How do I choose my topic? - a great question from An Hsieh that led me to contemplate what my principles are regarding my choices: something I’ve asked myself a lot but never articulated in writing.
Most things contemporary fade with time; what has been - and will be - left behind have something in common: they belong to their time, yet transcend their time with what we call the human experience. In my pursuit of immortality with what limited lifespan I have, I will make very conscious choices of what I wish to leave behind.
A. For practice:
My choice is more random - natural objects, man-made objects, landscape, etc -
but the underlying principle is always to have multiple new challenges with each work, so as to cover as many new fields as possible with every new painting (without paralyzing myself with frustration and despair, of course.) Different lighting, texture, painting material, and canvas size can all be part of a new challenge.
B. For work I really want to do:
My first principle is beauty. This I define as “something pleasing to the eye and the soul.” Well-rendered colors, good composition, and realistic textures can enhance the pleasure of viewing, whereas a well chosen theme would comfort the soul.
My second principle is tradition. I believe that the human experience belongs to a vein of history, culture, and art that puts us in context. That is to say, we each are bathed since our birth in a tradition that was passed down to us, and would be passed on. This principle (plus my interest in Japanese culture) leads me to be deeply interested in traditions such as Kabuki, Noh, Geisha and Maiko, tea ceremonies, and so on.
My third principle is to have a story to tell. A beautiful image of a Maiko is pleasing, but many people can have a photo of that with their own cameras. I wish to capture a special moment pregnant with meaning and spirit that the viewer can sense the story behind the image.
My fourth principle is: no clichés. Certain angles and approaches have become too popular, and thus have become vulgar and affected (such as a close-up portrait of a bitterly crying person for “sorrow,” or a woman with her tongue sticking out toward a phallic object for “sexy and dangerous”.) I will try to avoid that. An example in my case would be that you would never see me paint a “sexy Geisha”.
My fifth principle is to always stylize. Ultimately, I am not interested in photorealism - I see that as a step that I have to master in technique, but no more than that. The human brain stylizes reality; it filters reality through lenses which are molded by culture and experience. Therefore, though reality does not look like a Caravaggio nor a Klimt, they capture the “truth” far more successfully than a painting rendered perfectly from a photo. The choices I make to capture what I “see” will define my painting and my style.
My ultimate goal is to create works that has a “something” that truly touches the human heart, and is worth preserving for hundreds of years. At the moment, I am primarily interested in the Japanese traditional performing arts and the oil tradition that Johannes Vermeer followed. I am enchanted by light and color, and I prefer painting portraits to landscapes. But since I am still in my novice phase, I am going to train myself in all fields while keeping my focus on what I want to do by the end of my career.
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My reply:
After the first two paragraphs, somehow as if seeming to realize why Your list of ten books will be like that...
Also as I read on, coming up with another question like "why the hell were you in the department of mathematics."
I really barely have my first step in appreciating fine art.
But through your words, the gap between worshiping fine art and myself, it is just like, in some part, faded.
Allow me to have a copy of this in my blog...
And thank you so much...
(The theme now playing in my mind, along with this comfort brought up by your words, is the third movement of Mahler's sixth symphony...)
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