Martial Rhythm no.17
Oil, acrylic, graphic marker, pencil, charcoal, pastel and printed-images on canvas and pleather
5 panels of canvas (from left to right):
220x40cm, 110x50cm, 220x40cm, 180x40cm, 200x50cm
My work in Unit 2 interim show is a combination of multiple paintings by five panels of stretched canvas and three pieces on pleather.
Basically for the topic, this way of setting offers some external dynamic and make the work be more energetic, but I think more I learn is further from the topic. There are lots of elements I didn’t expected before and difficult to articulate at this moment, but generally it is a great experience to explore the form of painting.
With different direction of hanging and folding, shapes of the paintings are forcefully distorted, and the surface for painting such as canvas and pleather now are not merely the base for practice, but they are also part of practice itself. When I fold the pleather to try interacting it with the lines and the pictorial rhythm, physical existence and materiality of the painting base are contoured and become possible to compete with that of the paint. Painting seems become no more image in the surface, but on the surface. If I made larger distortion (bend the canvas more or fold the pleather more), perhaps paint and image would be no longer important, surface would no longer be a surface, and this work would not be painting anymore.
One of the importance of “being painting” for me is, to maintain the potential to allow audiences stand in front of the work and go into the pictorial world. During set-up, I realized that painting could be painting more when it leaves the floor, the gaps between painting and floor somehow isolate the works a bit from the surrounding, framing them up by silence and hence maintains the “paintingness”. This maybe an interesting element to adjust balance between “dynamic and stillness” and “inside and outside” of the painting.