LandEscape Art Review // Special Issue | Page 87

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