Do you see what I see

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. 

Thank You Singapore-for my New Dawn

Seeing that my scheme of applying a mask, as if I was working with Photoshop, to my painting could transform my work drastically, I told myself, "Game on, baby!"

I discussed my mischievous intentions with a friend of mine and he accused me of cheating.  

Really?  This had not crossed my mind at all.  Perhaps I had accepted Photoshop as an acceptable post-production in the workflow of taking pictures, and I had embraced the concept of layers and masking.  Perhaps to a purist, this is considered cheating.  I wonder if this is a by-product and necessary evil of digital photography.  Anyways, my conscience is clear.  Novel, perhaps; cheating, no.

My "test subject" is now ready for the experiment.  I am using the same home cooked starch that I use for mounting on paper for this attempt.  I use a soft brush to brush on my rising sun "mask" due to the thin and delicate nature of the cicada skin Xuan.  I really don't want to tear it.

The cicada skin Xuan now sits on top of the starched original painting that was mounted on cement board.  Careful and swift brushing ensures a flat and wrinkle free application.

Newspaper is used to cover the newly starched work and a brush with stiff bristles is pounded on top of the newspaper.  This serves to force a tight bonding of the cicada skin Xuan to the painting underneath and the newspaper also helps to absorb moisture from the wet starch that seeps through the Xuan paper.

This is now allowed to dry at ambient room temperature.  The saturation and transparency will diminish as the drying process continues.

Liquitex gloss medium and varnish is now applied to the dried painting.  The Liquitex helps to restore the brilliancy for the color and acts as a protective coating.  This is especially critical since I will be displaying the work without a glass covering.  I am allowing the liquid to sit on selected spots a while longer before dispersing it to surrounding areas.  The liquid seems to have helped bring out the transparency for the selected areas.

 One can see here how Liquitex brings back the saturation and transparency.

I get the following result after some minor touchups.  This is now allowed to dry.

With matting now,

In the interest of documenting this transformation, I created the following composite,

Nobody likes my newborn baby.  Everybody prefers the third iteration.  They think that is a "real painting" and that it is "prettier".

I, on the other hand, do like the last version very much.  In fact, I would go as far to call that a metamorphosis.  The literal details of the original are distilled to almost a tactile experience.  The sorghum  has fermented.  It is now crude and raw and in your face.  I can feel the sun and its halo of colors.  Or is it my cataract that is clouding up my vision.  I can no longer call my piece a Huangshan sunrise because any discernable landmark is no longer.  It can be universal, wherever trees populate.  Had I not taken the trip to Singapore, I would not have such a revelation. 

So, Thank You Singapore, for my New Dawn.

Let The Sunshine In

Traditionally we have  to mount paintings done on Xuan to a substrate for viewing and display.
I have explored substrates like canvas ( my Xuan-boo technique) and Wonderboard to benefit from their textures. 

The matrimony of water soluble pigments and ink and the translucent Xuan produces a lush and ethereal feeling.  One way to exploit this characteristic is to NOT mount the Xuan.  This is best done by allowing light to peek through from behind the Xuan, adding another dimension to the viewing experience.

I did a painting of aquatic and atmospheric scenery.  For the rays, I employed the "minus" technique.
I used a wet clean brush to go over the freshly painted areas repeatedly to take away (minus) from the saturation.

Here is a look of the work in ambient light.

Here is a look of the same work when put against a window.

I used a float frame for this dramatic effect.  Reminds me of the stained class works.