KS191004

"In today's China, urbanization is increasing.
In today's China, urbanization has progressed to the point where the cityscape is dominated by economic and technological values not seen in the past. Yet, traditional "pseudoshan stones" still stand in urban gardens. Pseudosanseki are forms based on characteristic natural stones that have been used in the history of Chinese garden design, and are considered to be a means of fulfilling people's desire to return to nature. The pseudomorphic stone was the central theme of his work, and his works were formed in its various plastic forms.
What is important in Chinese painting is that the concept of "qi" is reflected as "qi-rhyme" in the painting. My previous research has shown that qiyin is a matter of brushwork. In this series, I used the historical brushstroke technique of ink painting and modern painting materials such as oil and acrylic paints to create paintings based on a high degree of mixture of painting history, painting method, materials and history. This series is called "Wet Brushstrokes. The series is inspired by the vigor of brushstrokes in ink-and-water landscape painting. The key to the "wet brushstroke" technique is to maintain the consistency of the brushstrokes. In the KS series, where the artist paints a pseudosandstone using the wet brushstroke method, the artist uses a medium-weight ink brush with a high water content to draw the pseudosandstone, pressing the painting knife or brush against the surface of the painting in a series of strokes, such as "捽sootsu" and "teki-teki. The brush strokes will have a continuity with the brush strokes, but the momentum of the push and pull of the brush strokes will bring out the power of the brush. I discovered "chi-chi brush strokes" as a way of painting by using a painting knife and brush in the manner of the traditional Chinese "wet brush" technique.
My method of painting is to use the "chi-chi" and "chi-brush" brush strokes to depict the pseudosilk on the screen based on various brush strokes. When I examine the relationship between brushstroke and qi-rhyme in my specific brushwork, I find that my work is not done only to pursue a "likeness" of the pseudosilk (a realistic reproduction of the real object). Rather, they emphasize various brush strokes by "qi sword" and "qi brush" rather than reproducing the shape of the real kaleidoscope, and in this way pursue my unique sensibility as a creator. In this way, he aims to create a complex relationship between brushstrokes, qi-rhyme, and his own work, overlaying the phenomenon of qi generation in the shapes created by his brushstrokes. Through the relationship between this great concept in the history of Chinese thought and the contemporary notion of expression found in his own work, he sought to reaffirm the importance of "qi" and to reexamine the concept as a new possibility for contemporary artistic expression.