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在画了几年油画之后,1963年起想使用水墨工具面抽象。找到了台湾手制绵纸,并用棕须扎一支笔,画水墨直到1975年搬来美国。中国画家难免会眷恋水墨画那种阴蕴湿染的味道,可它的表达范围也有欠缺的地方。我比较喜欢粗糙斑驳的感觉,后来又对破旧的墙面有兴趣,便慢慢发展出目前作品的样子。在材料跟工具上,无所谓好坏,中西画也不必以材料来分别,而应是在作品所表现的精神面貌上。我正试着把这两种味道合并在一起,发现不是很容易。
After drawing a few years of painting, we wanted to use ink-tool surface abstraction since 1963. Found handmade cotton tissue in Taiwan, and used a pen to tie a pen, painting ink until 1975 moved to the United States. Chinese painters will inevitably be attached to the kind of Yin Yun wet dye taste, but its scope of expression is also lacking. I like the rough, mottled feel, and later on the dilapidated walls, I slowly develop the look of the current work. In terms of materials and tools, it does not matter what is good or bad. Chinese and Western paintings do not have to be separated by materials, but rather the mental outlook they represent. I was trying to combine the two flavors and found it was not easy.