It is an honor to be selected by the City of Encinitas Civic Art Program for this exhibit. I understand that over a thousand local artists apply each year, yet only a few are chosen to show art works in City buildings. I was given City Hall, which is like Grand Central Station to little Encinitas – lots of visitors all day long. A great venue to showing off my humble artworks.
“Tao” (or “Dao”) means path or ‘the way’ in Chinese and Japanese. The concept is broad and encompasses both the spiritual and the pragmatic. For me, it represents my own artistic development as I continue to study Asian brush painting and pass from a student who copies to an emerging professional artist with my own interpretation of the techniques and with my own authentic style.
Even the language used to describe this art form has evolved for me since I began in 1985. It started as Chinese Brush Painting. Later, I referred to my style as contemporary Asian brush painting, as my influences were also very Japanese, and most certainly, my aesthetic is more Japanese than Chinese, and my style was becoming more modern. Somehow the term brush persists. Why is that? Can we imagine painting with ink on rice paper without a brush? Today, with fresh, ingenious influences from young, hip artists in China, the genre is ink painting. See? The term brush has disappeared. It’s all about the ink.
We had a big turnout at the Spring Ensemble Artists’ Reception at Hera Hub Carlsbad last evening! Many good friends, many fellow artists, lots of Hera Hub members and general art lovers came for wine, cheese, talk about art, and buy art. I sold 5 paintings, so many, many thanks to my new Patrons for their patronage and support of the arts.
Few things are purchased for a lifetime. Art is.
Vanessa Elle Wilde, one of the other artists exhibiting at this Spring Ensemble exhibit, and I were interviewed by Hera Hub Owner, Lisane Basquiat, who I am honored is also one of my art Patrons. We were asked to discuss what inspires us, why we choose the mediums of art we work in, and what advice we could offer the audience in terms of pursuing our dreams. This interview was being videoed, so as soon as it is published, I will post the link here.
A great review of an art exhibit appeared in the Wall Street Journal on Jan. 12, 2017. The exhibit is “Inventing Downtown: Artist-Run Galleries in NYC, 1952 – 1965.” Why did this get my attention? The exhibit and the reviewer talk about how art had grit and character in those days, art was serious, authentic and created with integrity, before pop art and before hedge fund hyper-inflation of prices for art that, in my artistic humble opinion, really lacks integrity. It was refreshing to read that artists, writers and curators value art with substance. And, I think of what one of my favorite Chinese teachers, George Lin, who recently passed away, always said, “if it doesn’t have emotion, it isn’t art.” I will strive to make my art serious and be full of emotion.
In September 2016 I gave an all day Chinese brush painting workshop at Lung Hsiang, the San Diego Chapter of the American Artists of Chinese Brush Painting. The subject was “Zen Garden in Four Seasons.” The inspiration came from a Buddhist temple I visited in Kyoto, Japan, in 1985, over 30 years ago, whose image I will always treasure. It was a simple rock garden with carefully raked gravel, enclosed by a temple wall, and a cherry tree in full blossom was dripping pink petals on to the rock garden. In my painting lesson I simplified this vision even further, hoping to teach how to convey emotions with just a few elements and a limited color palette.
I just returned from an amazing trip back to Japan (April 2017), and of course I had to go back to that temple to see if my memory served me well. The rock garden is at the Ryoanji Temple in Kyoto, a truly spiritual place for me.
Here is my painting of “Zen Garden in Early Spring” and a photograph of the rock garden with cherry blossoms dripping over the wall – just as I remembered it!