Beyond Color Field-Empty and Full 虚与实
Paintings in Empty and Full series are inspired by the concept of color field abstraction, pioneered in the 1950s by Mark Rothko, Barnett Newman, and Clyfford Still. These pioneers abandoned all representations of figuration and instead embraced the expression of solid color by applying it in large surface areas. When approaching the work, viewers feel the power of color fields, such as transparency, luminosity and interaction of colors in color theory. As mentioned in my introduction that I am interested in the the contingency between making two-dimensional digital images and making three-dimensional objects in space. In Beyond Color Field, I take the concept of color field further by creating textures that emphasize the 3D complexity in the physical space. In doing so, I have devised a unique process of painting by first pouring thick, drip-like shapes of paint onto plastic, individually peeling each paint drip from its base, digitally reconfiguring the colors and compositions of paint drips, and physically reconstructing them onto hard surfaces, as if each paint drip was a digital strip of color. This process is particularly inspired by the way in which substances, light and spaces are constructed in traditional Chinese landscape paintings. These paintings usually adopt a scattered perspective, making the composition more flexible and breaking the shackles of time and space. The space appears rhythmic in the process of perception intertwined between “no substance” and “substance”. “Substance” (Full) is realized by the physical substance of paint, in which rhythmic layers of thick paint-drips are meticulously puzzled together and “no substance” (Empty) by painting as a means of image making, in which thin layers of paint imitate the digital interaction of color such as transparency and luminosity.
Installation Views at Anya Tish Gallery