In traditional Chinese brush we place a lot of emphasis on not only the quality of the brushstroke, but also on the nuances of the brushstroke. We would preach and elucidate on the 5 "colors" of ink, them being dry, wet, condensed, diffuse and light. These might seem abstract to someone who is alien to the culture, but in essence they are products of how water and ink interact with the Xuan paper. By employing the correct kind of paper, employing appropriate dilution of ink and water along with the speed at which the brushstroke is executed, a brushstroke becomes a trove of expressive tidbits.
Another way of effecting the ways colors or ink are revealed is by manipulating how the pigment or the dye is dispersed or deposited. Growing up in the tie dye era of the hippie movement, clothing became canvas and the tying altered the landscape of the canvas such that interesting patterns formed as a result. Mixing oil-based colors/solvents with aqueous ones or employing a colloidal bath we create a kaleidoscope of psychedelic colors and forms, which can be transferred to other surfaces or materials.
In watercolor table salt is sprinkled on the wet color or alcohol is sprayed to create special effects. Masking fluids or tapes are often employed to manage the voids and the composition.
With Xuan paper I have played with alum solution to help with writing void spaces. It is especially valuable in painting scenes with snow. I am going to exploit another property of the Xuan paper. Its translucent property.
The translucent property lends to the practice of coloring from the back of the paper. An example would be to color the foliage of trees yellow on the back of the paper before coloring the usual green on the top side. The yellow adds a different dimension to the leaves without the distraction of the bright yellow, which is often difficult to manage.
For my current project I am going to kick it up a notch. I am actually going to add to my painting from the back of the paper. The hope is that the painting will reveal in different ways depending on how the translucency is affected by different lighting conditions.
I have a painting of the surface of water,
There is a school of fish painted on the back of this paper. One can see the silhouettes faintly coming through from the backside. The photo is taken in normal daylight.
Under frontal illumination, one can perceive there's something in the water. Fish, perhaps?
Under frontal illumination plus back lighting, the presence of fish is definite.
Back lighting only,
That's what I am talking about...... the difference is dramatic.
