the Journey and statement
In 1986 I left Beijing for graduate school in the United States. Like many aspiring artists of my generation, and especially artists trained in China, I wanted to be recognized and to exhibit in a foreign country. My dream was that some day in America, that magnificent country that I had only heard about for so long, I would have my own art and design show. Within one year, I fulfilled my dreams when the School of the Arts in Richmond at Virginia Commonwealth University hosted my first solo exhibition in 1987. The public response to my work was extremely positive and the campus and local newspapers covered the show. One reporter in particular wrote about the common ground shared by classical Chinese and modern Western art traditions. The reporter put into words the purpose that has since guided me in my career for the last thirty years. I was inspired to learn more about abstraction and for all my paintings to make a dramatic impression on viewers. Through my journey I have become more and more confident to explore my true potential to contribute to art and design, and I have discovered opportunity and inner strength.
After I completed graduate school in 1988, I went to work for a few local architecture and design firms in Richmond before I accepted a position as assistant professor at Iowa State University’s College of Design. I absolutely loved everything about the art and design scene in Ames, Iowa. That following fall, I returned to Richmond after I received an invitation to mount another art show at the Christian Boydon Gallery. Again, the public response was extremely positive and collectors made offers for more than half my work. The public attention made me feel that, compared with my peers, I had been put on some kind of pedestal. At first I was filled with pride, but after the post-show celebration calmed down I started to feel lost and empty. Within three years of coming to the United States I had already achieved my life’s dream and now I faced the big question of what to do next. Back then, I was still young in my career and I didn’t want to get stuck spending the rest of my life making and exhibiting the same kind of work. After struggling for a short period of time, I briefly decided to stop drawing and painting altogether. Finding myself as a professor in design studies and on a completely different path than what I had originally intended as far as drawing, creating art, and showing in galleries, I began searching for a new calling. Deep down in my heart I had a desire to make a dramatic life change – not only to my style of drawing but also to my entire mindset towards art and design. I was searching for a different way to look at art and design, for a new path and perspective, hoping a new experience or my life’s journey would guide me to a new creative destination.
A Comprehensive Approach to Art
After more than twenty-five years of searching, I believe I have learned that art making is the combination of your spirit, your life experiences, and the desire and need for expression. It doesn’t matter what kind of media or format you work in for these things eventually become secondary concerns. Whether an artist is moved to paint, to design architecture, to plan gardens, or explore basic handicrafts, all types of creative expression qualify in the larger scope of art. I learned that it is not unusual for artists to feel pressured to specialize in one particular kind of expression when it is linked to a career or financial security. In fact, there is much more to art than the means to making a living. There is the individual character of the artist, the spirit, the creative process, the final product and its impact on society. I realized that the ability to combine all of these aspects is what distinguishes the best artists and the best art. Based on this broad approach, I strongly believe that all manifestations of art and design intertwine; they nurture and enhance each other. For example, I may learn from dancers’ movements to enhance my classical Chinese brush painting strokes. By observing still life paintings, I can further understand critical thinking within the arts. From sculpture, I can grasp the process of creating architectural spatial relationships. From wandering in a traditional Chinese garden, I can appreciate a movie director’s true intentions. As I have journeyed to discover my own personal artistic voice, I’ve chosen to adopt and cultivate classical Chinese painting traditions and to combine them with Western approaches to art and design. No matter if you’re using Chinese paintings, principles, and materials to take a Western approach toward art, or vise versa, they can all be a part of a beautiful creative process that I enjoy, even as these traditions sometimes spark and clash. It is really the process of intention rather than the final appearance that is most important and, in the end the artist creates the meaning as well as the message.
I believe that the artist and the designer are always looking for the dynamic interaction between heart, mind, and hand. In the creative process, we use plans, elevations, colors, space, light, and materials; we analyze them; we deconstruct them; and we reconfigure them to get to the best possible results. When it comes to interdisciplinary subjects, designers have traditionally only worked directly with their next-door neighbors in the field. Interior designers for example interact with the architect, and graphic designers interact with the illustrator. I believe the goal should be to leave your comfort zone and to stretch beyond just interacting with colleagues from a familiar discipline or related field. By always looking for a new orientation, artists and designers are able to gain different perspectives, develop new methods, and invent new formats. For example, perhaps the university’s design department can pair up with the family and child development department to research the overlap between child development and creative potential. By reaching across several different fields, artists are better able to understand the potential their work has to be relevant and to impact society. These new discoveries can lead artists to new design elements and principles, which will in turn lead us to new creative outcomes. As someone who enjoys cooking, I know that sugar and salt can be combined. But how should I combine them? And why? Like restaurant chefs, artists can deconstruct, reconfigure, and create new dishes. Looking back, I see now how I was really drawn to teaching in a university that focused on a diverse course of study rather than a purely technical education. At the University of Wisconsin-Madison, I think there has been a sincere effort toward this interdisciplinary approach. When one of our departments has an open position, they seek individuals not only to fulfill the specific departmental needs, but they also encourage applications from several different kinds of candidates to fill the opening. Although the applicants may all have similar experience, we often find that the position is best filled when the candidate is knowledgeable in more than one academic field.
Beginning in 1989 I spent about ten years learning to apply a logical analytical design perspective to research in visual thinking, communication, and representation. Typically this kind of research has a solid basis in science or the social sciences. But over the last twenty-five years, I’ve gradually integrated the principles and values of classical Chinese traditions with my graduate education and my teaching career in the United States. This journey has shaped my entire creative process and opinions and, as a result, the way my artwork looks has changed. I am using this new understanding to carry out research into classical Chinese art, architecture and gardens. I am combining what I have learned from the Western approach to art and design with the earlier art training I received in China. And I am now developing new approaches to teaching locals in China about their cultural treasures, including the historical importance of these monuments, and even their value outside of local Chinese contexts and why it is so important to work together to preserve them.
Since 1991 I have had the opportunity to travel to several Chinese provinces. Along the way, I have stopped at many villages and historical sites to advocate for the preservation of traditional buildings, whether it was a courtyard house building or a large city area. I have also eagerly searched for opportunities to reuse and redevelop historical sites. One of my first accomplishments was the preservation of the ancient town of Qikou in Shanxi Province. In addition to this project, I helped to advise and promote the traditional architecture and lifestyle of several ethnic groups like the Deng and the Guazhou. I also co-designed the Taizhou Chinese Traditional Architecture Feng Shui Museum. When I was invited to present papers on my projects I learned to develop a variety of presentation approaches including videos, models, and even games. By the year 2011 I had been studying traditional Chinese architecture, design, gardens, and Feng Shui for more than two decades. Deep in my heart I became more and more eager to express my appreciation of classical Chinese art and architecture. This journey has made me passionate about using painting to achieve a new and deeper understanding of Chinese and Western in arts and design and to show how they can be integrated.
Gratefulness
One of my fondest memories is one of my first painting classes when I was still a teenager in China. At the beginning of the class, the instructor asked each of us what our strengths were. Some students said, “I’m very good with spatial relationships.” Another, “I’m excellent in working with color sensitivity.” When it came to my turn I blurted out without thinking, “Hard work, determination, and thank you!” Several decades have passed since that first day of painting class, and I still don’t fully understand what I meant when I said, “Thank you.” Was it a ‘thank you’ to the instructor, or was it simply expressing the feeling of thankfulness of the life that I have? During all the changes that have occurred over the past decades, for better or for worse, in my career, in my personal life, in relationships, or in teaching, these three values that have never changed; hard work, determination, and gratitude are still my greatest strengths. I am not naturally gifted and I am not naturally smart, but I strongly believe that with hard work, determination, and a heart of thankfulness, whether day or night, small or large, you can reach the point where you are happy with yourself. Being grateful does not mean someone had to do something nice for you, it simply means being thankful for the life that you have.
In our current world, things are becoming very driven by outcomes, by getting to the end results quickly instead of focusing on the actual process. Efficiency in today’s world is to do less and get more, and it seems that outcomes have become the most important measure of success. I believe that the simple exercise of passion and determination is essential for personal growth and that sometimes we don’t immediately see the results of our actions. When I paint, I sometimes spend a long time trying to use white ink on white paper. With this method, my results are not visible right away; but inside I know how much effort I have put into each brush stroke. This process gives me more imagination to create the space. Sometimes you make an effort, but it might not immediately evident. The exercise tests my patience and teaches me to enjoy the process, rather than striving for immediate results. This gives me more opportunity, possibility, and makes the future richer--- that’s the beauty of it.
Taking this into account, it doesn’t mean that everything has to have an end result; we are often so eager to discuss and make value judgments when in reality this might not be the most important activity. The most important thing is for the artist to be free – to constantly look for opportunities for more creations. The beautiful result that is a painting requires many steps, so what I try to do is expand the action for the result. This journey, of doing something for the process rather than the end result, simply means experiencing a sense of wonder, imagination, and creativity.
Creative Concept，Methods and Processes
When I was young, I wanted to come to the United States to learn abstract art. After having visited almost all the famous museums and major art universities, I realized that I hadn’t actually decided how I wanted to use my artistic talent. That’s when I realized that when I was younger I was naïve to believe I needed to imitate the methods and approach of popular artists or fashionable trends. In reality, I was forgetting who I was within the importance of my own culture. After this realization, my work has become the reflection of my life lessons, my personal journey, and my own view of beauty. Through my art, I am able to communicate to my audience how I think about the world and about nature; it has nothing to do with the latest trends. Although styles may evolve and change, I believe the basic human values for each individual artist will always remain the same. Artists might use different approaches to art to understand and to express personal styles, but each person’s roots remain a part of their identity.
For me, painting is very much like the journey of life. When you start with the brush on the rice paper, there are so many variables that can affect your next step. When you want to paint your first line, the brush may be too wet and the color can become a large bleeding circle instead. I do not want to focus too much on a specific plan or destination for each painting; instead it is important to be open minded and to enjoy the moment and each step of the painting because there will always be changes.
The main materials that I use are rice paper, brushes, ink, watercolors and acrylics. I combine the advantages of both classical Chinese and Western painting techniques. More specifically, I use the rice paper, ink and color washes of classical Chinese paintings, add Western gouache, and then use acrylic paint as a final step. By using Chinese rice paper, I get unexpected results, an ever-changing flow, and also unique textures. Even though I always think about what to paint, what the subject will be before I begin (i.e. a bamboo tree), all the unexpected variables that come out of the actual painting experience determine the end result.
I always start with research and a general plan. I always have some kind of broad subject, theme, scope or layout in mind. But even though I have a plan, when my brushes are filled with the water and the color the painting becomes like dancing on a stage. During the creative process, I never want to be predictable or repetitive. The back-and-forth between the plan in my mind with the free feeling from my heart combines with the physical characteristics of the brushes. Unexpected flows, layers and textures appear. Then later on I use my creative judgment to redesign or finish the piece. The three main elements that are the core of my designs are the weight and texture of the rice paper, the shape and wetness of the brushes, and the way these combine with the intuitive results from my heart. Bringing dynamic balance to these three elements is the goal of my creative process.
I worked on the front side of the paper first and then turned the paper over and painted on the back to enhance the front! When you work on one side, marks and ink spots soak through to the backside. These effects result in a creative opportunity to add more value and depth. I also like to experiment a lot with dots and splatters to transition from one color to the next, to help the overall composition, and to emphasize the overall feeling and emotion of the painting.
In all of my paintings I wanted to take full advantage of the translucency of the rice paper. By experimenting I have found that layering different amounts of color will create different and interesting translucent effects. I also worked to balance the splatter paint effect with the abstract geometric forms. I also focused on translucency in this painting. First I tore up smaller strips of rice paper and then placed the overlapping strips on top of the painting. Next I painted over the strips; then I peeled them off to reveal the various ink and bleeding effects.
Every time I start a new painting, I force myself to come back to zero, to empty myself of previous knowledge, and to become naïve. In the ritual of mental preparations, I always ignore past experiences and opinions in order to explore new boundaries. Each day, I try to experience beauty for the first time. I believe the richness of experience comes from allowing your self to try different things for, as an individual, there is always room to improve and grow. In life, there is fulfillment within all challenges, opportunities, and successes. Our entire journey of life is about experiencing. It is a process and you have to be willing to start fresh to welcome new encounters.
I apply this same creative orientation to other opportunities in my life. For the last eleven years each May after the spring semester has ended I have taken students to Peking University. Every year I know that at some point I will bring the students to the University’s lake, but each time we go I tell myself that it is my first time. Rather than taking the most direct path I let the feeling of the moment guide us to the lake. I never take the same route, just as I never go through the same routine. It is not a surprise that I often find myself lost and unsure of how to find my way out of a certain area. People say to me, “How many times have you been here? How do you not know your way out?” I simply laugh and reply, “Sorry!” It is the same for the gardens in Suzhou. I have been to those famous gardens over seventy times, but every time I go, I mentally prepare to be fresh and open to a new experience.
The Experience of Space and Time
There is a challenge in representing space and time in a two-dimensional format. For me, my creative work should always combine ideas, processes, methods, and formats from both China and the West. For the creative work to be successful in my mind, it has to engage audiences from both cultures.
To express dramatic emotion in my paintings, I use traditional Chinese calligraphy techniques for all my lines. I use different kinds of calligraphy brushes in order to get many kinds and sizes of brush strokes. Sometimes there is no telling how the brush will interact with the rice paper; for example whether the brush is wet or dry or how different colors will have different effects. Because of these elements the process can result in many unique and unexpected outcomes. In my mind I am thinking about the invisible lines. This is a process similar to practicing tai chi where my hand executes the overall design or theme by using a variety of lines, dots, values, rhythms, and repeats. The entire exercise of classical Chinese brush painting is similar to that of a magician, as one has to work their magic with the water as it contacts the rice paper. For me, the magic is the reflection of emotion, which comes from a combination of heart, mind, eyes, hand, and body. All together the lines develop a fluent rhythm that may start out broken and raggedy but they gradually become a smooth cohesive design, much like a composer orchestrating a composition for a symphony.
The Dynamic Balancing Between Opposite Elements
I’m always searching to bring dynamic balance to opposite elements in my creative work. Sometimes we as artists prefer to work only from a single perspective, but I believe that if we expand our perspectives, we will be able to achieve greater enrichment. This dynamic balancing process originates from my understanding, appreciation, and practice of yin and yang concepts. Positive and negative compliment and enrich each other. They co-exist harmoniously, producing good energy for the next phase of the process. For all my paintings, I take this approach. When I’m working with large, wet brushes, I’m already thinking about how I can use dry brushes to balance it. When I’m using large brushes and broad strokes of color, I’m already thinking about how I can use small, elegant lines to make connections. When I’m creating bold, emotional backgrounds, I’m already thinking about how I can use more logical thinking for the foreground. When a painting is becoming very practical and realistic, I begin thinking about how I can balance it with more abstract and spiritual ideas. When I’m using my brushes freely and following my hand and my heart, I’m already thinking about how I can use my eyes and mind more strategically.
I believe painting is a process of multiple layers. Even more, it is like the life process of planning, changing, rethinking and revising. Like a lot of artists, I place a lot of importance on the core basics of drawing and the ability to recreate an object’s physical appearance in three-dimensional space. But what I really want to communicate through the dynamic relationship between volume and empty space is an object’s essence. My painting process is the reflection of the balance of yin and yang energies. Yin and yang cannot be separated, they cannot stand alone as separate; throughout any process they are constantly coexisting, integrating, and dynamically balancing. On my paintings, the lines and positive forms are visible, but I am really thinking about the space around the forms, the negative space. For example, when I am painting an individual square I am also thinking about the space between the squares. Just like in life, we may be working for externals and final outcomes, but we must also pay attention to the internals, the subtle relationships. In other words, you have to know the white in order to be good with the black. We may see the immediate positive value of something, but it is just as important to think about how it helps us in the long run and to ask, Is it worthwhile?