In this reflection, I explore the diverse wellsprings of inspiration that shape my artistic journey. From environmental insights of Anna Tsing and Karen Armstrong's spiritual views, to the innovative multimedia expressions of Marco Barotti and the avant-garde provocations of Zheng Bo, my work is a confluence of myriad influences. In each section, I discuss how these influences intertwine with my creative process, particularly in my exploration of plants, their symbolism, and their interaction with humans and the environment.
Furthermore, in my artistic journey, Karen Armstrong is another writer who gives me inspiration - her "Sacred Nature" profoundly resonates with me. This book talks about the sacredness of nature in different traditions, especially how modern society has lost its sense of the sacredness inherent in nature, leading to environmental degradation and a disconnection from our natural surroundings. She suggests that by reviving and nurturing a sense of the sacred in our interaction with the natural world, humanity can address ecological crises and find a more harmonious way of living on Earth. "We need to recover the veneration of nature that human beings carefully cultivated for millennia; if we fail to do this, our concern for the natural environment will remain superficial" [1]. I love this quote from the book. In my work, I also endeavor to encourage viewers to develop a more compassionate and empathetic approach to the environment, Each brushstroke and color choice are injected with a sense of reverence, aiming to elevate the viewer's perception of plants beyond mere irrelevant beings to a recognition of their deeper and mystical significance, calling to recognize the interconnectedness of all life and to rediscover a sense of awe and wonder in the natural world, urging a shift from dominance and control to stewardship and care. Karen's exploration of nature's sanctity parallels my own quest to express the profound, spiritual connections between humans and the natural world.
I found my works echo with Anna Tsing's "The Mushroom at the End of the World". Like me, Anna studies a plant species, matsutake mushrooms, that prospers in human-disturbed environments. For us, plants become a powerful symbol in our works, because they carry nature's tenacity and the unnoticed, yet critical alliances formed between various species, including humans. In my paintings, there is an evident homage to this idea of breaking away from the anthropocentric mindset – the cohabitation without dominance, reflecting Anna's concept of "collaborative survival" in disturbed environments. Organic forms and light and shadow in my works mirror the intricate networks of different plants’ ecology. Just as Anna's mushrooms operates within and enhances a complex ecosystem, my artworks present plants as both individual entities and integral components of a larger ecological system, emphasizing the mutualistic relationships that are essential for the continuity of life. The interplay of darkness and illumination in my paintings suggests the unseen connections in natural habitats, much like the matsutake's mycorrhizal relationships that are hidden beneath the forest floor. Through my art, I invite the viewer to consider these unseen yet essential interactions, fostering a deeper appreciation for the natural world around us.
From Matsutake to Mysticism: Blending Anna and Armstrong's Visions
Zheng Bo is another artist that I investigate. His video work "Pteridophilia" is an avant-garde series that intertwines the concept of eco-queer with the natural world, particularly focusing on ferns. The series contains several sections, each exploring a different dimension of human interaction with ferns. For example, one section depicts six young men forming emotional and physical relationships with ferns in the forests of Taiwan, another involves a man engaging in intimate encounters with bird's nest ferns, and yet another explores extended practices in collaboration with BDSM practitioners and ferns. The relation of "Pteridophilia" to my works exists in the shared theme of deep and intimate interaction with plant life. While Zheng Bo's approach is more radical, focusing on challenging societal norms and perceptions of nature, my works also seek to break free from traditional viewpoints, particularly the anthropocentric perspective. Our works are both dedicated to re-imagining the relationship between humans and the natural world, albeit with different approaches and forms of expression. My paintings evoke the unseen but profound connection we share with nature through visual symbolism and subtle interactions of light and shadow, which is similar to Zheng Bo's exploration of the tangible and often controversial interactions between humans and plants.
Verdant Intimacies: Exploring Human-Nature Connections with Zheng Bo
Chromatic Inspirations: O’Keeffe's Vivid Nature
Of course, when we talk about plants, we will think of Georgia O’Keeffe. Her approach to color has deeply impacted my artistic expression. Her skill in bringing nature to life with a range from bright to gentle colors has really pushed me to play around with shades in my art, making what I paint feel more alive. With colors that gradually change, the way she paints flowers has influenced how I try to capture the intricate details of nature in my own work. The subtle color shifts in her art have shown me nuance's significance, prompting me to allow colors on my canvas to coalesce organically, mirroring the sensory experience offered by the natural environment.
In my own practice, I've learned from O’Keeffe’s confident brush strokes, which convey emotion and intent with clarity and strength. She has inspired me to be brave and intentional with my brushwork by her technique of sweeping color across the canvas, creating texture and movement. Furthermore, O’Keeffe’s unique way of adding depth and dimension has inspired me how I can approach texture. Her paintings, while sometimes appearing simple at first glance, actually reveal a complex layering with richness and a tactile quality. In my paintings, I also try to create such complexity, using layering to not only build form but also to create an emotional landscape within the canvas, where layers of paint echo the layers of meaning and existence in the natural world.
In addition to writers, I also find close connections with many artists, such as Marco Barotti. Although he is more an installation artist, his works that blend sound with visual elements still deeply resonate with my own artistic approach. His installations, such as "Clams" and "Swan," showcase this synergy beautifully. "Clams" consists of kinetic sound sculptures that transform water quality data into auditory and kinetic experiences. Each 'clam,' crafted from recycled plastic, houses a speaker, translating real-time water purity readings into a dynamic microtonal soundscape. This evolving music mirrors the living action of shells, subtly opening and closing, inviting viewers to contemplate the intersection of media art, data sonification, and environmental sustainability.
And “Swan”, on the other hand, is presented as a subtle and profound intervention in nature. The installation, made from discarded satellite dishes, transforms the remnants of mass media into the image of a calm swan in harmony with nature, floating on the water. These discarded elements, awakened by sound, wind and water, create a powerful audio-visual narrative that blends seamlessly with its surroundings.
These works by Barotti share many things in common with my paintings. For example, in my works, there are dots as symbols, akin to musical notes, which emerge from the canvas as if playing a silent symphony. This harmonious blend of visual art with nature's melodies echoes Barotti's installations, where technology, sound, and natural elements coalesce to form a unique ecological narrative.
Echoing Nature's Symphony in Installations
Public Tour of Delcy Morelos: El abrazo
In January, I visited Delcy Morelos's exhibition at Dia Chelsea, and I was astonished. At Dia Chelsea, she has developed two captivating nstallations: "Cielo terrenal" (2023, translated as "Earthly Heaven") and "El abrazo" (2023, "The Embrace"), with the latter giving the exhibition its name. For over ten years, Delcy Morelos has dedicated her artistic practice to utilizing soil, crafting immersive spaces featuring abstract, geometric shapes and layouts. Her creations are inspired by the worldviews of ancient civilizations, including those of the Andes and the Amazon, as well as her own cultural heritage. Morelos investigates the vital role of earth in its various manifestations, recognizing it as a fundamental element for life and nourishment. In these works, she merges and deconstructs surfaces and volumes, using monochromatic expanses and the layering of materials. Morelos's approach shifts the focus to the tangible aspects of land and place, grounded in material and ecological wisdom, striving to foster deep, meaningful interactions with what she terms the “intimate humidity of the earth.”
What fascinated me the most was how Delcy's multisensory installations create an immersive experience for the viewer. The scale of the installations physically encompasses the viewer. These installations are not just to be looked at; they are spaces to be entered and experienced. Moreover, the use of organic materials, particularly earth, in her works adds a raw, textural quality. This tactile element invites viewers to contemplate the materiality of the earth, its weight, texture, and substance, thereby creating a more tangible connection with the artwork. Wandering within her works, I began to think about my relationship with the giant presence in front of me. Although paintings are 2D, the intricate detailing in my depictions of plant life, capturing every vein, texture, and color variation, like Delcy, draws viewers into a microcosmic world. This attention to detail, combined with potentially large-scale formats of my paintings, envelops viewers, encouraging them to step into the scene, as if entering a lush, living ecosystem.
Bibliography
[1] Armstrong, Karen. Sacred Nature (pp. 17-18). Knopf Doubleday Publishing Group. Kindle Edition.