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‘tranquil sea’
ink and rice paper
125 × 95 cm
2010
‘tranquil sea’
ink and rice paper
125 × 95 cm
2010
‘forbidden city’
ink and rice paper
125 × 95 cm
2010
‘sailing afar’
ink and rice paper
200 × 150 cm
2010
‘untitled’
ink and rice paper
125 × 95 cm
2010
‘sailing afar’
ink and rice paper
200 × 150 cm
2010
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He uses paper strips as the basic material. The basic color area is formed by dyeing, mounting, and adding tea color. Which method should be used to combine these dyeing or undying papers together? This method is the “abstract”, or “subtle infringe”. We can see the edges of lines and the color areas give us a feeling of repetition after being overlapped and processed by pencil. The existing “steel lines” or color areas with hard edges, seems to convert Rothko’s ragged colored edges and making them look softer. It is not simply a collage, but a way of mediation and prayer by heart.
Repeatedly adjusting the collage is constant, getting close to our breath. Painting refers to “adjusting painting” and it not only includes lines painted by a ruler, but also the rough lines surrounding the color areas and edges, either delicate or scattered. The blank spaces between the lines and colored areas create an inner space for the paintings; while wrinkles make the surface full of richness. Creation is an echo impacted among these color areas and is a free relation. This process of repetition is a kind of “polyphonic poetics”. Liang himself believes that this repeated adjustment is patient, calm and alert.
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[Extract : The Poetics of Surface and the Possibility of Abstract Naturalism - Dr. Kejun Xia]
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