Questions from ART VANCOUVER (Art Stories)

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Encouragements from teacher/artist Ethel Christensen in Ontario and Pat Martin Bates, my lecturer, who allowed me space to explore...and by not listening to the others who said I must do it their way.

Split-staged approach

My approach suggests a definite partition dividing the creative process in two stages: the intuitive and the cognitive. The former would only take a minute or two to complete; lines are drop subconsciously, yet mindfully avoiding an unconscious circulating movement. The latter, linking and revealing the hidden forms. The aesthetic aspects such as color placement are cognitive decisions addressed in the second stage of reasoning is where the artistry is applied. It is also the part, which we could objectively appreciate to justify the merits. 

L’automatisme, in its nature, poses no rational control, yet mastery could be infused subconsciously into the line qualities. An example would be our signatures, does one need to think of how the line goes having done a million times? It is a naturally expressed habit, which involves even muscle memory. 

The outcome is a joint individual effort. The idea is to leave the subconscious part `intact and finished’ before approaching further with skills and artistry, the subconscious voice is amplified, enhanced and solidify into impressions. I am bringing the knowledge gained from this Surrealists’ vision a fresh discovery with progress showing how it is done and hopefully cast new insights to artists striving in the same domain. 

I see Art as my life career and the day job is merely to support my Art 'research'. Building from art predecessors' findings, I see it my duty to push the concept further. 

Art is not just about making images, but taking part in a relay, so to speak, in which we receive the baton and do the best to add to the known knowledge, then pass along. 

Making images is easy but following a vision requires determination and perseverance.

To me, creativity is not vulnerable and I no longer have creative blocks, just work after work, an execution after another. 'Letting go' is the cure for fear. If one is meant to accomplish something, appreciation will address the hard work. 

Pre-occupation helps, I find, especially during the process of drawing. There is only a handful of chances for mistakes. Unlike paintings, we could always cover up, but not when ink is applied on paper. 

Back to fear, I think when experience is in abundance, confidence eliminates fear of failure. 

That depends on what kind of ART we are addressing. I always like to compare the visual with our other sense - taste. Fast food, Fusion gourmet and Omakase could all sustain our lives but provide us with very different feelings. The fast food joints are very functional and economical, like the staging art pieces and hotel room decorations. Michelin Star, however, leaves us with a memorable palate. The role of the artist differs from one to another. I think one has to categorize the self to find his/her own role in society. 

In general, the role of artists helps to make life bearable. Imagine life without the Arts!

Not every collaborative work shines over a jamming session. There are good jazz and bad, depending on the moment, the personalities and the mood. 

Instead of working together at the same time, I prefer to work separately in a way that I am responding and adding to what others have done previously or starting something so that others may interpret through addition. 

I see success when two distinct styles blend to show the best of both worlds. Two artists with approximately the same repertoire or caliber, in equal standing, not in achievement, but definitely in the mastery of their Art, would be a good match to proceed.

  'Art, when it is good, needs no explanation' Leonard Nimoy (Spock)

Art Vancouver 2023 is the upcoming event in which I am exhibiting 10 more new works completed since last November. This latest collection moves onto a new level in the sense that attention is no longer merely placed on finding compositions from a haystack of lines. This new charismatic series speaks compositional traits of Egon Schiele without the sexuality. Hand gestures are added to hint the position of the figure, and at the same time, provide a muted communication. 

Melodic lines still take center stage as I believe if an image is to draw comparison to a musical grace, no element should dangle by itself. The lines and shapes should relate, visibly or spiritually, to each other. This is where I moved away from Klee/Miro on the musical reference.

Moving beyond, the challenge is in how adjacent shapes work with each other to present a balanced whole, while highlighting character. Both the positive and the negative shapes complement each other. With Anime as a reference, I shall be exploring into the contemporary notion of light.