A retrospective

quantumn conitnumn is a 21-panelled paintings on Guilin, of the four seasons, from various view points： vision from close up, vison from flat plain， vision from profound view， and vision from the top - practices adopted by traditional Chinese way of concieving spatial reality

done in 1985, these paintings were also results of the idea of standing on a pedestal to obtain a 360 degree vision- an idea suggested by the 'working space' of Frank Stella

an exhbition of these paintings in my garden was held on June 24th 2015

Drunk on White, was done in 1984. Together with other triptyphs or multi-panelled paintings were a natural consequence of that trip to Guilin. special thanks to Sigra. Egidia of C&C Ricami, who assisted me in realising some prototypes of this catalogue

a retropective was made in Florence in 1993 of a ten year period which also includes these Chinese mountains This prototype of the catalogue has a wrong date as initially my idea was to put together some old Chinese mountains painted in a specific period, which I brought with me as personal work wh...

slowly and perhaps inevitably, the Chinese mountains began to take the forms of screen paintings, which allow also flexibility of assemblage and of transports

these paintings shown admist bamboo, shadows, and weathered leaves was meant to be an exhibition, invited without an audience, yet with an eventual audience- a new platform to introduce, a new way of sharing an exhibition virtually, if making to the site becomes an impossible task

Chinese mountains

First time when I painted Chinese mountains

I was a teenager

the teacher said

copy my painting

I was at the front row

copying in ink and brush

was no difficult task

because I was good at Chinese calligraphy

especially in the way of holding the brush

twist and turn

with my wrist

the picture was finished

the painting

my copy

did not satisfy me

it looked too much like the one of my teacher

who in turned copied her teacher's

it also looked just like Rocks

enlarged and unreal

they were not mountains

I stopped painting

Chinese kind of mountains

after that short painting course I chose to take

after school

In search for good painting courses

I knew not where to seek

back in the old days

in Hong Kong

so I bought myself some drawing lectures

by someone who explained

how Leonardo da vinci drew

then I began to draw

without realising those mountains

by Leonardo were real

in Chinese essence

Years later when I was no longer a teenager

I flew to Guilin by chance

because it was an affordable trip for a student

to spend a Christmas break

it was my first trip to China

there

those Chinese mountains

looking just like gigantic rocks

so much fun

those Chinese mountains

like contemporary sculptures

I began hating less then

the first attempt Chinese ink painting experience

There must be a real reason, perhaps,

why chinese paintings show the empty space

those Guilin mountains

are real only when

seen

in between the fog

in between the fogginess

a reality

a dream

a reality and a dream

becoming one

Form and shadow

past and present

intertwine

I did not realse until then

those mountains

were

actually understood

Leonardo

in the sense

of an essence

exemplified in an atmosphere

and in an atmosphere

one breathes

in an air

that penetrates

space

in a manner

different

from

a stationed

mind

it is like breathing

a pulsation

is seen

in a mark

another mark

in a tone

another tone

all put together

in an atmospheric realm

he knew not Chinese brush

though Chinese brush

is the only brush

that breathes

without

hesitation

as if

it is born

with no mind

like a new born baby

emptiness

at heart

creative

in its essence

Life

a giving force

realised

in the breathing of no mind

of a child

embodied through the

Chinese spiritual brush

A painter of Chinese brush

all that he learns

throughout his struggled years

is to

relearn

the single moment

of that Chinese brush of no self

that very moment

when he was given so much

that he breathes

only

thankfulness

like the baby

who thanks his mother

so much

that

breathes

( chinese mountains were painted after 1984, the first trip to China. From sketches came a series of colorful mountains, then turned white subsequently. Empty space was a constant theme, together with the use of spontaneous brushworks in order to bring out the essence of the flowing images in continuation while one is riding on the boat upon River Li. Screen paintings came as a natural consequence - to illustrate the various viewpoints in flexibility . Most panels here could be mix matched, like visions in real life , could be selected . These mountain images were done mainly between 1984-1989 , the period when I was a student at the Academy of Florence, Italy )

done in 1985, these paintings were also results of the idea of standing on a pedestal to obtain a 360 degree vision- an idea suggested by the 'working space' of Frank Stella

an exhbition of these paintings in my garden was held on June 24th 2015

Drunk on White, was done in 1984.
Together with other triptyphs or multi-panelled paintings were a natural consequence of that trip to Guilin.

special thanks to Sigra. Egidia of C&C Ricami, who assisted me in realising some prototypes of this catalogue

a retropective was made in Florence in 1993
of a ten year period which also includes these Chinese mountains
This prototype of the catalogue has a wrong date as initially my idea was to put together some old Chinese mountains painted in a specific period, which I brought with me as personal work wh...

slowly and perhaps inevitably, the Chinese mountains began to take the forms of screen paintings, which allow also flexibility of assemblage and of transports

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