Land scape
Tsz Mei Wong
CONTEMPORARY ART REVIEW
and precipitous mountains appeared as auspicious symbols of longevity. In the foreground there are a pair of precious birds, sliver pheasants, which is to add some vitality in the painting and also for the composition purpose. As landscape is the paramount and enduring theme of Chinese painting, I search among the“ ancients” for inspiration, and sought to revitalize ancient ideals with more contemporary notions. Therefore I emphasize to express the solid rocks and the majesty mountain scenery so in some measure it shows fidelity to the visual aspect of nature. For the purpose to create the magnificent beauty of mountains, the foreground is peak girdled by clouds and mist. In the middle, the mountains begun to build up to a crescendo in the tallest peaks, while endless ranges are suggested in the upper part.
While marked out with a deep introspective quality, your works are more than mere representations of your inner self: you rather seem to invite the viewers to an augmented perceptual experience to discover unexpected aspects not only of their inner world, but of the connectivity that affects our everchanging contemporary age. In particular The Autumn Scenery brings forward that the landscape on which everything is happening: how would you consider the relationship between the inner landscape and the outside world? Could art provide us with a channel of communication between these apsects of reality?
A painting, though it is a logical construction and vigorous design, keeps something of the generalized aesthetic feeling which records the pleasure of the artist. Whenever I work, I draw with my hand, my heart with an eye toward the big confronter of my feelings: a structural completeness to embrace the forms, the atmospheric colors, the value of lines, as to render the rich, exuberant, and even florid of Nature. The composition of The Autumn Scenery has been carefully contrived as to unite the relationship between surface pattern and spatial recession, an interest which I communicate with the sensibility of my own delight. I have been satisfied to make the rich multicolored decorations of different kind of chrysanthemums, which is a test of my skill, and I could handle it! The autumnal tints turn into the complex statement by a process of gradual increases. by means of atmospheric color, and the rich tones and shapes of flower, which enriches our memory of autumn.
Behind the sensual delight, that Nature herself present to our senses, is the tenet of musical principle, by which all the constituent elements are welded together so well in their union to perform the lyrical harmony and rhythms. I often manage to conceal poetry and intelligence in my works through such secondary feeling of music which strikes the deep chord in us.
Despite the captivating figurative aspect of your works, you allow an open reading: in particular, we noticed that elements from environment are particularly recurrent in your imagery and they never plays the role of a mere background. Do you see a definite relationship between environment and your work?
I like to employ sensuous, atmospheric touches in my works. The external reality can be transposed into tonal rhythms, charming in subtlety and gracefulness. Therefore the elements from the environment appear my painting is being poetic flavored. It is also a kind of challenge for me to innovate traditional painting. In the traditional painting, the blank space of a piece of work is very important for our ancestors don’ t think that the empty in a painting means nothing. If the arrangements of such void areas are good, then thus could enhance the expressive power of the subject matter. So the emptiness is full of energy that circulate all over the picture. However I just want to put something into the