Remembrance of Realms Past
Referencing traditional Chinese 'shan shuǐ’ painting and continuing the visual allegory of Requiem for the Present Eternal (2017) and Substitute for Sorrow (2017), works in this series become simulacra for scenic and landscape representations of the mind. Here, the image of the 'mountain' (long seen as sacred places in China, which were viewed as the homes of immortals) become the core compositional component. Calligraphic ink on Xuan paper beneath textured plexiglas (with sporadic use of diochroic film): this construct introduces the viewer to an alternative illustration to ink wash painting by fusing classical techniques and new, native styles and foreign.
Remembrance of Realms Past explores the boundaries which envelop the relationship between the artist's hand and the attempt to instantiate the natural world, where depictions of nature are not presented as mere representations of the external world but rather the ideology of nature. These works become a window to an imagined space rather than as a sculptural / pictorial element. From this space, the landscape of each painting - coaxing from this organic foundation the development of a myriad of ornamental forms - coalesce into compositions that appear as an object for the viewer's mind, rather than as an open window for the viewer's eye.