HORSING AROUND WITH STRIPES

Garble Garble, hope everybody had a wonderful turkey day. I had to work that day, but all these years of working retail had taught me to look at any day as just another day! How can one be disappointed when one does not have any expectations.....hmmm, something Confucius might have said.

In preparing for the Portland Open Studios, I wanted to paint something that is high contrast and black and white, something that reminisces of a black and white photograph. I came upon a picture I took of zebras at the Washington Park Zoo and I proceeded to plan this painting.

The second insert is the finished product ( before it is mounted on Xuan paper backing and framed ) and I named it 15 Zebras. It measures 26 x 17 and was priced at $ 475. My intention was to paint a herd of zebras, but only their striping would show. I wanted to show only the upper body of the animals, asserting that the limbs would be hidden by tall grass on the Serengeti. I wanted this presentation to take on a contemporary, quasi abstract kind of feel.

I started out by trying to emulate a famous Chinese horse painter by the name of Hsu Bei-hung.( see top insert ) but somehow the horse's body does not translate too well into zebras. I started to sketch with my brush, using ink only, and I did quite a few models. When I was researching through pictures of this animal, I noticed the brown stripes amidst the black ones. Oh xy?! is what I uttered, now my images would be too busy....... would not be that high contrast, austere look that I was hoping for. Now I would have black and brown stripes!!!! I settled on using the brown color as my shading.... and it seemed to work for me. I cut off a piece of my studio practice piece ( close-up of two zebra heads ), cropped it and sandwiched it in a glass block frame.

Now that I have a better grasp of what I am painting, I started to paint in earnest. After I was done with it, I hated it. It was too austere...... too much white spaces... so destitute. It literally slept on my floor for 3 mouths. So many times I had the urge to cut it, crop it into smaller piece(s) to salvage it. After all, I've spent many a sleepless night planning this nightmare.

Finally a good friend of mine gave me some inputs.... "why don't you paint in some grass?" What on earth ?? This is like putting rosary beads on Buddha.... how dare you.

A couple more weeks went by..... end of September was drawing near, I could smell October.... I could taste Portland Open Studios, oh what the hell, I've got nothing to lose, so I begrudgingly dappled on grass, and brown shading, and wait a minute, now I see a "S" pattern to the composition ( in retrospect, I should have done a "Z" formation for zebra ) so now I am legit, I know how to frame my composition !

With renewed zest, I darkened the stripes on the front pack, I really emphasized the manes of those animals to make them stand out from the back, to create distance. I used brown shading to add to the roundness of the animals' bellies. Named my piece 15 zebras. I wanted the visitors to count out 15 animals in this painting.

Sure you can pick this painting apart... some might even say the zebras look like asses, or worse yet, there is a lack of "Chinese" flavor in this endeavor. All points are well taken... my response is....I had FUN doing this. This Prozac worked for me.

OIL, ACRYLIC, OR MIXED MEDIA

I had mentioned that I am experimenting with making some of my works have an "oil painting" feel and I had posted an example on my last blog. Here is another example of that. I am biased of course, but this is so far my favorite. The subject matter and the composition is akin to the western painting feel and this piece of work lends itself very nicely to this transition. I took this picture off center to show the gleaming quality of the paper/canvas/varnish.

For those of you who are familiar with mounting Xuan paper, you know it is delicate work. I shall describe a little bid of my process of mounting Xuan paper on canvas.

When we mount paper on paper, the difficulty of the task is to be sure that all the wrinkles are out so that we have a piece of perfectly smooth and taut painting when dried. As we lift the wet Xuan papers with glue applied, we just have to be careful in the lifting process, so that we are not tearing off the corners by mistake ( I've done that, and I found out how many swear words I know). Papers you can lift, but how do you lift a framed canvas ?

As you recall, my first experience was with the work submitted to the Audubon society when they asked for a 6x6 work on canvas. Since the framed canvas is small, I could easily lift the entire frame from the mounting surface without too much problem. As the frame gets bigger, the task becomes exponentially more difficult. A large, wet, flat surface creates so much suction and the fact that is frame is rigid and not flexible like paper, makes it almost impossible to lift the canvas frame. What I have done is I used small piece of clear acrylic ( any hardware store should have it.... this is better than glass because it is light, and safe to handle) and as I am ready to lift the canvas frame, I turned the whole thing over, i.e. so now the clear acrylic is sitting on top, over your painting, which is wet and glued to the canvas frame. Now I can slide the acrylic off the painting, with care of course. The clear acrylic allows me to see if I am sliding too fast to create tears in my work. The acrylic also has a little flexibility in it, so I can bend it a little bit to break the vacuum.

After the acrylic is removed, then I worry about brushing off any inadvertent air pockets and now I shall wrap the edge of the Xuan paper around the canvas frame to give it that wrap around look.

After drying the painting should be flat and taut, no different from Xuan paper on Xuan paper.

I now brush on either satin gel or gloss varnish according to my desire.

The problem now is what do I call my work, or how do I label my work. Is it oil, acrylic or mixed media? Any suggestion??????????

BEST OF BOTH WORLDS

I had a pretty successful open studios with the Portland Open Studios tour. My number of visitors were down from last year, but interestingly enough, a lot of my visitors this year are people in the trade. I actually learned at lot from my visitors.

As was publicized in the Asian Reporter, and I had posted in my blogs, the new "direction" that I am exploring, is to mount Xuan paper on canvas. I feel that this allows me to exploit the dispersing and diffusing property of the Xuan paper and also the texture of the canvas. My signature piece this year was "Come Up Here" and it was a compilation of these 2 substrates. I have also posted a piece titled "Snow Scene", where I was also trying out my ancient secret Chinese solution, and that work was also done as Xuan paper on canvas. Both of these pieces were sold during the open studios, and this format was received with positive feedback.

I had expressed the wish of finishing my work with some coating so that it will have an appearance of an oil painting. Well I've received numerous suggestions and I've been experimenting with these suggestions and the results are fantastic.

The bottom image is a close-up of the varnished Xuan paper on Canvas. It absolutely has the feel and look of real canvas work. The top 2 pictures are side by side comparisons. The one in the middle is the original painting. The one on top has the varnish finish. Notice how the coating brings out more color depth and detail. I LOVE IT !!

Beyond Exposure, Understanding

All of us have been exposed to Chinese Brush Painting. So what is Chinese Brush Painting. Does the painting have to look "Chinese"?? Can a "western" motif painting done with Chinese brush be called Chinese Brush Painting?? How do we appreciate Chinese Brush Painting??

Chinese Brush Painting is an art of form and lines. Well that sounds pretty generic. Chinese Brush Painting is all about " Be Fa", the method of the brush. It is closely linked to the practice of calligraphy. Chinese calligraphy is not just a bunch of symbols or characters, but each stroke has characteristics of "press", "turn", "lift","hook" etc. Each line is like a human body, it has a head, a body, bulky at some places, and skinny at the other places. A bad line is like a bad body shape...... that's the only way I can explain it. With these attributes, then you assemble the lines not only in the form of the character that you intend to write, but assemble it in a pleasing manner! There is a belief that if one cannot do good calligraphy, then one can never be a good painter. Perhaps that's why I am having a hard time with my paintings...... I am a disaster when it comes to calligraphy. You rarely see any writings on my work This is in stark contrast to a lot of the current pseudo Asian art, especially in mixed media, collages, where people clip off prints or newspaper with Asian characters ( Chinese, Korean, Japanese) and paste them into their work and pawn it off as "art". As far as I am concerned, this is a huge disrespect and shows complete lack of understanding of Asian calligraphy. Calligraphy on Chinese Brush Paintings usually involves the title of the painting, and perhaps a poem about the painting. There could be narrations on the occasion for which the painting was done.

Chinese Brush Painting in the classical sense involves a lot of "rules" and "formulae". For example in the Flowers and Birds genre, we are taught how to paint bamboo, chrysanthemum, peony, ,orchid, plum, blue birds, etc, etc. There is a certain, dictated method and strokes that one does these themes. Go to the library or bookstore and look up Chinese Brush Painting and you'll find all kinds of prescribed methods of how to arrange rocks, how tree branches should be arranged. In other words, there are "poses" that we subscribe to. None of the teachers that I've ever had showed a real example of the subject matter. Sketching is totalling absent. The down side of this training is that all works look alike, they are all "templates". A lot of the Chinese Brush Paintings in the "tourist" districts fall into this category. It is exotic, yet familiar, easy for the palate. Unfortunately this has led to the wrong impressions about this form of work. Again I would have to equate this to when the uninitiated considers " chop suey" as real Chinese food.

When I say Chinese Brush Painting is an art of lines and forms, then one has to appreciate it from that perspective. I'll use some landscape topics to illustrate my point.

The insert where there is an example of 2 rocks, the top one is done with quite a few different techniques, and compare that with the one on the bottom . Both have shading applied, but the top one is definitely more interesting. These 2 are basically of the same form and line frame, but because the characteristics of the lines are different, hence the effects are different. The bottom image resembles line sketches. Lines that are uniform, uninteresting and lifeless. Yes, there are those of us that considers pixels as an art form, therefore one can argue that an image from newspaper magnified a hundred times to show extreme pixelation as a piece of art, and therefore lines, no matter how mundane, serves the purpose. Well, I beg to differ.

Now look at the other 2 images. One is the image of a rock laden with lines, boring lines. The other one employs the brush to do its thing, giving "life" to the lines. Can you tell which one is which? And which one do you prefer??

These examples are devoid of color on purpose, to emphasize the one most important aspect of Chinese Brush Painting. It is not about color, it is all about the characteristics, the persona of the lines and brush strokes. It is about "Be Fa". It is about painting, not drawing, lines with feeling.

It is about whether the brush stroke is heavy or light, fast or slow. Is the line painted with straight tip, side tip or broad tip and how wet or dry is the brush.
Again, using a stringed instrument as an analogy, many people can enjoy violin music., but it takes knowledge of the techniques of vibrato, fingering, harmonics, double stops, staccato,
playing at the frog or at the tip, whether it is up bow or down bow to truly appreciate the virtuoso.

Maple Bridge Mooring At Night

When I was preparing the "One Person One Stroke" project, I was using a painting from the late Master Qian Sonyan (1899-a985) as an example. I had tried to paint it just to show my group that it is a "do-a-ble" project. I just dug up my copy and mounted it.

I am posting all 3 versions for you to observe and appreciate.

The one on the bottom is the original work by Master Qian.

Top left is the group effort version.

Top right is my rendition.

Click on the image to enlarge them, and pay attention to the line qualities. See if you can pick out the differences.

Xuan Paper Delight

The title of this blog sounds like one of those dishes you can order from your local Chop Suey joint....... Yuk !

Anyways, in preparing for the Portland Open Studios event, I am trying to "merchandise" my goods by providing alternative ways of "packaging" . Here again, I am trying to exploit the translucent property of the Xuan paper.

I have done these small 5x7 paintings and instead of the traditional mounting on Xuan backing, I just slip them inside a 5x7 glass block or acrylic block. This way the painting can be viewed from front and back. This is especially interesting when the frame is placed against a window, and it offers a different flavor when viewed in direct light or in transmitted light.

The top 2 pictures are frames placed in front of a shop neon, hence light is transmitted through the Xuan paper. The bottom frame is the same painting

viewed through normal, direct lighting.

Camera work here does not do justice for discerning the different effects. I think the photo voltaic activity tends to average out the curve too much...... but you can still see the difference a little bit.

Xuan Paper on Canvas

This is another attempt in painting the Columbia River Gorge, the same vantage point as the "View from Woman's Forum State Park". I moved the furniture in the front to give it a cleaner look. I decided to clawed the edges of my Xuan paper to give it a "custom" look. I inadvertently splashed a couple drops of ink on the paper ( my friends say this is my trademark....being sloppy. Guess I should change my name to Joe) so I covered them up with flying geese. It works !!

Readers of my blog would recall this image from my "RICE FIELDS" post. This is the mounted version. I mounted my Xuan paper on a 18x20 canvas. If you click on the image to enlarge it, you can see the texture of the canvas coming through. My technique enables me to exploit the transparency of the Xuan paper and fortified it with the texture of canvas.

When I attempted this painting, I only had Mt. St. Helens in mind. I wanted to paint the meadows coming back; in contrast with the downed timber. After I was done with the meadow, I ran out of steam, so I kinda blocked in the rest of the painting....... I guess technically I would have classified this one more like a water color than a Chinese Brush Painting.

This painting tried to emulate the antique style of the more traditional, classical Chinese painting with faint, almost monochromatic color scheme. This one was one of my practice pieces, but Portland Open Studios is staring me in my face ( October 17,18) so I might as well include it in my portfolio.