Tuesday, July 15, 2014

"Building" a wall, continued

Other than these obvious corrections to my first attempt at this painting, I've also done something that was not obvious to the casual observer.

In the version that did not have the ground, I painted in the window lines on all 4 sides.  In fact I also brushed in shading along the left edges of the window to help delineate the opening.  I have in fact debated this with my colleagues and it was agreed that the line was necessary.



But I did not buy into it.  Not wholeheartedly anyways.

I decided to define the left edge of the window by the darkened pattern of the window.  I wanted no harsh confines for that part of the window.  This practice of defining a void space ( in this case, the window's edge ) with values and not lines is similar to how I would paint a stream or waterfall.   I also felt that the eloping wisteria vines was further enhanced by the absence of a line.



I tackled the problem of some of the branches being too thick by painting a shadow on the back of the Xuan.  This added volume without adding mass, and seemed to work.

I had enough quest in me to try another copy.  I painted the vines with more straight lines and less curves.  Somehow I did not like the vines as much as my previous attempts.  I think my anxiety of breaking up the curves into short straight segments go the better of me.  The lines also looked a little anemic to me and lacked that oomph.  Perhaps I should not have done this one?  Was I getting bored?


 I was not going to use color for this series of paintings.  I was going for that black and white graphic look with elegant lines and interesting contrasts, remember?  In fact, light values and the look of graphic design sounds more western than Chinese, but I think the vocabulary is the same, just the language is different.  Well I need to be flexible and see the possibilities.

Out came the color tubes, Titanium White and Green Label Three.  I scratched in patches of leaves. 

For now I'll pin my salvage on the wall and ponder, like I always do. The wall that I am building is now done and we shall see if it will stand up to the test of time.

I am still ruminating on why does the vine want to get out?   Surely road side auto exhaust couldn't be better than the lush flowers and ponds inside?   How does one argue with nature.

Sunday, July 6, 2014

"Building" a wall

The traditional formal gardens in old China is surrounded by a wall, which shields the various pavilions and bridges, ponds and rock structures from the outside.  The structures inside the confines of the wall are often arranged to re-create a "borrowed scenery", to fulfil the imagination and the fantasy of the property owner. 

It is this wall that I find most interesting.  Whereas its main function is to establish a physical barrier, it is often punctuated by framed windows such that people on the outside can take a peep into the garden, a bit of a tease if you will.  I look at it as a fine lady trying to hide her assets, yet strategically revealing just enough to perk one's curiosity.  I am convinced that a half clad person is definitely more intriguing than one in a full birthday suit.

We have such a garden in town.  Lucky me! 

Aside from the intrinsic beauty such wall and window radiates, I like the arrangement for other reasons too.  The stark white wall is a perfect contrast to the dark tiled tops.  The lattice, or pattern on the window casts interesting shadows and creates movement.  I like the simplicity of it.  Contrast, simplicity, elegant lines; what else can I wish for.

I hastily painted a rough draft, to see if I can parlez all these into a painting. The painting would have the dark tiles on top.  The whole upper portion of the painting would be dark and heavy.  This is the "solid", the "yang" part.  The lower and left part of the painting would be the "vague" or "ying" areas; complementing and contrasting.  There should be a strong emphasis of lines, along with the black and white patches, this could pass off as a graphic design also.



I am convinced that this could work.  Armed with that conviction, I sat down to do one in earnest.




 
Two things became apparent rather quickly.  Firstly the "ying" was too much.  There was too much void on the lower half, to the extent that window and wall top seemed to be suspending in air. The painting did not feel grounded at all.  Secondly, the vines were too jumbled up.  They looked like entangled yarns, lacking direction and movement.

The next attempt tried to fix the aforementioned shortcomings.

 



 I put in the lower edges/ground of the wall.  I appointed the main branches of the vine.  One could clearly identify  a horizontal 8 now as the main branches, albeit they were a little too thick.  I've made the black tiles at the top to be in rows of a slight angle and much darker  to break up the monotonous  look.  In fact I made no attempts at all to cover up or fill in my brushstrokes.  I want the ink to breathe.  I also painted in the continuation of the vines behind  the window.  I wanted the audience to sense ( perhaps subconsciously ) the satire that whilst the wall was trying to rein things in, the vines were actually trying to get out..............   This attribute is by itself a notion for the complement/contrast aspects of Chinese painting.  Perhaps more importantly though, especially on an emotional level, this is the half cladding that started my fascination.

to be continued