Since the dawn of l’automatisme, the floating shapes of Miro and Klee were praised as musical suggestions. Unlike the Masters, my groundwork of flowing lines speaks melody and rhythm from a musical score perspective. The flow of lines ties the art elements into a composition. It also reflects a concept from Chinese paintings, which says, ` as a line moves into the invisible, the idea continues.’
Whether the script in the background is an actual sutra is not the concern, even if it is, would it be readable to most? I question the use of lines in Calligraphy. Without the recognition of the exact words or meaning, can we still appreciate the quality and skills involved? Armed with a Chinese writing foundation, I adapted the use of the eight strokes (the basis of construction to Chinese character). The `writings’ resembles Chinese/Japanese writings but in fact, they are not. I needed a texture. With language as a symbol of culture, by visually adapting these kind of lines endears us to the image.
