietly being asked and always finds a place to dwell in the intricate branches of my thoughts.
Medium: Installation-based photography in black and white printed on 40 x 40cm photo paper Found objects placed on niche wood bar and wall in 6cm depth Installation: dimension variable
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Project (1) In Praise of Slow The overview of 10 installation configurations set-up
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Project (2) Narcissus Love (Part A) Description and inspiration
Narcissus is the name of an ornamental plant for gardens, parks and cut flowers, adding colors to domestic settings from the end of winter to the beginning of summer in temperate regions. Thousands of varieties are available from both general and specialist suppliers. They are normally sold as dry bulbs to be planted in late summer and autumn during the fall but the Chinese are accustomed to buying them a few weeks before the lunar new year. Narcissus bulb carving and cultivation is a parallel art practice akin to Japanese Bonsai. That is why it is also called live-sculpture. Home-grown narcissus plants photographed a few weeks before the Lunar New Year
Since the flower blooms in early spring, it has also become a symbol of Chinese New Year. Hence my father likes to prepare a few pots of narcissus for each of my family members, including my two sisters and other relatives. I intended to create an oil painting to share the love of my family and the unique beauty of this flower.
Plant decorated to celebrate the Lunar New Year
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Project (2) Narcissus Love (Part A)
Figure #4 Oil on canvas 60 x 80cm
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Project (2) Narcissus Love (Part A) Reflection I painted six paintings of Narcissus plants in pots by memory, instead of direct observation, as the actual pot plants had been given away to my family members before the Lunar New Year. As such I tried to modify the painting over and over again within the two months from Feb to April 2014 , a short while after the Lunar New Year. Throughout this method of constructing painting, I encountered
the following issues: •
Difficulties in painting realistic images without any real-life light source or direct observation of the shape, colour, and arrangement of narcissus.
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Indecision in deciding the style of the painting (e.g. photorealistic painting, semi-abstract, woodcut/etching print to use as the most appropriate)
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Indecision in choosing other objects to place in the background on the canvas to express the
atmosphere of the Lunar New Year or my family love. I might have made a mistake in spending too much time to fine-tune the technical details of the painting such as its background color and composition rather than focusing more on the stylistic effects and expressing my personality and emotions through the artwork to express the original theme, which was to share the family love and my respect for my father rather than showing the beauty of the narcissus plant. On the other hand, I did learn a lot about the technical issues one may encounter in painting.
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One lesson learnt in this exercise, from today’s contemporary art making perspective, is that I can explore a wider spectrum of media and processes to test various materials and motifs to find out which best expresses the original idea. In this case, painting might not be the most suitable medium. According to the practical importance of art aesthetics, there are two aspects in painting: the inspirational/conceptual/aesthetic and the craft. Both are needed if the work is to go on pleasing the informed observer. They are also interdependent when one rethink their aims and interests. Aesthetics can often be used to justify a very doubtful piece of work. [11]
[11] Painting: Art and Aesthetics Why Do We Need Art Theory? (http://www.oil-painting-techniques.com/art-aesthetics.html)
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Project (3) Narcissus Love (Part B) Description and Intention As elaborated in the earlier section of this evaluation, I wanted to define a better resolution for my research and practice by testing a range of materials and motifs based on my original ideas but expressed by minimalism and my practice with Wabi-Sabi principles. More importantly, my artworks should have an aesthetic which can be dedicated to my family, as well as honoring my father’s profession as a tailor. This series of work, under the theme “Narcissus Love” (Part B), which features the Narcissus plant, was transformed from my previous assignment of oil painting “Narcissus Love” (Part A) to an installation work consisting of 7 individual pieces. I then tried to make a new series of installation art in which the pots were handmade and sculpted in the shape of British shirt collars and the blossom stalks were made of real thread spindles. I have experimented setting up the seven collar-pots, with the narcissus plant being taken out or added in different backgrounds and settings to suggest different layers of meaning and narratives.
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Narcissus Love (Part B) Artwork making in progress Photos reference and archive, May, 2014
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My Academic Advisor Rhett D’Costa, during the class presentation, demonstrated how to disassemble and reassemble the work both literally and metaphorically. He played with the components of the work, seeing what was essential in the work and what was superfluous. He tried various ways of presentation, such as reversing the orientation, differing the spacing between each piece; he even tried to hang it on the wall! He also heldi2 pieces face to face to view from a different perspective to add more variations to the presentation. Taking Rhett’s advice, I began to view my works from different perspectives, and create more compositions and renditions of the “Narcissus” theme by restructuring the components of the work to express more meanings when laid out in different backdrops and setups. I also tried to remove the stones and the pot plates, as suggested by Rhett, and direct the focus onto the collar-pot itself, which is the highlight. After many trials and attempts to improve, what I have learned by heart and will always bear in mind is that, in the making of art, less is always more.
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Figure #5
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Project (3) Narcissus Love (Part B) Installation configurations Figure #5 - Family The seven collar-shaped bowls, while different in style and character, represented the seven members of my family, designed to complement each other in a unity of harmony. This installation work is a tribute to my beloved family of seven unique, but nonetheless united, members who I always cherish.
Medium: •
A set of 7 Narcissus-themed installation configurations
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Plastic animated flower, sewing tools, card-paper, mixture of sand and acrylic
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Dimension variable
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Figure #6
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Project (3) Narcissus Love (Part B) Installation Figure #6- On the Windowsill Without the Narcissus, this piece also acts as a visual metaphor of my family, highlighting the patriarchal family structure. The central collar- pot obviously represents my father as the centre of the family.
Sitting together, sometimes in dialogue, occasionally elevating oneself and detaching from the family during a time-out, we are always one in heart.
Medium: •
A set of 7 collar-pot configurations
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Sewing tools, card-paper, mixture of sand and acrylic
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Overall dimension variable
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Figure #7
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Project (3) Narcissus Love (Part B) Installation Figure #7 - With the Clocks and Shoes Without the Narcissus, the relationship between my father and me cannot be better illustrated than by this piece. The passage of time is represented by the two clocks; the one in the foreground represents my father’s time of birth, while the blurred one in the background refers to mine. The pair of shoes is a symbol of my growth as an individual. Throughout the course, my father has played an important role. Although I have taken a different life path from my father’s, I am always my father’s son and following his footsteps.
Medium: •
A set of 7 collar-pot installation configurations
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Sewing tools, card-paper, mixture of sand and acrylic, 2 clocks, a pair of bronze shoes
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Overall dimension variable
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Figure #8
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Project (3) Narcissus Love (Part B) Installation Figure #8 - Three is Balance The three narcissus stalks in tripod represent balance and a rock solid foundation of love, support and understanding among the family members.
Lining up neatly in one direction, this image suggests that we have one heart and one goal despite our different positions and contributions in the family.
Medium: •
A set of 7 Narcissus-themed installation configurations
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Artificial flower made of plastic, sewing tools, card-paper, mixture of sand and acrylic
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Overall dimension variable
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Figure #9
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Project (3) Narcissus Love (Part B) Installation Figure #9 - They don’t understand each other The gloom in my heart blooms toward late evening; Up the old Cemetery, The setting Sun's endlessly endearing, But the light of Day is disappearing!
Medium: •
A set of 2 Narcissus-themed installation configurations
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Plastic animated flowers, sewing tools, card-paper, sand mixed acrylic color paint and 2 scissors
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Overall dimension variable
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Figure #10
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Project (3) Narcissus Love (Part B) Installation Figure #10 - Unbroken Thread Without the Narcissus Images, and set up at Stanley Military Cemetery where soldiers rest in peace, this artwork describes the relationship between the two generations. Under a gorgeous sunset, two pairs of scissors - one antique and the other modern – are placed apart, side by side, in contrast with each other. The collar-pots, connected with a thick thread, have dropped their weapons and are now facing each other thoughtfully, as if one were asking the other, “Shall we talk?”
Medium: •
A set of 2 Narcissus-themed installation configurations
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Plastic animated flower, sewing tools, card-paper, mixture of sand and acrylic, 2 scissors and one thread
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Overall dimension variable
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Part 2: Self-directed Project B
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Project (4) - 50 work of flat-based installation configurations (Figure 11-16)
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Project (5) Zen on Sand (Figure 17-21)
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Project (4) - 50 work of flat-based installation configurations Description and Intention To create installations on my work desk based on the concept of Wabi-Sabi principles of impermanence which are
diametrically opposed to those of their Western counterparts, whose traditions are rooted in a Hellenic worldview that value permanence, grandeur, symmetry and perfection. To use natural objects, such as stone, leaves, plants, wood pieces, ceramic as the objects, and set up in a small and confined space with an atmosphere of Wabi-Sabi which can be extended into a landscape-like 2-dimensional installation. To practice and understand how varying degrees of compositional installation can convey the message of Simplicity Design principles in the making of these installations:
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No deliberately controlled or structural arrangements
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The use of diffused, murky colors and dyes derived from natural sources instead of stark, strong colors
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The use of objects in organic forms and patterns without embellishment nor ostentation
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The deliberate recognition and use of an unrefined, raw style
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A free use of available materials such as stones, wood branches and plants collected from the countryside
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Placing objects on my work desk within a limited space of 128 cm x 80cm as shown in opposite
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Using daylight and subdued lighting rather than spotlight or artificial lighting to capture the natural play of light
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Emphasis on the rawness of original still-life
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This was the photo I unintentionally took in my studio when preparing other materials for the project. Figure #11
This stone, which I found, perfectly reflects what Wabi-Sabi is to me. The stone and the sunlight from outside the studio window cast a beautiful shadow. Setting up this installation in a moment of serendipity is such an awesome experience to me‌‌. I was stunned by this expression of Wabi-Sabi !
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The installation photos above were selected for my project submission in an overview
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Figure #12
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Figure #13
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Figure #14
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Figure #15 48
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Figure #16 49
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Project (4) – 50 work of flat-based installation configurations Reflection: I started placing some stones and leaves randomly on the desk in confident spontaneity. The compositions of these stone, leaf and wood installation configurations are arranged based on the perspectives that I have experimented before but it was after some trials and errors that I found that it
would be much better to create a deeper perspective with a simple backdrop for the objects in the foreground. That means I discovered it would create a better perspective to shoot the objects with art paper as the backdrop rather than capturing them lying flat on the desk. According to one of the principles of Wabi-Sabi art, “The use of space is not just restricted to the space into which an object is placed, but also the space within it” [12]. There is a need to provide visual space so the non-material aspect of the work can interact with and balance its material counterpart. I subsequently created another background with the use of water color. I tried a “washing” process to create a web-on-web effect on the art paper in order to enrich the background with more layers, giving a feel of “landscape” to it - in a way similar to a seafront and the sky. I found that I had a better result in working this way. But at the same time, I also wanted to examine the effectiveness of using the concept of installation and still-life to explore the possibility of creating 2-D collages and collages with my “collected objects”, of stones, woods and leaves.
[12] Andrew Juniper, Wabi sabi the Japanese art of impermanence, Tuttle Publishing, 2003, p.116
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The Japanese aesthetics of Wabi-Sabi values the qualities of simplicity in plain objects.[13] It appreciates the absence of unnecessary features to view life in quietness and reveals the most innate character of materials.[14] For example, the Japanese flora art, also known as Ikebana (Ikebana (生け花), "living flowers") is the Japanese art of flower arrangement, also known as kadō (華道), the "way of flowers") has the meaning of letting flower express itself. People cut off the branches, leaves and blossoms from the plants and only retain the essential part from the plant. “This is intended to convey the idea of essential quality and innate character in natural objects”.[15] What I have learnt from this practice is that, the idea of creating Wabi-Sabi art, no matter through a simple
picture, installation, collage, and or photo, is not a forced process but “an achievement of an artist to reach the levels where conscious efforts and thoughts are abandoned to the dictums of the unseen forces that guide our lives” [16]. It is therefore not the spirit of the artist in the moment of performance that is the criteria by which art is judged but a human sense and appreciation of imperfection and nature. From these installation photos, I also attempted to offer the idea of Simplicity which is embodied in many cultures, especially the Japanese traditional culture of Zen Philosophy.
[13] Andrew Juniper, Wabi sabi the Japanese art of impermanence, Tuttle Publishing, 2003, p.124 [14](Saito, (Winter 2007), The Moral Dimension of Japanese Aesthetics, The Journal of Aesthetics and Art Criticism, vol.65, no. 1. p87.) [15]] Saito, (Winter 2007), The Moral Dimension of Japanese Aesthetics, The Journal of Aesthetics and Art Criticism, vol.65, no. 1. p87.)
[16] Saito, (Winter 2007), The Moral Dimension of Japanese Aesthetics, The Journal of Aesthetics and Art Criticism, vol.65, no. 1. p85.
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Zen concepts of simplicity transmit the ideas of freedom and essence of living. Simplicity is not only an aesthetic value, it also has a moral dimension that looks into the nature of truth and reveals the inner qualities of materials and objects for the essence.[17] That is the reason why I tried to set up the installation in a 2-dimensional space such as putting the rice paper partly on the wall and partly on the desk with some Chinese calligraphic brushstrokes in order to create an atmosphere of Chinese landscape painting.
[17] Pawson (1996), Minimum, London: Phaidon Press Limited. p10–11.
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Project (5) Zen on Sand (multi-media on canvas) Description and Intention There are 8 pieces of Wabi-sabi work, sharing the same texture of canvas foundation, which is made with a mixture of sand and acrylic. Using sand as a medium has a philosophical, “Wabi-sabi� dimension to it. The way that sand slips away from the slits between our fingers when you try to grasp a handful reminds us that nothing in life can actually be grasped, and held. Everything goes like the sand slipping out of your hands.
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Primary title: Is the message got across? Secondary title: Help yourself to make sense! Medium: Stone, Chinese ink calligraphy, mixed sand and acrylic on canvas Dimension: 60 x 80cm 08/2014
The Chinese crossword puzzle is derived from an existing Zen artwork. Words can be freely combined in different orientations, horizontal, vertical or diagonal, to denote different meanings and viewers are free to interpret from individual perspectives. Not only does it highlight the aesthetic beauty of Chinese block characters, it also underlines the free- spirited nature of Zen philosophy. The message I received is read diagonally from the top left to the right bottom. There goes the saying, “Helping yourself is better than seeking help from others�, which I cannot agree more. We should always be self-reliant and equip ourselves to the best of our capabilities so that we can seize every opportunity, which is reserved for the well-prepared.
Figure #17
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Is the message got across? (details)
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Primary title: Hungry but Content Secondary title: Is the plate half empty or half full? Medium: Ceramic, paper, mixed sand and acrylic on canvas Dimension: 60 x 80cm 08/2014 A simple composition with a simple but deep
message. The halved with nothing on it, looks like a mouth grinning wide. While the wavy patterns suggest water, it seems the fish is content with swimming freely in the water, even though it has nothing to eat!
It is a reminder once again, that happiness is a matter of choice.
Even you don’t have
much on plate, you can still be happy. In very much the same way with “Is the glass half full or half empty”, one can choose to look at the plate as half full or half empty as well. The fish that occupies the space of the other half is full of joy for its hard-earned freedom. This artwork is inspired by the previous installation on the shelf with a similar concept.
Figure #18
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Hungry but Content (details)
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Primary title: Memory of Sunset Secondary title: Seize the Moment Medium: Paper, mixed sand and acrylic on canvas Dimension: 60 x 80cm 08/2014 The stone in this painting is a replica of a real stone that I photographed for Wabi-Sabiinspired photos, highlighting the play of light at sunset. This painting is intended to reflect the transient beauty of sunlight and its fantastic effects on photography. It takes the blink of an eye to seize the moment when the sunlight comes in at the best angle and produces the best visual outcome with the right shadowing effects. This precious moment is so hard to capture that perhaps I can only hold the precious image in my mind and try painting it on the canvas, just like a rare moment that only happens only once and leaves you reminiscing about it for the rest of your life. It will never happen again, so we have to treasure every moment and live our life to the fullest!
Figure #19
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Memory of Sunset (details)
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Primary Title: Bars – Of Wood and Concrete? Secondary title: How far shall we go? Media: Stone, dry branch, wood work, mixed sand and acrylic on canvas Dimension: 60 x 80cm 08/2014 The small bars in brown represent the wood and forests while the stone on top symbolizes the high pressure
of modernization,
which results
in
deforestation. The small bars in grey below represent concrete buildings. While people often seem too ready to sacrifice the
well-being of the nature for civilization, is there a “middle way”, as suggested by the middle bar in between, as long as we always have the environment, represented by the dry branch, in mind? The background resembles a dusky sky covered by smog generated from the high carbon emission in cities. It is intended to make us think about the detrimental effects of modernization on the environment. How often can we see a clear blue sky?
Figure #20
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Bars – Of Wood and Concrete? (details)
Primary title: Impression of Kamo-gawa Secondary title: Reflection on Water Media: Bamboo textile, woodwork, mixed sand and acrylic on canvas Dimension: 60 x 80cm
08 / 2014 A charming river through the Kyoto city, Kamo–gawa fascinated me most with its captivating scenery at night, when lamps are turned on along the bank and the quiet river is decorated by the reflections of lamplight, which exudes an air of wabi-sabi serenity. The kimono serves as a recurring symbol of balance, which is conceptually embedded in its design. Enclosed by the bamboo
bar on top and the broken chopstick below, it is the focal point of the whole piece. The broken chopstick is nonetheless the most intriguing part of the painting, whose composition would not be completed without the two short, horizontal lines, made by breaking a single chopstick into halves, placed at uneven levels. The 30year-old chopstick belongs to my father, and again, his deep influence on my outlook of life shows in my work! The left image is a picture of the charming river Kamo–gawa, running through the Kyoto city. It fascinated me most with its captivating scenery at night, when lamps are turned on along the bank and the quiet river is decorated by the reflections of lamplight, exuding an air of wabi-sabi serenity.
Figure #21
To me, it is not only a famous sightseeing spot for tourists but also an unforgettable memory I have never had of other city in Japan. I had thoughts about how people lived there hundreds of years ago….when biking along the river.
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Project (5) Zen on Sand (multi-media artwork) Reflection: I have continued to develop new art forms for this Project 5, by exploring different materials and multi-media on canvas. This intrinsic interest in abstract painting, is intended to demonstrate the concepts of Space, Thought, Impression, History and Travel, as well as the philosophy of “Slow living” in my art. In an attempt to elaborate on the concept of conceptual space which I call, “Mindscape”. It refers to the
shifting state of mind imbued with the unknown, memory, impression, or perhaps merely the acknowledgement of a nothingness to illustrate my thoughts on slow living. If I use the Impression of Kamo-gawa as an example. Without linear perspective, it is not a landscape painting, but a Mindscape where the night view of the famous Kamo-gawa river in Kyoto is captured as the background and a kimono in the centre to represent Japanese history, culture and traditions. More profoundly, it represents the Japanese attitude of slow living. Not only is the making and dressing of a traditional kimono a lengthy process that requires many delicate steps, the kimono is also designed in a way that slows down the
wearer’s walking speed by confining the scope of each step. The overall visual composition came from my Impression of the river based on my travelling experiences. The landmark of a classic city where Geisha [18] are around, the Kamo-gawa is a charming quaint river that requires the viewers to tune in its slow pace and long History, perhaps by wearing a kimono as well, in order to appreciate its unique beauty. In this section of my research I also had some thoughts about how I might develop my ideas to experiment with multi-media such as stone, paper, and wood. I love to explore these media sourced directly from the nature as their style and tone are exactly of Wabi-Sabi.
[18] Geisha (芸者?), geiko (芸子) or geigi (芸妓) are traditional Japanese female entertainers who act as hostesses and whose skills include performing various Japanese arts such as classical music, dance, games and conversation, mainly to entertain male customers.
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I still wonder however whether it is a conceptually wise choice to apply them on 8 standardized canvases (60 x 80cm) or leave them as installations. As I became absorbed in the creating process that I might have overlooked some in-depth consideration on the actual results and effects of the work. I keep testing, trying, experimenting, modifying, trying again, on the canvas, deemed my comfort zone. Besides, each of my eight pieces of work is accompanied with a short illustrative text. Although good art can stand alone and speak for itself, a minimal, reasonable amount of explanation might be necessary to facilitate viewers’, especially Western viewers’ understanding and appreciation for the Zen-inspired work that is highly allusive and in my presentation, influenced by the concept of Wabi-Sab. Speaking of direction in near future, I would love to keep on experimenting and experiencing with the aforementioned concepts, inspired by the artists I aspire to be like. I have preference for lyrical themes such as the philosophy of Slow Living because I would like the viewers to have a peaceful mind when sharing my thoughts. I also prefer a temperate or meditative attitude towards making art, in very much the same way of Zen – going with the flow, letting go of whatever comes in life gracefully, with humility and originality. That is my fundamental state of mind while creating art; I am eager to develop my art in a simple way that associates with the philosophy of Zen. I know it is not an easy way to approach art as “What seems the easiest is actually the hardest”, as how an old Chinese proverb puts it (大巧若拙). Sometimes, the most interesting results arrive when I least expect them, before I have even decided upon which form and media to use. Therefore, I keep reminding myself not to worry too much about the quality of the ultimate work or the techniques, whether they are sophisticated enough. After all, I would simply follow my heart with peace in mind whenever I am making art. I love to explore more possibilities in creating art based on the mindscapes collected from keen observation on subject matters in daily life that interest me, and transformed mental images into visual elements, from the obvious to the metaphorical, where some sorts of subjective, inexpressible emotions and thoughts are inspired. All in all, Slow Living is a not only a lifestyle, but also an attitude and behavior; it is a core value that helps us define a simple way of living that would make us feel “hungry but content”. However, each of us is different and has his their own way. Slow is not a “tempo”, but a rhythm. We have our own rhythms, so we shall march to our own beats while respecting others. This is what I would hope to reflect in my art.
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Artists who influenced me In this project, I am very much influenced by the works of some Japanese contemporary artists Takesada Matsutani (appendix 2) Shoichi Ida (appendix 3) and Hiroji Noda (appendix 4) whom I learnt in my previous travel in Kansai, Japan. (appendix 14) As well as having the common element of Wabi- Sabi in their works, they also share some similarities in their remarkable energy and dynamics in making art, exemplified by the diversity of materials used. In my view, they are not only making paintings, but also experience the making of their art both physically and mentally. What I learnt from them and have applied to my new work are their experimental attitude towards media, and the keenness to explore the relationships between different materials (such as ink and color, wood, plant, textile, paper, stones, sand, etc) as well as the theory of "Surface and the “Between” suggested by Shoichi Ida. There is even a philosophical dimension to it that I appreciate, that is, “The material never compromises the spirit, whereas the spirit never dominates the material”. [19] On the other hand, I am also influenced by Shinichiro Osaki, he said “When the material remains in act and exposes its characteristics, it starts telling a story, and even cries out. To make fullest use of the material is to make use of the spirit.”
[19] Matsutani Waves, 2000, Otani Memorial Art Museum, p.102
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Part 3: Major Project A
•
Project (6) - Solitude versus Togetherness in the Hong Kong Flâneur (Figure 22- 25)
•
Project (7) - Solitude/Solo (Figure 26-27)
•
Project (8) - Stories of Deserted Villages series (Figure 28-31)
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Project (6) Solitude versus Togetherness in The Hong Kong Flâneur Description and inspiration The premise for the following works is based on the notion of the Flaneur. I shall give examples of what I mean by this term in relation to my research and artworks. The French term Flâneur means strollers or loungers, and yet without the negative connotations of laziness. Rather, it conjures up the literary type of man, the “connoisseur” who strolls leisurely in the streets of picturesque Paris, while understanding, participating and even decorating the city. According to Paul Fournel [20], Flânerie is “a moving photograph (un daguerréotype mobile et passioné) of urban experience”. In very much the same way with the element of Wabi-Sabi “侘寂” (“Sabi” 寂 means “solitude”), the unique Flâneur of Hong Kong is portrayed in some of our signature streetscapes.
In the form of a series of monochrome photographs taken at the same site at different times to capture the movement of our flâneur activities, underlining the stark contrast between the sensations of Solitude and Togetherness that uncannily co-exist in our urban experience. For instance, whether people is sedentary or mobile, such as eating fast food in small noodle shop, waiting for a bus at a bus stop for a friend in front of a shop, or playing basketball in the court, they all share a unsettling sense of solitude that cannot be avoided even by the boisterous maids gathering on Sundays and becomes obvious when a maid is found sitting by herself …… It seems no matter we are alone or with others, we are all solitary Flâneur too afraid to be singled out, and too busy to feel lonely, even at those rare moments of “strolling” in this fast-moving city, apparently together.
[20] Paul Fournel (born 20 May 1947 in Saint-Étienne) is a French writer, poet, publisher, and cultural ambassador.
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Figure #22 “Go away, I'm all right!” Monochrome Photography with PS editing work 30 x 60cm
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Figure #23 “If you are idle, be not solitary!� Monochrome photography with PS editing work 40 x 55cm
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Figure #24 “How can you hear your soul if everyone is talk?” Monochrome photography with PS editing work 40 x 70cm
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Figure #25 “Solitude is better than the society of evil persons.� Monochrome photography with PS editing work 45 x 55cm
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Project (7) Solitude/Solo Description and inspiration To recall my past learning experience in a solo exercise performed at Outward Bound School HK in 1991
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Project (7) Solitude/Solo Exercise Description and Intention In 1991, there was a 2-day,1-night (24 hrs) solo exercise by myself that all participants had to go through during a 10-day Leadership Course at Outward Bound School HK. Each participant was required to write 3 letters for the following purposes: 1. 2. 3.
A letter for self-review in the past 3 years A letter to express why you wanted to join this course A letter for yourself: what do you plan to do in the near future? (This letter will be sent back to the participant 6 months after passing the course)
Each participant was required to conduct “silent-out� (meaning no talking) around 4:00 pm on the day-one and during the pick-up trip around 5:00 p.m. on the day two returning to the school. Failure to follow any rule of the above would be dismissed immediately from the course.
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Each participant was sent individually to a small isolated island (with beach) to stay on his/her own for at least 24 hours with the following necessaries: 1. 2. 3. 4. 5. 6. 7.
3 x litre of drinkable water 1 x plastic shelter (3’x6’ flat-sheet) 1 x raincoat 3 x paper with 1 pen 1 x whistle 1 x small belt 1 x small plastic tube wrapped with flashy yellow reflective label as surviving indicator for the school’s checking
Radio, any AV equipment, watch, mobile phone, match (lighter), cigarette and any kind of food were prohibited
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Project (7) Solitude/Solo Exercise A simulated photo to illustrate the set-up and conditions of the solo exercise in the island
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This small plastic tube wrapped with flashy yellow reflective label which was act as a survival /safe indicator. During the stay in the solo time in the island, the school staff and coach will come by sea and spot/irradiate you from the boat, at mid-night, to check and ensure you are alright, or otherwise, they will come to the beach to save/help you! In reality, who will irradiate at you making certain you are alright? Who will take care you? Who will help you to make sure you are still alive?
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I created a new artwork under the theme of Solitude - Solo Exercise. This was a unique and unforgettable experience that I earned in my life.
I had never thought about staying on an isolated island for 24 hours alone, with no watch, no mobile, no radio, etc. There was nothing I could use to keep connecting with my “world�.
Though I was fearful during the solo hours but eventually I built my selfconfidence through this exercise for the rest of my life.
In reality, I thought that somehow it is really lonely and scary for a man who works and fights hard for survival in the business world/society surrounded by people, including friends, foes and strangers, to be alone, losing contact with everyone else.
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Figure #26
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Figure #26 “Surviving in Central #1� Solitude/Solo (performative acts) Photograph courtesy of Peter Chu Monochrome photography with PS editing work Printout in 50 x 50 cm
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Figure #27
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Figure #27 “Surviving in Central #2� Solitude/Solo (performative acts) Photograph courtesy of Peter Chu Monochrome photography with PS editing work Printout in 50 x 50 cm
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Project (7) Solitude/Solo (Performance base photo art) Reflection: In this series, again, I tried to use photography as the media to recall my memory of a 24-hour solo exercise at Outward Bound School a long time ago… Perhaps it is a good idea to create artwork based on the context of “solitude” but how to translate this context into a visual story to share with viewers about the life and feelings of a man – a “City Fighter” who is struggling to survive in the business world is a good question. My initial idea was to wear normal business suit and carry the small indicator which I had used in my solo exercise and walk around in selected commercial areas, i.e. a corner in Central, where I would stay for 24 hours.
And then my plan was to take photos to record/present my solo performance around the clock. •
At first, I would start taking photo at 6:00 p.m when there should be at dusk, a huge crowd of pedestrians in a hurry to go home, surrounding me, walking fast, and this was exactly the same time I had started to get on the island to begin my previous solo exercise.
•
The second shot should be taken at 12:00 a.m. when there should be almost no one walking in the street, and cars are few during the small hours. I should be tired. Would I still want to sleep or think in a desperate state of solitude?
•
The third shot should be taken at 6:00 a.m. when people start coming back to Central to work.
•
The last shot should be taken at 12:00 p.m. though I might be standing at the same place with crowds of business people. I should still be playing the same role as one of them, pretending to be busy, while I would probably be experiencing a deep sense of solitude, fighting for survival all by myself.
However, I finally gave up this performance plan as I couldn’t find a good partner and cameraman who can take photos for me in a professional manner over such a long course of time. But I will reconsider this performance in the near future if it is worthwhile to do so and I plan to hire a photographer then. So, the back-up plan was to take some photos at daytime and at night-time to represent the 2 different kinds of atmosphere in Central at different times.
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In creating this project of Solitude/Solo, inspired by photographer Gregory Crewdson [25] [Appendix 11], I
tried to create a sensation of intense loneliness which can be depicted by the gloomy mood in the monochrome photos. I tried to express the solitude of a person, which is both personal and universal, as it can be anyone’s “personal experience”. I wanted to use these photos to tell a story, to extract an everyday situation out of the ordinary and transform it into something cinematic and universal. Point of view Although I set the theme as a city fighter surviving in a routine business world, I hope I can express something more impersonal by playing the role of an actor, who observes myself, as one of the many citygoers, from a detached point of view. Like a tiny drop of water in a sea of people, I am both myself and not myself, and anyone who has had the same urban experience can identify with me. Expect the Unexpected What I enjoy the most in making art is the spontaneity and the almost providential nature of the creation process. There are always unexpected outcomes which can be anticipated delightfully. For example, while I was being the subject of the many shots in Central, I was not aware of which one was arty and which was
not. I just played my role faithfully, and let the work develop in the process. Although almost of the shots were not used finally, the selected 2 x “artwork photos” is the result of much effort and work; just like doing one shot in a movie, I have gone through many takes to capture the best shot, and usually it is completely different from my initial expectation! The making of this cinematic series of photographs provides me with the ultimate experience of making art.
[25] The artist has referred the 'limitations of a photograph in terms of narrative capacity to have an image that is frozen in time, (where) there's no before or after' and has turned that restriction into a unique strength. http://whitecube.com/artists/gregory_crewdson/
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Project (8) – Stories of Desert Villages series Description and Intention Project Background and Research Photos
A range of photographs taken on my field trip in Grass Island/Sai Kung, HK, 2014.
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Collections of waste materials in Grass Island, Sai Kung
Project (8) Stories of Deserted Villages series
A range of photographs taken on my field trip in Grass Island/Sai Kung, HK, 2015 with my supportive partner, Fanny
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Project (8) – Stories of Deserted Villages series: Deserted stories #1, #2 and #3 Outdoor installation view Medium: #1 and #3 Collected wood piece, acrylics/ 70 x 90 x 1cm, metal frame 74 x 94 x 5cm, Wood piece collection from Grass Island/Sai Kung, HK, 2015 Medium: Found objects and mixed media Dimension variable
Deserted stories - #1
Deserted stories - #2
Deserted stories - #3
Figure #28 86
Deserted Stories #2 (details)
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Project (8) – Stories of Deserted Villages series: Deserted stories– #4 Medium: stamps, copper wire, ceramic, Chinese metal ruler, acrylics and labels, transparent acrylic board 52 x 184 x 1cm Stamp collection / 1975-1990 Chinese metal ruler & Ceramic piece / Materials from Grass Island, HK / 2015
Figure #29 Deserted Stories #4 (front side)
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Figure #30 Deserted Stories #4 (backside)
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Deserted Stories #4 (Details on front side)
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Deserted Stories #4 (Details on front side)
Project (8) – Stories of Deserted Villages Reflection In this project, I attempted to capture my impressions on deserted villages located on outlying islands and some rural areas in the New Territories. Although my research interest Wabi-Sabi is originally a Japanese aesthetic concept, I seek inspirations of Wabi-Sabi in HK rather than relying on my
travelling experiences in Japan, since I believe that Wabi-Sabi is universal. During my past visits to those deserted villages, I discovered something unseen, mysterious, tranquil, and isolated…but nonetheless touched me in a peculiar way. Supposed these villages were inhabited by people of the old generations, we don’t know when the inhabitants left. But in some of those abandoned houses, traces of accommodation including a few pieces of discarded furniture, housewares and kitchenware could be found. It seems that the past residents left their homes all of sudden? Or, maybe, they have accommodated strangers after being abandoned by their owners? Despite their rustic appearance, I felt that these houses had been full of families’ stories and domestic warmth in the old days. In solitude, I contemplated on the broken paper, rattan, bamboo, wood, soil, straws, and other naturally aged objects remaining in the houses, as the testimony to a time gone by. A range of photographs taken on my field trip in Grass Island/Sai Kung, HK, 2014.
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I particularly liked the windows. Some still had broken glass and rusting iron frames mounted on them. However, when I gazed at the window, it
reminded me of parents looking through the windows while missing their children who had emigrated or moved to the city ages ago. Witnessing how people change and how impermanent things are, I was overwhelmed by a spine-chilling sensation of Wabi-Sabi. Similar to the truth, wabi-sabi is, indeed, everywhere. I have resorted to photography to present my impressions on those villages (exemplified by photos on the previous pages) although I am not sure whether it is the best media if I aim at a more holistic presentation with artistic depth. I was afraid of taking a batch of landscape photos just like an ordinary documentary album. A range of photographs taken on my field visit in Grass Island/Sai Kung, HK, 2014.
According to John Berger, “When we see a landscape, we situate ourselves in it. If we "saw� the art of the past, we would situate ourselves in history. When we are prevented from seeing it, we are being deprived of the history which belongs to us� [26] More importantly, I intended to unfold the time, memory and the retrospective view of the history in my photos. I tried to narrow down my focus onto a specific point, for example the broken glass which is a key element of the houses. Hence, instead of taking photos of the windows or anything inside the house, I created a
Collections of waste materials / found objects from Grass Island in Sai Kung
series of artwork in multi-media and various sizes. [26] John Berger, 1995, Way of seeing, Penguin, page 11
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Compared to the previous Zen & Sand series, I avoided using a uniformed size of canvas in order to prevent a “painting-like” presentation. Thus, in this project, I might discover more possibilities by playing around different materials for my trials and practice, for examples metal, ceramic, wood pieces, transparent acrylic boards and especially waste materials. I collected some waste materials in Hong Kong, from the beach on Grass Island and one of the Outbound
venues in Sai Kung, as I wanted to make use of these materials to suggest an association between “waste” and “history” as they are both readily undervalued and if fallen in good hands, could be sublimed into art. I attempted to fabricate a rusting metal frame to represent the window frame of a “broken window” (i.e. Stories of Deserted Villages #1 shown on the following pages). Another direction of this project is to compile my collection of old stamps in 70’s to represent the old generations and history. However, I brushed carefully some transverse layers of colours in a organic flow and structure by which I tried to create semi-abstract imageries of HK landscapes, with the village houses represented by the small stamps, and the ceramic pieces on the left side resembling a small mountain or an isolated island. After some research on installation art, I would still prefer to use more natural, aged/ancient objects to express my appreciation for wabi-sabi. In the meantime, I was inspired by artist Gabriel Orozco (Mexico) [appendix 9] , who meticulously arranged found objects with combinations of color and form that highlight the vibrancy of both. But I took a different approach, I employed used stamps as the key materials of the artwork, unlike Portia’s style featuring photographs of fresh flower installations. And expectedly, the flowers would wither. That’s related to the thought of Wabi-Sabi principle, thus I will think along this direction in my future work but not in this batch.
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I have considered the most effective way for my installation art to be displayed. For Deserted Stories #4, since it is a long transverse work of 1800mm in length, viewers can look at any part of the configuration at first (see figure 29), either from left to right or vice versa to capture their own focal point in relation with their own intuition and feelings. Moreover, the configuration is best presented when hung from the ceiling (figure #31), surrounded by viewers, viewed at eye-level. As it is done on a transparent acrylic board, viewers can see through the configuration, walk around and view from both sides. It means that the viewer’s/viewers’ face(s) will also become a part of the configuration. Imagine it being viewed by a group of elderly people‌it would seem like they are involved in the art with their wrinkled faces embedded in the visual stories. Thus, I also painted on the back side of the work; instead of adding any stamps on one side, I painted small rectangular shapes to represent houses, which denote a sense of home endearingly.
Figure # 31
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Part 4: Major Project B •
Project (9) - The Poetic Landscape (Figure 32-37)
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Project (10) - The Hidden Memory (Figure 38- 40)
•
Project (11) - The Shadow Memory (Figure 41-48)
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Research References To develop the final 3 projects, (i.e. Project 9-11), I was drawn to use the theory of Impermanence as my focal point of ideas for the art practice: According to “The Buddhist Concept of Impermanence” [27 ] : Impermanence and change are thus the undeniable truths of our existence. What is real is the existing moment, the present that is a product of the past, or a result of the previous causes and actions. Because of ignorance, an ordinary mind conceives them all to be part of one continuous reality. But in truth they are not.
The various stages in the life of a man, the childhood, the adulthood, the old age are not the same at any given time. The child is not the same when he grows up and becomes a young man, nor when the latter turns into an old man. The seed is not the tree, though it produces the tree, and the fruit is also not the tree, though it is produced by the tree. Thus early Buddhism declares that in this world there is nothing that is fixed and permanent. Every thing is subject to change and alteration. "Decay is inherent in all component things," declared the Buddha and his followers accepted that existence was a flux, and a continuous becoming. (無常是宇宙人生一切現象的真理，是指世間萬物都是緣聚即生，緣散即滅，遷流不息，變化無窮。)
[27] source: from - www.hinduwebsite.com
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Major Project B Project (9) Poetic Landscape This series of paintings aims to capture the four seasons in the use of colour and form. The consistency in style expresses the permanent change of the season, each with its character and unique kind of beauty.
Figure #32 Title: Spring Gone with the Rain (連雨不知春去) The misty rain that wets the soil is portrayed by the mixture of blue, green and earthy hues in the background. The blooming flower is the focal point of the painting. Medium: Paper collage, acrylic and mixed media on wood board Dimension: 80 x 120cm
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Major Project B Project (9) Poetic Landscape Figure #33 Title: Summer Green in Bright Sunshine (一晴方覺夏深) In layers of green, the lush trees in summer are portrayed brilliantly as if basked in sunlight. Medium: Paper collage, acrylic and mixed media on wood board Dimension: 80 x 120cm
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Major Project B Project (9) Poetic Landscape Figure #34 Title: Swans fly South in Falling Leaves (木落雁南渡) Evoking imageries from ancient Chinese poems, this painting depicts a poetic landscape of autumn in a background of dark green and brownish hues.
Medium: Paper collage, acrylic and mixed media on wood board Dimension: 80 x 120cm
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Major Project B Project (9) Poetic Landscape Figure #35 Title: North Winds Chilling Down the River (北風江上寒) The chilliness of the north winds is effectively portrayed by the cool colour tones and the rusty texture. Medium: Paper collage, acrylic and mixed media on wood board Dimension: 80 x 120cm
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Major Project B Project (9) Poetic Landscape Figure #36 Title: The Seasons Come and Go without Staying (天不言而四時行) Medium: Paper collage, acrylic and mixed media on wood board Dimension: 80 x 120cm
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This painting (figure 36) is inspired by A poem from Japanese Monk Ryokan (良寛 ) 世の中は 何にたとへん 山彦の こたふる聲の 空しきがごと Translation by Steven D. Carter: Our life in this world to what shall I compare it? Its like an echo resounding through the mountains and off into the empty sky.
For just as language cannot apprehend, nothingness cannot be expressed except in language. Over time, poems and paintings are transformed, moving towards abstraction until they are nothing but shapes and colours. The most interesting passage in an abstract painting is the one in which the subject moves towards abstraction. It is that indescribable moment in which the subjects till visible, is on the brink of slipping into abstraction. [28]
[28] Anselm Kiefer, 2011, The Waves of Sea and Love, White Cube Hoxton Square, P.79
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Major Project B Project (9) Poetic Landscape Figure #37 Title: The Earth Nurtures Lives without Saying
(地不語而百物生)
Medium: Paper collage, acrylic and mixed media on wood board Dimension: 80 x 120cm
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Project (9) - The Poetic Landscape Reflection In this Project of The Poetic Landscape, which is inspired by the Canadian painter, Otto Roger Donald [29], and Chinese (US based) painter FONG Chung-Ray’s personal style and techniques [30], I attempt to use new materials, not only the large-sized wood board in 80 x 120cm but also a new approach of collage work with mixed media for developing the textures and layers. I made reference to the nature, the beauty of the four seasons and sought a sense of poetic landscape in my depiction, in search for a heightened realm of reality. While developing the configuration on each wood panel, my aim is to achieve a resolution that transcends the act of making, presenting the viewer
with a touch of Wabi-Sabi, with a presence so palpable that time seems to be suspended. In addition, what I really like to do in my studio practice was to define a process to archive the best choice of leaving out instead of putting in. Hence I have tried to paste multi-layers of painted papers on the wood board to develop geometrical structures which were as simple as possible at the beginning. And then, in nearly the same way as how leaves grow and fall, I started cutting out the layers of paper in order to reveal the hidden layer of color instead of adding more color layers on the top as usual. Does it imply that observed principles of the natural creative process are employed in our artistic process? This
may be the case, but it does not means that nature and art are the same thing. Roger says, “Creation reflects the attributes of the Creator, art reflect the mind of the artist. The mind keeps company with nature. And nature is the companion of conceptualization. [31] *29+ In Otto’s own work, he use along with brushes, rags and palette knives, a whole range of other instruments come into play: paint rollers, electric spray guns, hose water attachments, stencils ad containers which pour paint, etc. (painting images refer to see appendix 8)
*30+ FONG’ s paintings feature a technique: applying acrylic onto thin sheets of plastic, these sheets would be crumbled to create unpredictable patterns, and these patterns in turn are transferred onto the paper or canvas. The patterns, often produce a rhythmic vitality in its purest abstract form. [31] Darius Himes, 2007, Otto Donald Roger, Radius Books, NYC, page 156 105
Moreover, from Roger’s work, I observed the process of transforming landscapes into “geometric elements” consistently, the profound “spatial configurations” created, the “precise calculations
conforming to aesthetic necessary”, and the “relationship between proportion and beauty”. I cannot agree more to the notion that the essential structure of a work of art is “a pattern of resolved stresses” that results in “an achieved harmony. “In a work of art you take maximum diversity and create a unity…that has a life of its own,” according to Roger. [32a] I have tried to express this in my paintings by portraying the tones and moods of the four seasons that relate to each other in a natural, organic cycle in the form of geometric elements and colours specific to each season. The sculptor Medardo Rosso has expressed it this way, “What I strive most to achieve in art is to make you
forget the materials. The sculptor must, by means of a resume of the impressions received, communicate whatever has struck his sensibility, so that the person beholding the work may experience in its entirely the emotion felt by the artist while he observed nature.” [33] However, I am faced with challenges when I evaluate the outcome of the 6 paintings in this project. First, I am not quite sure whether they can present the sense of Impermanence prevalent in my art. According to Roger, he says “any subject or abstract form alone convey the emotion or spirit; it is pictorial scheme as placed before the viewer that must be convincing as art, mere sentiment will not produce a significant
order with the power to move another soul.” He always felt that the most fruitful relationship the artist can have with nature is to perceive the physical world as metaphor containing within itself countless other metaphors. [32b]
[32 a and b] Peggy Hadden, 2010, The Quotable Artist, Allworth Press; 1 edition , page 95 [33] Darius Himes, 2007, Otto Donald Roger, Radius Books, NYC, page 157
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Though a painting never fails to contain metaphors within a metaphor, and the practice of paintings aligns with my Aims in this project, which is to explore how various art media, including paintings, sculptures and site-specific installations may be used as the vehicles for expressing the idea of impermanence, Ｉ found it challenging to use paintings as a medium to convey the sense of Impermanence, because a painting itself has a permanent physical form! Despite the challenges, the artistic outcome of these 6 paintings made me plunge into a deep reflection, which reminds me of a self-taught American artist, Albert Pinkham Ryder’s description of his struggle to convey the essence of nature in his work. It seems from his account that he was pursuing this goal with the idea of depiction in mind and was frustrated by “the maze of details”. Eventually when he was able to transfer his love of nature to the painted surface in three solid masses of form and color, a genuine work of art appeared standing on its own, but holding nature within. He says, “I saw nature spring into life upon my dead canvas. It was better than nature, for it was vibrating with the thrill of a new creation”. [34] In the light of Ryder’s example, I hope I have also found my way to a visual language that is both correspondent with nature, and rich in abstract symbols, and most importantly, conveys the signature sense of Impermanence in my art. And then, the idea of using wire as a medium struck me like a bolt of lightning!
[34] William Innes Homer, 1898 A Albert Pinkham Ryder/Painter of Dreams, Harry N. Abrams, Inc. NYC, page 186
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Project (10) The Hidden Memory Description and Intention The swirl and flow of memory are represented by brushstrokes of dark ink, stark and intense, whereas the thread is the linearity leading to our hidden memory, which is represented by the intricate fabric-like texture, deliberately portrayed to be standing out from the rest of the painting. The broken rope represents the inconsistent state of memory. The rope is more visible in the front view, suggesting that the older generation has a clearer thread of memory compared to the modern generation. The blue lines that almost merge in the same background colour represent the linear thinking of this generation. Unlike the older generation, we no longer have the habits of remembering things clearly and we can no longer tell memory from routine. The blurred and fading colour represents the memory of the modern generation which is not as clear as that of its older counterpart due to advancement in technology. In the old days, when technology is less advanced, people tended to remember things by heart. But nowadays, everything can be photographed and scanned easily at the click of a button. We thus no longer need to store things in our memory.
No matter it is the old or the modern generation, it is hard to preserve complete memory because some lines are hidden at the back (mentally in our mind or physically at the back of the artwork), in much the same way as memories that are hidden, repressed, or simply, lost due to motivated forgetting, or the work of time. Memory tends to appear in incomplete forms. While the intangible form of memory is illustrated in the wire sculptures through their shadows, the tangible form of memory is explored through the physical forms of the abstract art on the board. It would be ideal to have the shadows of the wire sculptures projected on these boards to give a complete picture
of what memory is.
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Project (10) – The Hidden Memory I and II Overview (Figure 40)
The hidden memory I (back side)
The hidden memory II
The hidden memory I
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The hidden memory II (back side)
Project (10) The Hidden Memory I Figure (38) Media: wood board in 107 x 180 x 1cm, Japanese rice paper, ink and thread
The hidden memory I (back side) 110
Project (10) The Hidden Memory II Figure (39) Media: wood board in 107 x 180 x 1cm, Japanese rice paper, ink and thread The swirl and flow of memory are represented by brushstrokes of dark ink, stark and intense, whereas the thread is the linearity leading to our hidden memory, which is represented by the intricate fabriclike texture, deliberately portrayed to be standing out from the rest of the painting.
The hidden memory II (back side) 111
Project (11) Memories of Shadows Description and Intention Entailing Project 10, an associated new project is developed to further explore the possibilities of how “linearity can be applied in 2 and 3-dimensional media to articulate spatial considerations of time in the context of Wabi-Sabi”, in response to my Research Question.
In this Project 11, I attempted to use metal and copper wire as the main materials to develop a series of linear sculptures. The feature sculptures are entitled 1) A Man Story; 2) A Seed Story and the remaining part of the sculptures, 3) The Present that are all included in this “Memories of Shadows” series. In the set-up of these site-specific installations with lighting, different shadows will be reflected on the walls at the back of the sculptures. They will be viewed in a holistic perspective of “Memories of Shadows” including the viewers’ shadows. The term “shadow memory”, when applied in the computing world, is a technique used to track and store information in computer memory used by a program during its execution. Shadow memory consists of shadow bytes that map to individual bits or one or more bytes in main memory. These shadow bytes are typically invisible to the original program in the computer and are used to record information about the original piece of data. [35]
[35] source: https://en.wikipedia.org/wiki/Shadow_memory
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However, from a human point of view, each person has his or her own memory history which stores the past. They might also have the capability to create a “back up” memory naturally, that’s what I would call “personal shadow memory”. However, in our real life, how to access our memory, how to read it, how to use or save things in our memory are our personal choices…… Compared with the computer memory which is non-selective, the human memory is much more
intriguing in the sense that it is highly selective and personalized, governed by our consciousness. As pain is a powerful retrieval cue, painful memories tend to register longer in our consciousness, and so they often have a stronger impact on us than happy memories. It is thus explicable that some people tend to choose painful things to remember. The shadow is subject to change when viewed from different perspectives, at different times, under different kinds of light. In very much the same way, memory is relative to time and space. For example, how we remember the same past event today or ten years from now would be totally different, just like
how the shadow appears stark and intense under bright lights, but fades away as the light dims out (the passage of time). Hence, there is no right or wrong, good or bad; no absolute truth but transient perception. Our perception is changing constantly, depending on circumstances and perspectives, which change from time to time, just like the shadows of these sculptures. “An incident in memory is impermanent; Memory of incidents as history is permanent.” I learned that from a friend of mine, Dr. Kenny Wan.
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All in all, these wire (shadow) sculptures express the philosophy of impermanence in the form of permanence, embodied with the spirit of Zen. The tangible wires represent the journey of life in an endless cycle of birth, aging, sickness and death, while the intangible shadow represents the memory, the loss and suffering one experiences in life. What we did in the past can be a shadow of life. The “Shadow” in the sculpture represent past events that become the focal points of life with permanent impact. We may also treat this installation work as “Shadow sculpture”. The installations in place and their shadows on
the wall invite viewers to walk around and ponder on the different wire forms, while their own shadows are projected on the wall.
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Project (11) Memories of Shadows Artwork (1): The Man Story (left below) Artwork (2): The Seed Story (right below) Medium: metal wires, Japanese rice paper, found objects Dimension: variable, height: 130 cm
Figure (41)
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Artwork (1): The Man Story (details)
Artwork (1): The Man Story (details)
Artwork (1): The Man Story (details)
Figure (42)
The Man Story (details with shadow view)
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Figure (43)
The Seed Story Indoor installation (with entire shadow view)
A forest grows from a tree, a tree grows from a seed… The tree will die, the forest will disappear, but everything begins again from a seed….. This is the rules of the nature, the cycle of life … Impermanence is a cycle from birth to growth to death and so on…this is life.
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Artwork (2): The Seed Story (details)
Figure (44)
Figure (45)
Figure (46)
That’s a rule of the nature. People need to practice living naturally and following their heart with patience and a peaceful mind without too much manipulations and expectations. Similar to a seed, an event can only happen at the right time, at the right place, and under the right conditions. To echo the Buddhist Concept of Impermanence, the seed is not the tree, though it produces the tree, and the fruit is also not the tree, though it is produced by the tree.
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Project (11) Memories of Shadows Artwork (3): The Present Medium: metal wires, Japanese rice paper, found objects Dimension variable maximum height: 200 cm
The wires are twisted into 3dimensional form without sketching or planning, but in a free flow run by my heart. The process of twisting wires is a practice on the Zen philosophy of ‘less is more’. It is all about letting go of the redundant and capturing the essence of life.
Figure (47) The trial installation view of The Present
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(Opposite photo) The trial installation, site-specific in Sep 2015 in Cattle Depot Exhibition Gallery
The flow is calligraphic in the sense that every single twist is done by hand, channeling the most original ‘chi’ (life force). Decisions are made from moment to moment with endless possibilities, in harmony with the presence. Although the wires appear to be fragile, they are invincible. They are not fixed on heavy bases, but attached to the ground upon niches, well supported by organic mechanics in a representation of selfbalance and naturalness. What is real is the existing moment, the present that is a product of the past, or a result of the previous causes and actions.
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The found objects, ropes and paper represent the dot, line and plane that constitute different phases of life. Each sculpture is a representation of ‘connecting the dots’ in life.
Formal installation will be placed and set out with both the Hidden Memory I and II
Figure (48) The trial installation view of The Present 124
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Project (10) Hidden Memory I &II and Project (11) Memories of Shadows Installation configuration For this exhibition set up, I attempted to explore ways to archive the ways of negative space (and time)
is used.[36] The use of negative space, which surrounds the object in an image, can have a dramatic impact on the mood and tone of the finished work, as it creates an invisible space for the human shadows to fill in and fade out as viewers come and go. While the viewers walk around the sculpture, their shadows are projected on the walls, overlapping with the sculpture shadows from time to time, yet without staying at a particular point. The sculpture shadows can either stand alone or interacted with the human shadows in different ways at different times under different light. The visual outcome is one-off and unique each time. It cannot be manipulated or repeated, denoting a deep sense of Impermanence. The interplay of shadows and objects is a silent dialogue between Form in 2-D and Content in 3-D, represented by the wire sculpture and the human(viewer) respectively, thus answering the research question on Linearity. The visual effects on the wall illustrate that the human shadows can actually go through the sculpture shadows, as a dimensional breakthrough with an air of Impermanence. The installation configuration set up in an art gallery space on 2-9 Dec 2015. On one side of the wall, a video of the beach would be played with a projector. Viewers will get into the mood of walking on the beach.
[36] When Less is More: Concept of Japanese "MA“, WAWAZA, 2015, http://wawaza.com/pages/when-less-is-more-theconcept-of-japanese-ma.html
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As parts of the backdrop, the real sculptures would be placed right in front of the projection wall, with their shadows reflected onto the sea view. An interaction between the virtual image and the real objects could be interpreted as an interplay between the 2-D and 3-D space, the past and the present, represented by the video and the sculptures respectively. While the viewers’ shadows are speculated to be added on top in this showcase, another dimension and spatial layer will be created autonomously. The effects generated, from the video, to the sculpture, to the viewers, speak volume about the spatial considerations of time, from the past(video), to the present(sculpture), to the future(viewers).
This is, in fact, a reversible and impermanent cycle. While the viewers’ presence becoming past with their shadows fading out, the beach scene would become an extended vision of the future for viewers who had envisaged themselves walking on the beach. Therefore, the impermanence of being in relation with the passage of time, manifested by the alternate turn between the past and the future, is underlined in this installation configuration.
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Conclusion All the projects in this research, however diverse it seems in both form and content, are commonly grounded in the philosophy of Wabi-Sabi. According to Leonard Koren, Wabi-Sabi is the “quintessential Japanese aesthetic”, a beauty of things “imperfect, impermanent, and incomplete”, “modest and humble” and “unconventional”. It could even be called the “Zen of things”, as it exemplifies many of Zen’s core spiritual-philosophical tenets.” [37] Understanding the close relationship between Wabi-sabi and Zen, I begin my research trying to make simple yet profound art associated with the philosophies of Zen. When creating expression with Wabi-Sabi materials [38], and deploying and defining Wabi-sabi into contemporary art practice, I discover the Impermanence of Zen, in the context of Wabi-sabi, where “the very ethereal level where beauty and enlightenment merge”. According to Andrew Juniper, “Although a perfect philosophical understanding of art and aesthetics is an unrealistic goal for most, the art of Wabi-Sabi still has much to offer modern art theory. [39] The process of carrying on my research, exploring different media, proceeding from project to project, making artwork under various themes, is full of surprises and enlightenment. In this research I immersed into the aesthetic universe of Wabi-Sabi while engaged in a connecting-the-dots journey of self-discovery, from transforming the Narcissus-themed oil paintings to the installation configurations; to depicting the sense of solitude among city-goers with a series of performance-based photographs; to the wire
sculptures/installation configurations that provided a vehicle to answer the research question on linearity.
[37] Leonard Koren, 2008,Wabi-‐Sabi: for Arts, Designers, Poets & Philosophers, Stone Bridge Press, page 12 [38] The original exponents of Wabi-‐sabi advocated the use of materials that occur naturally – mud, clay, wood, bamboo, cloth, paper, hemp, grass, and even iron. [39] Andrew Juniper, 2008, Wabi-‐sabi, the Japanese art of impermanence, TUTITLE, page 121.
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Appendix (1) ~ (13) About the Influenced Artists The research processes explored much of the essence of the WabiSabi spirit by appreciating influential artists such as: •
Lee Ufan (South Korea) [appendix 1]
•
Takesada Matsuani (Japan) [appendix 2]
•
Shoichi Ida (Japan) [appendix 3]
•
Hiroji Noda (Japan) [appendix 4]
•
Keizo Tawa (Japan) [appendix 5].
Moreover, there are some western artists whose works and documentations provided me with a lot of inspirations and formative practice examples for my research. They are: •
Otto Donald (Canada) [appendix 6]
•
Joseph Cornell (US) [appendix 7]
•
Anselm Kiefer (Garman) [appendix 8]
•
Gabriel Orozco (Mexico) [appendix 9]
•
Antoni Tàpies (Spain) [appendix 10]
•
Gregory Crewdson (USA) [appendix 11]
•
Randy Cooper (US) [appendix 12]
•
Herbert Ferber (US) [appendix 13].
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Appendix (1) About the artist: Lee Ufan (South Korea) Lee Ufan (Korean: 이우환, Hanja: (李禹煥), Korean pronunciation: *iːuhwan+ born 1936 in Haman County, in South Kyongsang province in Korea) is a Korean minimalist painter and sculptor artist and academic, honored by the government of Japan for having "contributed to the development of contemporary art in Japan." The art of this artist, who has long been based in Japan, is rooted in an Eastern appreciation of the nature of materials and also in modern European phenomenology. The origin of Mono-ha may be found in Lee‘s article "Sonzai to mu wo koete Sekine Nobuo ron (Beyond Being and Nothingness - A Thesis on Sekine Nobuo.” Source: https://en.wikipedia.org/wiki/Lee_Ufan
Appendix (2) About the artist : Takesada Matsuani (Japan) Takesada Matsutani (松谷武判) is a Japanese, contemporary, mixed-media artist born on January 1, 1937 in Osaka, Japan. He is a member of the Gutai group since 1963. His well-known work involves a technique of blowing a gust of air into a puddle of vinyl wood glue, creating bulges, bubbles, and drips. He was inspired by the way the glue dried, using it as his ideal medium for many of his works. Source: https://en.wikipedia.org/wiki/Matsutani
Appendix (3) About the artist : Shoichi Ida (Japan) Shoichi Ida, (井田照一) who died in 2006, was born in 1941 in Kyoto, Japan. Ida was perhaps best known as a paper artist and printmaker. He explained his unifying concept in an interview published in the Hara Museum Review in 1987: “The surface can be the paper or canvas or whatever; it is the point of contact between me and the ideas I am working on. Through my work I try to make invisible phenomena visible by showing the point of contact.” Source: http://www.magical-secrets.com/artists/ida
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Appendix (4) About the artist : Hiroji Noda (Japan) Hiroji Noda (野田裕示) was born in 1952 and died in 1995. He is well-known for his experimental painting techniques, which over his 30-year career evolved to include using raised forms and folded or sewn fabric to give his work a 3-dimensional aspect. There was a solo exhibition in THE NATIONAL ART CENTER, TOKYO in 2013. This retrospective brings together more than 140 of his paintings — from early works that garnered him much attention as a young artist, through various experimental phases and ending on more recent thematic combinations of works. Source: http://www.japantimes.co.jp/culture/2012/01/19/arts/openings-in-tokyo/noda-hiroji-1981-2011-2/#.VidUon4rKUk
Appendix (5) About the artist : Keizo Tawa (Japan) The work by Keizo Tawa (多和圭三), which is created with the technique of hammering, is drawing attention as sculpture that makes a clear departure from contemporary sculpture. A single vertical rectangle of iron, struck hundreds, thousands of times with a hammer, until one surface is a sea of tiny waves. Keizo Tawa has been engaged in creating such works since 1981, and he continues today. Tawa has achieved a new approach in working with iron. He simply and earnestly strikes it. Unlike in the creation of Japanese swords, he does not use water or fire as part of his process. The result is a surface expression we have not previously seen on iron. Some of his works are reminiscent of the glistening skins of wet creatures, while others shine and reflect like the surface of water, and yet others exhibit murky depths like a pool of oil. Source: Keizo Tawa Exhibition Catalogue, by Kuma Museum of Art, Japan, 2010,
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Appendix (6) About the artist : Otto Donald (Canada) Otto Donald Rogers, painter, sculptor (b at Kerrobert, Sask 19 Nov 1935). One of Canada's foremost contemporary practitioners of colourfield painting and assembled steel sculpture, Rogers was encouraged to pursue an artistic career by Wynona Mulcaster while attending Saskatoon Teachers' Coll (1952-53). He attended U of Wisconsin (1953-59). He taught at U of Sask from 1959 to 1988, serving as chairman of the art department 1973-77.In 1960 Rogers adopted the BAHA'I FAITH. Since then he has lectured and written extensively on this religion, emphasizing its importance to his art. In 1988 Rogers moved to Haifa, Israel, to continue a strong leadership role in the Baha'i faith. Rogers returned to Canada in 1998 to set up his studio in Milford Ontario. While recognizing the spiritual element in his art, some critics claim that the prairie environment has been equally important in his work. Sources: Historic Canada: http://www.thecanadianencyclopedia.ca/en/article/otto-donald-rogers/
Appendix (7) About the artist : Joseph Cornell (US) Joseph Cornell (December 24, 1903 – December 29, 1972) was an American artist and sculptor, one of the pioneers and most celebrated exponents of assemblage. Influenced by the Surrealists, he was also an avant-garde experimental filmmaker. Cornell's most characteristic art works were boxed assemblages created from found objects. These are simple shadow boxes, usually fronted with a glass pane, in which he arranged eclectic fragments of photographs or Victorian bric a brac, in a way that combines the formal austerity of Constructivism with the lively fantasy of Surrealism. Many of his boxes, such as the famous Medici Slot Machine boxes, are interactive and are meant to be handled. Source: Wikipedia, Joseph Cornell, https://en.wikipedia.org/wiki/Joseph_Cornell
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Appendix (8) About the artist : Anselm Kiefer Anselm Kiefer was born on March 8, 1945, in Donaueschingen, Baden-Württemburg, Germany. Kiefer's works are layered terrains of cultural references: to myth, political history, literature, architecture, and music. Working in Germany, the artist wants the horrors of the past acknowledged, but he also wants the richness of German culture redeemed. Although Kiefer is best known as a painter (see Bohemia Lies by the Sea, 1997.4a,b), he has produced a prodigious number of works on paper (watercolors, mixed media, and prints) throughout his career that range in size from intimate to monumental. Layers of multiple histories and media are hallmarks of Kiefer's work. He is best known for his paintings (1997.4ab), which have grown increasingly large in scale with additions of lead, broken glass, and dried flowers or plants. Their encrusted surfaces and thick layers of impasto are physical evocations of the sediments of time and meaning they convey. Source: HEILBRUNN TIMELINE OF ART HISTORY, http://www.metmuseum.org/toah/hd/kief/hd_kief.htm
Appendix (9) About the artist : Gabriel Orozco (Mexico) Gabriel Orozco (born April 27, 1962) is a Mexican artist. He studied at the Escuela Nacional de Artes Plásticas between 1981 and 1984 and at the Circulo de Bellas Artes in Madrid between 1986 and 1987. Orozco gained his reputation in the early 1990s with his exploration of drawing, photography, sculpture and installation. In 1998 Francesco Bonami called him "one of the most influential artists of this decade, and probably the next one too."[1] Within the past fifteen years Orozco has also created work in the medium of painting. An avid world traveler, Orozco, his wife Maria Gutierrez, and their son Simón, divide their time between Paris, New York and Mexico City.
Source: https://en.wikipedia.org/wiki/Gabriel_Orozco#cite_note-3
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Appendix (10) About the artist : Antoni Tàpies (Spain) Antoni Tàpies, 3 December 1923 – 6 February 2012) was a Spanish painter, sculptor and art theorist, who became one of the most famous European artists of his generation. Tàpies was perhaps the best-known Catalan artist to emerge in the period since the Second World War. He first came into contact with contemporary art as a teenager through the magazine D’Ací i D’Allà, published in Barcelona, and during the Spanish Civil War (1936–39), while he was still at school, he taught himself to draw and paint. On a French government scholarship in the early 1950s he lived in Paris, to which he often returned. Both in Europe and beyond, the highly influential French critic and curator Michel Tapié enthusiastically promoted the work of Antoni Tàpies. Source: Antoni Tàpies, MOMA, http://www.moma.org/collection/artists/5809?=undefined&page=1
Appendix (11) About the artist : Gregory Crewdson (US) Born in 1962 in Brooklyn, New York, Gregory Crewdson is one of the best-known contemporary photographers internationally. In his most important series to date “Beneath the Roses”, which he created between 2003 and 2008, Crewdson explores the American psyche and the disturbing realities at play within quotidian environments. Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic. They feature often disturbing, surreal events. His photographs are elaborately staged and lighted using crews familiar with motion picture production and lighting large scenes using motion picture film equipment and techniques. Source: Kitamura, Katie, "Gregory Crewdson". Frieze. Retrieved 19 March 2011.
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Appendix (12) About the artist : Randy Cooper (US) As an artist, he credits his attention to detail to this latter experience at Westinghouse. Randy's mother was a master carver of birds and gunstocks, and one of his sisters is an accomplished painter, sculptor, and author. It wasn’t until Randy was nearly 50 that he discovered his own penchant for art. He began creating intriguing and magical sculptures in wire mesh and has developed all of the techniques that he uses in making his “Shadow Sculptures” on his own. These are forms created in wire screen that cast lovely shadows on the wall when lit with a light source. Indeed, sometimes the shadows seem to show more detail than the original sculpture and instill a feeling of magic into the creation. These “Shadow Sculptures” have been sweeping the United States and the world for the past few years, highlighting many private collections throughout the world, and Randy Cooper has become a major force among America's contemporary artists. Source: http://www.randycooperart.com/
Appendix (13) About the artist : Herbert Ferber (US) Herbert Ferber Silvers was born on April 30, 1906, in New York. He studied physical sciences and the humanities at the College of the City of New York (CCNY) from 1923 to 1927, when he received a BS from a joint program with CCNY and Columbia University. Titled and the bush was not consumed, the relief work marked a significant discovery for Ferber. During the nine months he worked on the piece, and particularly during the installation, he moved in and around the elements, appreciating the viewer's role in activating and defining space. The work was completed in 1952, but he continued to explore the possibilities of viewer interaction with works such as Game No. 2 (1950), in which the individual parts can be interchanged and realigned with the base. In 1956, Ferber was among the artists who signed a letter of protest against the curvilinear slope of Frank Lloyd Wright's planned building for the Guggenheim Museum, challenging its defiance of the traditional rectilinear forms and presentation of painting and sculpture. http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/928/Herbert%20Ferber
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Appendix (14) The travel and research in Kansai-Seto Inland See, Japan, 2014
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It was not until 2014 when I planned to stay for a longer while in the fascinating city Kyoto where I had been for a
couple of times, trying to take a different, more comprehensive approach on my art journey. I am always interested in exploring more opportunities to learn and capture the sense of Wabi-Sabi and its philosophies that I want to employ and incorporate in my artwork. I believe there is nothing better than an exclusively “art-for-art-sake” journey to nearly all the Art Museums in various cities, appreciating Japanese culture and art in different art forms, ranging from ancient to modern, within one journey. It is relaxing to concentrate on viewing and admiring artwork along the way, while I can enjoy my free-driving experience, without being bound by a hectic itinerary and away from the hustle and bustle of popular
sightseeing and shopping spots! This art journey started from Kobe (神戸) and carried through a route covering several cities less known to tourists, namely Okayama(岡山市), Kasaoka (笠岡市), Kurashiki (倉敖市), especially Seto Inter sea (瀨戶內海). The most amazing driving experience for me is when taking the car ferry from Okayama to Naoshima (直島) and across the Great Seto Bridge (瀬戸大橋), and finally drove from Takamatsu (高松市) to Tokushima(德島) before returning to Kobe through Ohnaruto Bridge (大嗚門橋). I visited more than 10 cities and 20 Museums. Unfortunately, 2 of them were closed during my visit. Nevertheless, before I went to Kyoto (京都) for my further studies, I had visited another museums in Nara, and a few of heritage temples in Uji and Kyoto. In this art book, I recorded some of their exhibits in order to showcase the types of arts that have impressed me most throughout my journey. I grasped the chance of studying the ceramics in Kyoto while visiting some famous temples and art galleries. Thanks for my Gallery friends there, I found 3 respectable Japanese artists of my great interest. None of them introduced Wabi-Sabi art but I can learn a lot from their artwork, in a sense of their “spiritual way”, and the forms and materials they have been working on. From my deep memory of the journey, I will be eager and able to transform my travelling and learning experience into my artwork in the future, having a myriad of mesmerizing images, or words, imprinted on my mind.
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1)
Hyogo Prefectural Museum of Art (兵庫縣市立美術館)
2)
Yokoo Tadanori Museum of Contemporary Art (橫美忠則 現代美術館)
3)
BBPlaza Museum of Art (BBプラザ美術館)
4)
City Kobe Museum (神戸市立博物館)
5)
Kobe - Ijinkan Foreign Residences Museum (神户北野異人館)
6)
Okayama, Orient Museum (岡山市立美術館)
7)
Hayashibara Museum (岡山市 林原美術館)
8)
Naoshima - Bennsse House (直島 Bennsse House )
9)
Naoshima - Lee Ufan Museum (直島 李禹煥 美術館)
10) Naoshima - Chichun Art Museum (直島 地中美術館) 11) Ohara Art Musem (倉敖縣大原美術館) 12) Kurashiki City Art Museum (倉敖市立美術館) 13) City Kasaoka, Okayama Chikkyo Art Museum (笠岡市立竹喬美術館) 14) City iBara Okayama Denchu Art Museum (井原市立田中美術館) 15) The Kagawa Museum of Art (香川県立歷史博物館) 16) Takamatsu City, Kagawa, Museum (高松市立美術館) 17) Marugame Genichiro-Inokuma Museum of Contemporary Art (丸亀市猪熊弦一郎現代美術館) 18) Tokushima Prefectural Art Museum (德島県立近代美術館) 19) Nara City Museum (奈良美術館) 20) Uji, Kyoto Prefecture, Byōdō-in temple (京都府宇治市平等院) 21) Kyoto Municipal Museum of Art (京都市美術館) 22) Honen-in Temple (京都法然院)
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The journey started from Kobe 14
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10
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直島
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22
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Appendix (15) The highlight of field trip in Japan Experience and snap shots sharing Visit #22) Honen-in Temple (京都法然院) in Kyoto, Japan
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A range of photographs taken on my travel through Kyoto, Japan in 2014. These selected photos offer a sense of Wabi-Sabi
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The exterior photo taken in Honen-in Temple
A sharing of wabi-Sabi wisdom When we are upset, it’s easy to blame others. However, the true cause f our feelings is within us. For example, imagine yourself as a glass of water. Now, imagine past negative experience as sediment at the bottom of your glass. Next, think of others as spoon. When one stirs, the sediment clouds your water. It may appear that the spoon caused the water to cloud – but if there were no sediment, the water could remain clear no matter what. The key, then, is to identify our sediment and actively work to remove it. Josei Toda
The exterior photo taken in Honen-in Temple
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A range of photographs taken on my travel through Kyoto, Japan in 2014. These selected photos offer a sense of Wabi-Sabi
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The exterior photo taken in Honen-in Temple
A range of photographs taken on my travel through Kyoto, Japan in 2014. These selected photos offer a sense of Wabi-Sabi
The true nature of your life exists everywhere at once across all space and time for the nature of your life is the nature of the universe itself Japanese proverb 146
A range of photographs taken on my travel through Kyoto, Japan in 2014. These selected photos offer a sense of Wabi-Sabi
Everything people say or do is ultimately rooted in the belief that those actions will lead them to happiness. Japanese proverb
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Your behavior while people are watching is important. However, your behavior while no one is watching is more important, for it reveals your true character. Japanese proverb
A range of photographs taken on my travel through Kyoto, Japan in 2014. These selected photos offer a sense of Wabi-Sabi
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Bibliography Andrew Juniper, 2003, Wabi Sabi: The Japanese Art of Impermanence. Tuttle, USA Leonard Koren, 2008, Wabi-Sabi: for Artists, Designers, Poets & Philosophers, Imperfect Publishing, USA
Neil Gaiman, 2012, Make good art, OMAA 1005, USA Agneta Nyholm Winqvist, 2010, Wabi-sabi Timeless wisdom for a stress-free life, Skyhorse Publishing, New York Arielle Ford, 2009, Wabi-sabi Love, HarperOne, USA Robyn Griggs Lawrence. 2011, Simply Imperfect, New Society Publishers, USA Simon G. Brown. 2010, Practical Wabi-sabi, Carroll & Brown Book, London Daniel Abadie, 2013, Fabienne Verdier, Crossing Sign, Musumeci, Aosta, Italy Michael Bird, Oct 2012, 100 ideas that changed Art, Laurence King Publisher , USA Robin Blake. 2010, Essential Modern Art,. Parragon Publishing, UK Shuichi Abe, 2009, Shoichi Ida, Garden Project, Abe Publishing Ltd, Japan Diane Durston, 2006, Wabi-Sabi, The Art of Everyday Life, Versa Press, USA Mark Reibstein, 2008, Wabi-sabi, art by Ed Young. Hachette Book Group, USA Sky Glabush, 2007, Otto Donald Rogers, Radius Books, Canada
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Bibliography John Berger, 2002, Ways of Seeing, Pearson Education Limited, USA Cornell, Joseph, 1987, Joseph Cornell, Tokyo: Gatodo Gallery, Japan Cornell, Joseph, 1976, Joseph Cornell portfolio, New York: Leo Castelli Gallery, USA Peggy Hadden, 2010, The Quotable Artist, Allworth Press; 1 edition, USA William Innes Homer, 1898, A Albert Pinkham Ryder/Painter of Dreams, Harry N. Abrams, Inc. NYC Danny Gregory, 2006, The Creative License, Hyderion, NYC Floyd Skloot, 2004, In the Shadow of Memory, University of Nebraska Press, USA David Batchelor, 1997, Minimalism (Movements in Modern Art), Cambridge University Press, UK Jenny Moussa Spring, 2014, Unexpected Art: Serendipitous Installations, Site-Specific Works‌ Chronicle Books, LLC, CA, USA
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