Tsz Mei Wong
Land scape
CONTEMPORARY ART REVIEW blank space, and the environment in my work is not just a mere background. It could make my work much more vivid. I also worked hard to integrate the imagery and the environment into a coherent whole.
We would like to pose some questions about the balance established by colors and texture: your pieces combine delicate and thoughtful nuances that accomplish the difficut task of establishing a provocative dynamic, as in the interesting scintillating touch of tender light on the water. How did you come about settling on your color palette? And how much does your own psychological makeup determine the nuances of tones you decide to use in a piece and in particular, how do you develope a texture?
The qualities I value most highly in my work are individuality and originality. I don’ t want my work to lose all its freshness, therefore every work is a new departure as to explore a new expressive region and to chart the most significant technical changes from one phase of exploration to the next.
I often get lost in my working process, and always question myself the effectiveness of my own approach of treatment. Therefore I am frequently depressed and insecure about my art. The painting scintillating touch of tender light on the water is an example for which I don’ t know how to compose the phenomenal world with an overall visual rhythm and wonder how to use a kind of delicate nuances of tones to convey the rippling water, that I set it aside unfinished for several days. Later, I chanced to take it out and found that it still looked charming that I really want to make the completeness of it.
Without relinquishing an array of traditional brush techniques, I had already begun by 2010 to formulate the more sophisticated approach to brush-mark and colour that would characterize my style of painting. There are unique skills to show the shades and texture of rocks and mountains by ink stroke in traditional Chinese landscape painting. The Chinese name of this technique is. I apply layer and layer of nuances of dark tone on the same area, then the overlapping textures would make the rocks and hill solid. As a contrasting result, the water looks bright. Therefore the painting represents an ordinary scenery, but its placid atmosphere being translated into the subdued tonality and the glittering effect of light and its reflection make the whole become uncannily. Every nuance, each visual vocabulary is orchestrated to the last detail that the completeness of a work of art often involved a struggle in it notwithstanding the seemingly effortless.
Over the years your works have been exhibited in several occasions, including your participation to the third Beijing Capital Art Exposition, the Seventh Beijing International Art Exposition and the 1st Asia Open Art Fair, where you have been awarded, as well. One of the hallmarks of your work is the capability of letting others know how to appreciate arts, to urge the viewers to evolve from a condition of mere spectatorship. So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?
It is a very complicated issue, First of all, we shall know the situation of the artists and the art market nowadays. To successive generations of the Chinese avant-garde, the most advanced artistic manifesto, each major lead out of the compass of Mainland China have opened potentialities to explore. Above all, contemporary is an epoch of dramatic stylistic diversity for experiments in painting method. A feeling of sudden and infinite expansion of aesthetic possibilities can be detected in most