Western modernism and the Chinese ink tradition in abstract compositions. Feng uses traditional calligraphic materials but employs his brush with the unrestrained energy of the Abstract Expressionists.
Precious metal tiles simultaneously stretched, welded, painted and sculpted create 3 dimensional paintings that shift and change at every angle. His mixed media pieces, where precious metal is juxtaposed with trash, forces the viewer to reassess preconceptions about what is precious and what is thrown away. For Yinghua, the act of painting is an internal desire to channel the chaos and harmony of nature in order to achieve clarity. It only took a moment and a lifetime.
His works are influenced by both the western and eastern culture. Zheng uses ink wash art as the artistic language in his works and keeps exploring the potential of ink as a medium. He studied figurative painting at first and later on moved to non-figurative art and abstract expressionism. Language is often restricted by space and its certainty, Zheng’s abstract works origins from his exploration of space, meanwhile expresses a metaphysical meaning.
Lan Zhenghui‘s monumental paintings and striking use of black ink reflect his constant pursuit of expression and feeling. His works are “emotional bursts on paper” characterized by an abstract ink-splash style. Influenced by his background in science, Lan’s aesthetic moves deftly between the realms of the rational and irrational. His brushstrokes are created by systemic body movements, which contribute to the visual and spiritual impact of the works with the swelling of muscle, blood and physical power.
He is an abstract ink brush painter whose style has been termed “heavy ink” by art critic Liu Xiaochun. The description refers both to the large scale of Lan’s works and also reflects the weight of power and spirit within them. Lan puts great emphasis on brush movements, which make his characters come alive.
The emotional weight of her latest works instinctively makes you feel drained by them. They have a psychological impact, each spatula touch contains a novel. It frees the imagination evoking a quasi-religious vision. The energy of Sáez Franco’s process is palpable; light plays across the painted surface echoing dynamism and vigor of its creation. Her strokes are created by a systemic body of movements, which contribute to the visual and spiritual impact of her works. Her paintings invite contemplation and are full of meaning
“The process of hyperdrawing emerges as inseparable from the subject it enables, allowing the increasing of what it is capable of. Here, art practice does not produce a subject as such, rather they occur simultaneously; it is through one that the subject is.” This ending quote left me with many thoughts and questions concerning drawing and what it means to draw. While previously it was understood as a preparatory tool, now it is seen as a final destination. Artists who have pushed the boundaries of the term have redefined the very question of what constitutes drawing. “Drawing is often conceived as an activity that is drawn, taking place after the imitable fact, following attentively as an echo of that which it attempts to describe.” I sense when I draw figuratively I inhabit this feeling. When I have an object in front of me I have the drawing mapped out and I understand where objects lay. However, I still get the sense when I look at my drawing and back at the model/figure I can see where features don’t intertwine. This is when I loose the figure and begin to look more at the drawing, therefore the drawing manifests into something original. Additionally I draw hoping to manifest something that could not have been conceived from planning in advance. When I draw more abstractly I have an idea of what I want to make in my head or mapped out in my sketchbook, but I know the final product will not be so cohesive. But I feel this is when I create the best works because I let go and just draw; I allow my creation to take me to my next place. Drawing emerges somewhere between control and letting go and drawing explores the idea of “Techne which is the practice of mindfulness which against the reactions of impulsive habit.” When drawing freely it introduces the idea of hyperdrawing, which is the possibility of producing what is unknown or beyond the habitual expectations of a given frame, but also emerges as a tactical mode of productive knowledge or techne capable of negotiating the changing conditions of its own production. It is the art of knowing when of attempting to catch the limit off guard. The question of what constitutes drawing is approached through process and concept much more than as defined by medium, and the course focuses on an expanded experimental approach to drawing.
He makes abstract drawings, rarely limited by the paper’s edge, incorporating his surrounding, Tony would use whatever objects were nearby, including other artists’ paints, windows, and other random materials within reach. He then shifted to three-dimensional work that contains obsessively wrapped sculptures.
His first construction consisted of crumpling up his drawings and using cardboard scraps and a stray spool of thread to wrap them together. Tony now works with wooden armatures or repurposed items like bicycle wheels, wrapping with one spool of thread after another until the structural frame is nearly concealed. Distinguished by their smooth texture, a monochromatic palette, and geometrically-driven configurations, Tony’s sculptures exude a presence that is both tactile and enigmatic.