Plants series Painting

In 2020 I have started a new body work, working in the Conservatory Garden in Central Park in New York. All 80+ drawings in this series are done from direct observation. In this body of work, I re-examine the basic constituents of visual representation - the variety of articulation of form, the potential of materials and the role of touch. I have approached paper as a dynamic space, rather than a flat surface, an emptiness from which everything has a potential to emerge. Working from observation I was able to study the way nature builds and creates various forms and structures; to witness continuous variation and transiency, whether of seasons, decay or light; to examine relationships between macro and micro forms and patterns; and to be face to face with the drama of change, life and death. Observing nature is one of the most important sources for all of my work. In my creative practice, I want to be able to work like endlessly inventive and regenerative nature. In this body of work, I have been thinking about the connection between the external world of nature and my own inner world, which is also part of nature. I have experienced my observing and drawing as making a connection between the two. I am inspired by two Chinese concepts of nature: Tiandi and Ziran. Tiandi is heaven and earth, the world that a can be seen and engaged with. Ziran is the invisible world, that can be sensed, that is a source of energy and of self-renewal (Harrie A. Vanderstappen, Musings of a Journeyman: The Landscape Painting of China, University Press of Florida, 2014). This work is an exploration of the relationship between visible and invisible in nature, and of making the invisible seen. I have found I can best grasp and convey the invisible through my body, by being fully present in my observation, and let the invisible manifest through touch, in the variety of articulation through my brush stroke.

Painting:Watercolor on Paper

Original:One-of-a-kind Artwork

Size:12.5 W x 12.5 H x 0 D in

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