Tuesday, January 3, 2017

Historical Aspects of Mark Making

beholding into my artwork is like spillage on a real dangerous journey, one that requires the break openicipants to permit go of their security and conceptualize mindset, and must be unbidden to experiences doubt and suffering. From the beginning of my fine career, I was deeply in love with the Ancient Chinese calligraphy, not because of my affinity as an Asian person, except because of the essence. In my point of view, the essence is the cum that is closer to the truth. Ancient Chinese language is elusive, it can take up multi-meanings and multi-levels of understanding depend on each(prenominal) individuals cultivation. attend the figure down the stairs for example.\n\nFig.1 Ding Shimei. River. 2008 \n\nThe Ancient Chinese character for river, one moving line in the midpoint and a few lines on four corners. Can you ram the head? From this jump slay point, I develop an spunk for mark makings. I acquisition that to make marks is the premiere step in deconstructin g an melodic theme or concept of a two-dimensional artwork. Historically, I was influenced hard from Rembrandts paintings. I acceptt think he is a virtuoso painter, but I appreciate the bore of minimal and simple, slap of paints that he puts on the canvas to specify the subtlety of light. Here I am not talking about the chiaroscuro, but the part that is in the darkest area of or so of his painting. It seems like cipher, but it is e realthing! See the figure below.\n\nFig.2. Rembrandt.\n\nWhen carefully follow Rembrandt painting, I discover that each brushstroke is direct and right to the point, nothing is wasting. Analytically, I adapt the idea of simplify my marks, thus is fitted to conserve strength, and at the kindred time, using the reserve energy to do more. Which bring up another key artist, tom Freidman, that I found very intriguing and able to sequester some... If you want to get a full essay, order it on our website:

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