Painting, monotype, oil on Xuan paper
Sold framed in wooden, dark navy/black frame
Framed size 110 x 86 cm
Unframed size 109 x 85 cm
White borders around the paintings is a silk mounting, it is a part of painting. This is a traditional way in Asia for mounting and finishing paintings. Widely seen and know in museums with Chinese scrolls and paintings. It is a unique technic and could be done only in Asia, as I was living in Hong Kong for 4,5 years while was studying Chinese painting and calligraphy I made a connection with masters who are doing this for me. Currently living in London, as soon as my painting finished I send it to Hong Kong for this special mounting as it ads texture, unique beauty, holds tradition and add sense of delicacy and finishing. I also love that in a result it is a mix of East and West technics, abstract paintings with traditional for calligraphy inks and papers.
My work is about patterns in the world around us, finding abstractions in the complex and complexity in the apparently simple, and about repetition/universality and singularity/now.
This series of works developed from a series of experiments with form and geometry - the cumulative effect of many small changes in colour and orientation, the convergence of almost parallel lines, the perception of space around a dense form, the interaction of curves and lines.
Experimenting with new techniques, an artist inevitably creates unexpected connections, allusions and implications - some surprising, some so apparently logical as to be almost self-evident. In these works people have found many things which were previously invisible to me. For example palm trees - the most evocative of plants, with its simple form once multiplied creating incredibly complex patterns, and its multiplicity of allusions from the jungle to the beach to the damp, rusting palm houses of the botanic gardens of Europe - or Malevich's figures of peasants and peasant women. Maybe they were there, maybe they are there now, maybe they are not there.