SPIRITS Print

Subconsciousness secretly works behind and above and there's always seven sides of us going in cycles in a corner of our mind. This piece was started, as usual, with curve lines, incidentally crossing each other, on a white mat board. The idea of a contrast of space/shape has always been a focus when these lines are applied. Lines that only curve once or twice are used to give a stream and smooth effect; anything more would lessen the beauty and agitate the picture plane. It has then been lying around for a good 6 months before I started doing something more because I wanted to keep the line quality intact and had no idea how. Eventually, I started to cut pieces out from this 'puzzle', always paying attention to the shape quality. I expected each shape to be interesting in itself, be it lenthy or broad, each should possess a character, an interesting quality. I then discovered identical 'U' shapes that run through the whole design. By adding eyes on them, it would give an impression of a face. So, I tried various items as eyes such as black dots, coins and even scrap circular hollow black strip leftover from Imaginarium. I chose to refrain from any hint of realism until now. This is actually the second piece I dwell back into imageries learning from the eye shape in 'Imaginarium'. I learn from each picture; from the reflections and self-criticism, then my works could evolve. It is essential for an artist to constantly move on, I think. With all these blank pieces separated a bit apart, I had to make a choice to discard some in order to make the whole more interesting. If I were to give these faces attention, I must provide space on the top as breathing room, as a result, the big piece on the top left was the first to go, then the top right corner. At this time, I also raised the pieces into different levels to create the shadows I desire. Extra gold trim was added to hightlight the various faces so that the contour of the chin is more eye-catching. The pencil lines on the surface of each piece are still visible and they are an essential part of the composition as a link between shapes, dispite being separated. I made them into groves as I did in 'Imaginarium'. A doodle I did in my spare time shone new light to the process. It is a simple figure done with a few lines that walks towards the right. I constantly trying to keep an open eye for connections. If there really is a muse, I'd say she lands idea one at a time, here and there. And it is the artist's job to piece them together. A misplaced CD caught my eye on my messy working table. It came from a returned application for an exhibition venue. I blended these ideas into one as I followed the sketch exactly in duplicate and placed four figures along the circle. It looked too spacious and required additional figures to fill the emptiness. I made seven altogether. To add more dimension, I used white tack to make the heads; these 'heads' were made the same way as in my sculptural piece 'Community'. I painted them black because they looked crude and bland. I even had to apply an extra gloss so that the shine blends in with the plasticity of the CD. The idea of thse 'people' walking in cycle was developed from a vision in San Francisco. This strange vision somehow was locked in my head all this time. May be it was meant to lead me into using this idea here. That was a spooky house we were renting and a lost period as we felt stranded in time. We moved back to Hong Kong shortly after. Thus started my series of exhibition in Hong Kong between 1994 - 1998. The next step was to find some small things that dangle in the composition as 'dots' - an essential element in any design (dots, lines and shapes are basic elements in design). What other matching bits than a few hands here and there! Hands were one of the major lessons I practised ie 'Hopelessness' from 1994, 'Evade' from 2004. The next addition to this work was the transluscent quality that separates the layers. With an extra sheet of acrylic raised from the backing, there is yet another level for appreciation. Calligraphic lines were applied the same way as first introduced in Jelly Fish. The hollow area towards the lower left was the next to create. Despite how I like the shape, I had to let it go, because the whole picture plane requires this hollowness to balance with the top. Then the surprise! There is a blank space left at the lower corner. If I were to build some more lines there, they might not coincide with the original line drawing. If I were to cut out a hole there, the shape of the hole might not go well with the whole effect. An idea flashed by, "Why not do a repetition of the figure?" With it being the most raised piece, the shadowwould cast a melancoly focus of attention and it would answer to the dialogue with the spirits flowing around the top. This figure could only be in blue to match the top left circle. The problem was, by this time, the top figures were already affixed at the top with no stencils left to recreate the repetition!

Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 W x 17.25 H x 1.2 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.