Historical Aspects of Mark Making

Seeing into my artwork is analogous going on a very dangerous journey, wholeness that requires the participants to let go of their bail and preconceived mindset, and must be willing to experiences doubt and suffering. From the informant of my artistic career, I was pro groundly in love with the antediluvian Chinese calligraphy, not because of my comparison as an Asian person, entirely because of the nerve centre. In my point of view, the essence is the source that is closer to the truth. ancient Chinese language is elusive, it gouge have multi-meanings and multi-levels of understanding see on each singles cultivation. See the gauge below for example.\n\nFig.1 Ding Shimei. River. 2008 http://www.skyren-art.com/en/dingshimei/calligraphy-/210-xijingyue.html\n\nThe Ancient Chinese geek for river, one wriggly inception in the middle and a few lines on quaternity corners. Can you get the head? From this jump off point, I develop an eye for starting line makings. I learnin g that to bemuse marks is the first measure in deconstructing an idea or concept of a categorical artwork. Historically, I was influenced heavily from Rembrandts paintings. I dont think he is a virtuoso painter, but I appreciate the quality of negligible and simple, slap of paints that he puts on the canvas to show the civilisation of light. Here I am not talking intimately the chiaroscuro, but the part that is in the darkest area of most of his painting. It seems uniform nothing, but it is everything! See the exercise below.\n\nFig.2. Rembrandt. http://www.artwallpaper.me/wallpaper/archives/2202/rembrandt-wallpaper-painting\n\nWhen conservatively observe Rembrandt painting, I get around that each brushstroke is direct and right(a) to the point, nothing is wasting. Analytically, I admit the idea of simplify my marks, so is fit to conserve energy, and at the same time, using the give up energy to do more. Which do work up another learn artist, Tom Freidman, that I fou nd very intriguing and able to appropriate some...