Post Ink and After Ink

Opening time:August 16,4:00pm
Duration: 2015.08.15 -- 2015.08.24
Location: 1,2nd floor exhibition hall of Building No.3, Today Art Museum

Exhibition Preface

The Life Principle of Post-Ink

The traditional Ink achieved the perfect balance among natural landscape figure, naturalization of material and media, as well as expression on atmosphere and heart of title, instead of western division of subjection and objection. However entering to modernity, Ink has to face laceration or abstraction. Yet, abstraction must return to nature again; on one hand the expressive force of material itself should be protruding, then the continuity and sustainability inside it instead of ideal operation. On the other hand, modernity should be injected into mind expressing understanding to life, especially experience on life politics. Only breakthroughs on all three aspects would lead to a new world of Post Ink, as Mr. Yi Shan’s Post-Ink explored so. 

Above all, Post Ink turns to face individuality, which is beyond traditional ink. His Book of Heaven Series and Code Series, for instance, made a remarkable attempt indicating the code system on interaction among everything. Starting from division and differentiation process of life cell, Ink is brought back to the root and base of reborn and regrowing following natural rule. Contemporary attitude and concern lies in Post Ink creation, aiming to cure life - When the clouds clear away suggests struggling of nature, which is reflection and concern, while the Fission Series reveals timely Sensibility. Honor should be given to the War and Peace Series, where Ink image could give reflection to social conflict.

Second, Post Ink brought abstraction back to nature. His Lightness Series and Fission Series, combines natural character and strong lighting effect imitating nature growth, grabbing unique nature instants rather than simple repeating of lines. Abstract strokes obtain rhythm of composition by wandering in natural elements such as water, fire, earth and air. The “I”-like characters under his repetitive smears of painting make use of traditional Malapropism Breathing, forming inner distance and division, corresponding to Heaven and Earth Hyun Wong through rubing marks.

Finally it comes to his representative symmetrical work Writing of Yin and Yang. The divided two works opens up in space – on one side is black stroke on white background while the other is white dot line on black – which seems to be similar in fact distinctive in details. The arrangement made a breakthrough in Micro Metaphysics by breaking the symmetry in similarity. The Post Ink of Mr. Yi Shan is the atom-like writing of the beginning of life time to time, accumulating infinitive vivid possibilities, since it is explode of life and division of the starting point, the point itself and the painting as well. It goes beyond traditional enclosed Yin Yang Tai-ji Diagram, yet remains the similarity in difference. It opens up the textual space of Micro Metaphysics through breaking symmetry in intertextuality.

After Ink and Minded Landscape

What is the root occurring Ink Painting? Ink Painting would lose its inner character without the integration of nature, mind as well as ink and stroke. Because the Ink Painting at present situation no longer remains its traditional pattern, leaving impressions and afterimages which is merely the simple image buried in the bottom of heart. Ya Gong, the painter from the E Mei Mountain who knows it well, is trying to transform Ink Painting to a ‘Minded’ status of ‘After Ink’.  

What kind of pace should Ink Painting be at? Overly radicalness and westernization results in the lost of charm and manner; possessing no modernity merely inheriting the tradition. How to achieve the property of transformation? How to enlighten the charming manner through the property? Thus, in between the After Ink and Contemporary Ink existing a space to be unfolded, where Ya Gong’s Minded Landscape right carries out. In between the minimized ‘Forwards’ and the initialized ‘Backwards’, it forms a ‘Return’ and fold, the inner scale of the folding layer comes from the inner heart and mind, which is the deepest subtle mind rather than the mind opposite to object that consequence in pace of mind and breath in ink strokes responding and corresponding to the nature’s call.

Reconnecting the three elements, Ya Gong’s Minded Landscape attempts to attach new elegance for Ink. With E Mei Mountains’ view inspiring his mind, Ya Gong inherits the wideness and quietness of nature, picking fogs and clouds from E Mei to paint, echoing to resonance of the wild broad world. In the mean time the heart adoring the ancient remains in him, the Minded Landscape of Ya Gong, is the heart of Zen and conscience as well as the individual heart responding to the heart of the world. The whisper of such a heart result in blank space on painting that re-stimulates its spacial lingering charm. It is as well letting the nature lead art, the characteristic of water is naturally outpouring through ink that corresponding to the blank. Minded Landscape also indicates Buddhist value system, which is enlarge the blankness and let it breath in silence.

Only starting from the heart could Ink Painting build its root and foundation - Ya Gong’s stroke goes alongside the mind just like the quiet nature speaking without words; the heart inside heart doesn’t name itself, instead listening to the silence of universe; Minded Landscape let the mind and heart goes with ink from strokes of ink to traces of heart. The world’s vast and wilderness appeals in painting through the vigorous but elegant stroke. Led by an innocent heart, Ya Gong grabs the spirit of heaven and earth playing with ink and stroke, which is a re-occurrence of ease. Ya Gong’s Minded Landscape is the new precious ease in contemporary world.



Yi Shan,Ya Gong