Deceptive “Leisurely”

My 2010 oil painting, “Leisurely“, featured a calm body of water in dreamy aqua tint, over which swayed some soft bands, reminiscent of weeds or kelp, intersecting with shorter objects – an array of rowing boats.

At the first glance, all looked orderly – Alles in Ordnung. Yet, upon closer inspection, viewers will discover that the seemingly tidy boats in formation, actually were upside-down and they were sinking to the bottom, however serenely, especially the rower inside the completely capsized ship on the top of the painting.

So much for the idyllic scene – an allegory of our uncertain and oblivious time.

Leisurely / 悠然 / Gemächlich, Oil on Canvas, 22 in. x 28 in., 2010
Leisurely
Oil on Canvas
22″ x 28″
Completed in 2010

This painting was published by Wilde Magazine in Issue 2, 2013.

It has been choose to be part of the curated exhibited at Expressions Gallery in Berkeley (25 July – 16 October 2015: Water, Water! Water?.

Atmospheric “Stairwell

My 2000 oil painting, Stairwell, is a monochromatic and atmospheric piece, which captures when early morning light, through side window, penetrates the darkness in a narrow stairwell, casting bright light into the confined, darkness permeated space. Though means of chiaroscuro, together with more subtle interplay of light and dark, I managed not only to have created an overall dramatic atmosphere, also given a clear definition to the tricky space through receding orders, and added depth and accenting details to the sparse and otherwise flat and dreary confinement.

Stairwell

This painting has been snatched away as soon as the paint dried, and last week I received this notification from Owen Wister Review of University of Wyoming:

The OWR would really like to publish your art pieces “Ink and Watercolor Lilies,” “Stairwell,” and “Rafting” in this year’s issue. The colors in your pieces spark emotion in the composition and the texturized strokes are memorable in your work. Attached is a consent form; if you agree please print the form, sign it and scan it back, then email it to us or send it in by mail. Again we really liked your work.

I am quite thrilled and grateful for the recognition.

“White Dress” – Beginning of an Ongoing Series

My still life oil painting, “White Dress”, was inspired by a vision of a tiny white dress floating in a vast open sky.

While working on the painting, I managed to make the delicate-looking dress full of free-spirit and bravura, as it floated against an intense red backdrop, whose hues shifted and varied mercurially, like raging flames. Small, and delicate, yet the small white dress flew on, nonchalantly, unconcerned with its own vulnerability, however threatened by the menacing environ.

The success of this painting gave me an impetus to continue the probe of the psyche of a personified white dress, and embarked on a journey of making a series of white dresses, objects I judged perfect to reflect or stand in as the bodies they are to clothe, as documented in this article: “White Dress” Series Continues – A New Drawing and a New Painting.

This painting was also part of my Apocalypse Series.

It was selected for juried exhibitions at 4th National Juried Exhibition, Prince Street Gallery, Chelsea, Manhattan, New York, 12 – 30 July 2011, and ViewPoint 2007, 39th Annual National Juried Art Competition, Cincinnati Art Club, Ohio, November 2007.

Terrifying “Devils’ Dance”

My oil painting, “Devils’ Dance”, created in 2004, was inspired by passages from the novel by the late Nobel Laureate Günter Grass, “The Tin Drum” (Die Blechtrommel).

As described in “Arabesque” and Other Paintings Inspired by Literature, Grass’s “The Tin Drum” moved me to create the painting mirroring his nightmarish depiction of book burning by the Nazis. The archaic scroll with the proclamation of “Faith, Hope, and Love” on the top portion of the painting, I hope, echoed the perverse scene in that passage from the novel.

The painting was created during the dark period when George W. Bush recklessly invaded Iraq, arguably for religious reasons. I found the book burning ritual aptly reflected the paranoid and xenophobic mood of GWB’s America.

Devils' Dance / 魔鬼的舞蹈 / Teufels Tanz, Oil on Canvas, 30 in. x 48 in., 2004
Devils’ Dance
Oil on Canvas
30″ x 48″
Completed in 2004

This painting was published by Synchronized Chaos, an interdisciplinary art, poetry, literary, science, nature, cultural issues, and travel writing webzine in October 2009 and by Howard University’s review magazine The Amistad in Spring 2007.

It is currently being exhibited at Expressions Gallery in Berkeley (18 April – 17 July 2015: Hop, Skid & Jump.

Oil Painting “Mackerel”

I am very proud of my 2007 oil painting “Mackerel”, in which I managed to capture both beautiful and sinister elements of a daily object, fulfilling a most tantalizing pursuit of mine.

With its intense colors and bold strokes, this painting economically presents a sleekly fish, intently staring upwards, as if ready to confront its captor; at the meanwhile, its eye also betrayed the fish’s sad resignation to its imminent demise. The background of the painting was plain drop cloth, hatched lightly, and dominated by sickly greenish-yellow from the left and graduated to an intense blue to the right. The intense vertical blue patch also represents the deep water being turned upright, in a disorientated world.

Mackerel / 鯖魚 / Makrele, Oil on Canvas, 28" x 22", Completed in 2007
Mackerel
Oil on Canvas
28″ x 22″
Completed in 2007

This painting was just awarded of 1st 2015 ArtSlant Showcase Winner.

It was also selected for exhibition at ViewPoint 2009, 41st Annual National Juried Art Competition, Cincinnati Art Club, Ohio, November 2009.

This painting was included in two-person show at Trilogy Studio, San Francisco, 2011, and it was exhibited at Artist-Xchange Gallery, San Francisco, in 2009.

Allegorical Painting “Birds and Men”

I don’t consider myself as a colorist; yet, sometimes, I managed to utilize some vibrant colors to create paintings with vibrant colors, bold, striking, yet harmonious, such as my 2003 oil painting, Birds and Men.

Birds and Men / 鳥與人 / Vögel und Menschen, Oil on Canvas, 30
11 Paintings Completed in 2003 (part 1 of 2)

With that painting, and several others made in 2003, I started my Apocalypse Series, intended to document human sufferings inflicted by reckless or repressive political, religious or cultural forces.  The direct impetus to create such series was the impending invasion of Iraq, led by George W. Bush, Dick Cheney, Tony Blair, Condoleezza Rice, and Colin Powell, et. al.

As stated in my standard bio: “Life is a harsh experience, yet it is beautiful. Art ought to be from life, and above life. To merely document surfaces is not enough: I want to grasp what is behind, which to me is far more compelling and worthwhile.

As with many artists, my early work is grounded in realism, and evolved into a style that retains a representative cast but rejects slavish naturalism. I immerse myself in the patterns and rhythms of forms, particularly the contradiction between the surface beauty and harsh subjects, and from these foci has formed a distinctive style. The subject matter of my work ranges from portraiture and landscape/cityscape, to allegories and abstraction.”

Bird Painting “Crow”

Crows are fascinating animals – omnipresent, prophetic and somewhat sinister. There were many crows hover around my neighborhood and quite often I was struck by the peculiar complex air they exude when they perched high on telephone poles, which dotted and dominated the bleak urban/suburban landscape of my environ.

I was moved by such vision to create a painting, titled simple Crow, depicting a lone crow in a forlorn urban space, aiming to capture such leaden atmosphere and desolate melancholy.

Crow / 烏鴉 / Krähe, Oil on Canvas, 24" x 18", Completed in 2009
Crow / 烏鴉 / Krähe
Oil on Canvas
24″ x 18″
Completed in 2009

Now, this Crow has been shipped to San Diego, for a show titled “The Crow Show: An Homage to The Raven” in Studio Door Gallery.

Exhibition Dates: February 2 – 27, 2015 Mission Valley Reception: February 5, 2015 6:00 – 9:00 PM Ray Street Reception: February 6, 2015 6:00 – 9:00 PM.

Prior to that, it was exhibited in the gallery of a legendary recording studio in San Francisco, Studio Trilogy in 2011:

Studio Trilogy, San Francisco _ 3591

Featured Oil Painting “Quest”

Quest / 求索 / Suche, Quest Oil on Canvas, 16" x 20", Completed in 2014
Quest
Oil on Canvas
16″ x 20″

My latest oil painting, Quest, is a mystery piece – whose underlying message, even evades my own grasp, as the painting was, once again, built upon an image visited my mind when I was in the state of between sleep and awake, repeating the experience inception of another featured painting, Father and Son.

The focus of Quest was a blurry figure, either a man or a woman, who gingerly and wearily treads on a bridge or a pathway, which could be floating on a vast body of water, or suspending in the sky.  The weary traveler’s situation on the pathway was quite precarious, and he or she was in danger of slipping off the bridge; yet the traveler pressed on, hands raised, head bent and steps hesitant.  Therefore, this painting could be interpreted as either a cautionary story, or a depiction of a spiritual journey, a journey or penance, a quest for truth, or relentless self-discovery.  A quest.

The starry sky, in vibrant blue, decorated with moving yellowish green lights, was highly dramatic and textured, reflecting the turmoil inside the traveler; down below, there was a large body of smooth green water, interlaced with bright long red waves, soothing and seductive, pacifying yet can be just as dangerous as Narcissus’s pond.

This ambiguous, elusive and dichotomic piece reflects the perpetual anxiety of self-conscious human kind.

Featured Oil Painting “Father and Son”

Father and Son / 父與子 / Vater und Sohn, Oil on Canvas, 20" x 16", Completed in 2013
Father and Son
oil on canvas, 20″x16″, 2013

Often, when I started to drift into sleep at night, my restless mind would conjure up some images more imaginative than I could think of when I was wide awake.  Sometimes, during those dreamy moments, my mind kept its presence and I was able to rouse my in order to make a quick sketch or to, attempting to capture those fleeting impressions.

A recent such instance presented me an entangled group of tight embracing muscular bodies, in agony or ecstasy.  In the end, my decipher of the image drew the conclusion that it presented the embrace and reconciliation of estranged persons who ought to be close to each other, father and son.

Base on that quick sketch, I made a monochromatic and muted yet quite evocative and powerful painting, on the theme of Prodigal Son.

The strength of this piece lies in its universal touching theme, the heartbreaking posture of those once broken men, the strong outlines of the figures and the high relief of the bodies.

The painting is small in format but big in the feelings it emotes.

Featured Oil Painting “Upstream”

Last week, I shipped to Seattle my 2008 oil painting, Upstream, which has been selected for the juried show, 2014 Evergreen Association of Fine Arts (EAFA) Open Exhibition, at EAFA Gallery in the Seattle Design Center (5701 Sixth Avenue South, Suite P292, Seattle, WA 98108).

This modest painting, measured 24″ by 18″, semi-abstract in style, clearly influenced by Chinese ink painting, depicts a fish or two struggles to swim upstream, against the current.  It is fitting for the painting to travel to Seattle, because it was in that city when I witnessed an amazing salmon run in Chittenden Locks Fish Ladder several years ago.

Upstream / 逆流 / Gegen den Strom, Oil on Canvas, 24" x 18", Completed in 2008
Upstream
oil on canvas, 24″x18″, 2008

This painting was not a frank documentation of that fish ladder scene; rather, when I painted it, I was trying to capture a free spirit, a spirit to overcome adversaries.  I deliberated chose a black and white color scheme, and a bold, almost abstract outline, as I was mostly interested in something elemental, less representational.

This work surely has a charmed life and earned a fair bit of recognitions – in 2009, it was published in The William and Mary Review by The College of William and Mary, Virginia, Volume 47.