"My artistic work"
There are two important force-fields
which exert an effect on my artistic work firstly, the European painting
and printing tradition, which is particularly visible in the form of
expression and the formal aesthetics of my paintings, and secondly my
understanding of artistic creation, which is influenced by the spirit
of Chinese philosophy, in particular Daoism, and relates to the traditional
approach of Chinese ink painting.
My intense studying of colour, and the
exceptional significance I attach to it, have its their roots in European
tradition. I use an unusual wealth of the most diverse colours earth
colours and mineral colours, hundreds of pigments of natural earth colours,
ground minerals such as orpiment and vermilion as well as plant, animal
colours and modern organic and anorganic colours which when mixed with
other pigments come close to plant colours. I prefer natural colours
because in my experience they are more vivid and have a much larger
At the centre of my aesthetics of colour
is harmonization a harmonization which relies on the Chinese concept
of Yin and Yang, in which opposing as well as complementing elements
are taken to be a natural whole.
It is perhaps the specific spirit which
has to be underlying in order to master ink painting. If painting is
understood as a specific way of expressing comprehension, then the specific
form of comprehending Chinese ink painting is the Chinese philosophy
of nature, with its particular expression: Daoism.
Clearly it is this connection to nature
being so closely linked to painting which comes so close to my temperament
and understanding of artistic creation.
The landscapes in my paintings are in
many respects reminiscent of the world of imagination of Chinese Daoism.
My landscapes radiate quietness and solitude. They are places which
are far away from the distracting and tiring influences of the din of
civilization, in them time is different from the time of history. Nature
is left to herself.
Her elements fire, earth, water, air,
the sun and the moon, seas and mountains follow the Dao, the "eternal
way" in continuous change. Nor is man, embedded in nature, the
measure of all things. In the form of death, the skeleton or the skull
a very frequent motive in my work he too is integrated into this
great cycle of Dao. In the process of dissolution, man is not dramatic
or romantically small, but natural without any sign of resistance. Life
and death, like all phenomena of nature, have no presage.
My art is concerned with "self-achievement",
creating spaces within, and is less directed towards the outside, aggressive
self-portrayal, and because of that it tends to move him closer to the
Far Eastern image of the artist than that of many of my Western contemporaries.
In my mind prehistoric art has as much
contemporary relevance as to days art the same holds true for East
Asian art or pre-Columbian excavations. Many modern art movements mean
little or nothing to me. Me esteem for Rembrandt, Goya, Odilon Redon,
Turner, Munch, Klee and many others continues to grow, even as it diminishes
for others. I folow no canon in my work and embrace no ideological tenets
or goals. It is irrelevant to me whether my works are "modern"
or "trendy" or as an exibition in London was called a "