LEE-PISAPIA Kam Fu Bernadette or LEE Kam Fu Bernadette
( order of name used in Hong Kong and Italy
Kam Fu Bernadette LEE-PISAPIA
(order of name used in Britain, Canada )
Bernadette Kam Fu LEE ( maiden name)
LEE-PISAPIA, Kam Fu Bernadette
(order and form ( with a comma in between ) generally used in Hong Kong to distinguish
last name from first name)
Kam Fu Bernadette LEE-PISAPIA
(order generally used in Britain and Canada )
Bernadette is the writer as well as the publisher
the name chosen for the publisher ( not a registered company ) has two
LEE-PISAPIA, Kam Fu Bernadette ( Hong Kong format), or LEE-PISAPIA Kam Fu Bernadette ( Italian format) . Therefore, the comma in between does not mean two distinct individuals as it is used to distinguish the last name and the first name in the Hong Kong format. For the other format, capital letter has been used to indicate the LAST NAME from the first name.
( from 06/09/2023, the Italain format is officially transformed to LEE Kam Fu Bernadette coniugata PISAPIA . However, the fully extended writing of my hyphenated Last Name is still maintained as my Canadian and Hong Kong identity : Kam Fu Bernadette LEE-PISAPIA)
email : email@example.com has previously been compromised and therefore please use the email:
firstname.lastname@example.org or email@example.com to contact me.
videos Per Padre Gianni can be viewed on my other website:www.bernadetteleepisapia.it especially realised by Bernadette for the family of Padre Gianni in Mazzano Romano and Capranica, Italy, thanking them for their hospitality
Other works of Bernadette Kam Fu LEE alias LEE-PISAPIA, Kam Fu Bernadette can be viewed also at
on Monet ( article written on 19/03/2018 ) ( original text misplaced, whoever happens to be in the possession of my diary ( with Monet's waterlilies on the cover ), kindly let me know . Thanks )
27 th May 2022
SEEING IN BETWEEN: A VIDEO DIARY
Art Basel 2022 and Christie's
copyright 2022 Bernadette Kam Fu LEE alias LEE-PISAPIA, Kam Fu Bernadette
of PISAPIA, Antonio ( copyright Article on Art Basel in Italian)
Article 1: 'MONET IN HONG KONG' by LEE-PISAPIA, Kam Fu Bernadette
( photo of me at Christie's in front of Monet by PISAPIA, Antonio )
in Front of
me is the Monet I dreamt of or the atmospheric realm resurrected from the Chinese Opera ‘ The Red Plum Story - relived ‘ 再世紅梅記？
Grateful and thankful that I could see Monet again, here in Hong Kong during the pandemic. The Weeping
Willow or saule pleureur in French - as the original title indicates - perhaps suggests the hidden layers of sufferings and joy behind the work, or works Monet did after he moved to Givenry in 1883
Perhaps it is the right moment
to let you read of a diary I wrote on Monet sometime ago-
THE SPIRITUAL BRUSHWORKS OF MONET -www.bernadetteleepisapia.it
in Chinese ( for I believe Monet would have liked it ) and also in English
I wrote this diary with the Monet pen I bought at the Monet Show in Rome.
Difficult to find
another artist who could paint water lilies like the way Monet did; he painted the feelings of the waterlilies, the atmospheric realm where the lotus flowers reside; almost like writing a love poem shown with the deepest and purest sentiment.
did so without having relied on the technical aspects of oriental ink painting traditions; instead, he did it simply with the Monet kind of atmosphere : a combination of superb expressions of colour and poetic feelings.
It went beyond the
atmospheric realm first discovered by Leonardo Da Vinci, that of the smoky sfumato effect, mysterious and alive.
The realm of Monet belongs to the nineteenth century, where the conquest of the expression of the quality of light and colours
were in full force. The darkness and the obscure effects of the Da Vinci world disappeared: no more dramatic smoky effect.
Without the then habitual darkness expressed with deadly blacks and muddy browns, which were once necessary elements
to illustrate shadows and sometimes mysterious quality or desperate aspects of the unknown, this new way of expressiveness with pure hues and high intensity of colours turned atmospheric seemed to lift up our spirits of hope, unveiling the dark
side of the sipario of Life.
This purity of the colours reminds one simply of the greatest gift bestowed by God: His rainbow PROMISE.
No more flood, no more second scene of the Noah’s Ark.
humanity can once again breathe ( even if sparingly ) under the protection of His Rainbow PROMISE.
All that is breathed is the breath of the Soul; the breath of the purity of the lotus, the eternity of the reflection seen upon the moving
water, the heartfelt understanding of the painter, the surprised delight of the onlookers.
Never had we understood before Monet, the quality of Rainbow range of colours could be expressed through a deep felt atmosphere, coupled with a breath-in
and out kind of totally alive expressiveness.
Breathing in and out through the paint can truly be experienced when you, the onlooker, go close enough to the original canvas of Monet: there, you feel the breath of the painter!
is how the Chinese traditional spiritual brushwork all of a sudden turned into the eternal spiritual Rainbow Promise by the Pure Breath Of God.
The painter breathes not the oriental realms of blacks and whites , but the colourful realm of
spiritual brushworks- so immensely beyond our previous rigid understanding of forms, so incredibly beyond our habitual grasp of the unlimited qualities offered by the Rainbow, so matter of factly fused with the Universal pulsation as desired by all the sages
of the Far Eastern world, and finally, amazingly breathes the Rainbow breath of God... Ah, what expressions, what quality of expressiveness!
This quality of expressiveness is the quality of ‘flying brushworks’ , like his twin
in the Oriental pictorial world, without intention.
First layer of flying brushworks is of pastel purple,
Second layer of flying brushworks is of pastel purple and pastel pink,
Third layer is of pastel
pink and pastel kind of orange,
Fourth layer is of pastel orange and pastel blue,
Fifth layer is pastel green or turquoise.
From the second layer of Flying brushworks to the fifth layer of Flying brushworks,
all are expressed with ‘LAYERING’ of colours turned BREATH.
We see layers of breathing in and out kind of colours: there is not a trace of rigid coloured layering as the Monet layering is manifestation of Spiritual Layering.
Spiritual layering means one breathes in and out of the colours and space, with living cells.
When the painter breathes with living cells through the brushworks; his are traces that are light; just like breath, forever moving
in and out like the waves of the sea, incessantly not fully landing upon the canvas, but translucent and living like the Rainbow.
Whenever a single brushwork lands upon the canvas, it is like the living cells of the painter’s breath
is remade alive; there is no one colour that occupies permanently onto the desired positioning, only a hint of its passing.
Like the brief moment when the dragonfly touches the pond, or the magical moment when the lotus first opens
Heaven, man, earth, you and me, the brushworks of the painter and the Rainbow Promise all of a sudden seem to dialogue among one another, without the hindrance of time and space.
When you see the layering , you
know it is not simply Layering, but the Spiritual Rainbow Promise dialogue of
past and present, together with the dialogue between you and me.
This breath-in-and-out brushworks, with breathing colours, amazingly and
surprisingly go beyond the intrinsic quality of the other medium - watercolour, which is more aptly used for such subtle rendering of expressions.
Not only, this Monet way also goes beyond the supreme quality of oriental portrayal
of waterlilies in the expressions of traditional black and white images set in empty space .
How come the spiritual understanding of the Far Eastern world could be so fully absorbed by the Western
eye , so much so that it managed to embrace, and thereby express the deep down feelings of the mutual understanding of a reality, in order to reach the dream of both worlds, until the point of the Dream of the whole Humanity: a Full embrace by all and of all?
Perhaps it is simply because there is no ridged formula behind, nor the eloquence of a too capable art historian.
It is because the most important point Monet managed to reach
The Soul Of God and His Rainbow Promise was being expressed through the non calculating brushworks, like the Spiritual Man in the Far East, effortlessly, breathing in and out naturally, incessantly as an all embracing atmosphere.
Therefore, the Layering yet Breathing kind of brushworks are the spiritual brushworks of Monet as well as the murmurings of God’s voice- which are within our reach should we listen with our eyes.
Lo and Behold,
The Rainbow Colours are telling you and me
Of a new Hope
Of a new way of breathing
Of a new you and me
From then on
can feel the miracle made by the eternal Promise:
The go beyond Realm of the Lotus,
The unintentional and non calculating way of Living our Lives:
No more impurities
The once heavy
formed of oil paint turned into the formlessness of watercolours
What remains then
Is the nudity of our hearts
A sense of full embrace.
The Rainbow is there, an all embracing atmosphere
We are all in the Painting as breath, including the many onlookers that once had
experienced the same paintings.
When ART reaches this realm of go beyond- time
and space, you and I become one, East and West walking side by side, -it is only because
The Beautiful Rainbow Promise Of God, and His breath are breathed through the Spiritual brushworks of Monet.