Dale Chihuly

Ikebana Series, Dale Chihuly

1996

Artist: Dale Chihuly (1941) Title: Ikebana Series Year: 2001 Medium: Acrylic on Arches Aquarelle Rag paper Size: 42 x 30 inches Inscription: Signed by the artist Notes: Hand painted ...

Artist: Dale Chihuly (1941) Title: Float Series Year: 2010 Medium: Lithograph and acrylic on Waterford paper Edition: 18/110 Size: 37 x 25 inches Inscription: Signed and numbered by ...

Color monotype.

Cymn Wong’s style of mixed media paintings are developed alongside with pastel, crayon, acrylic and ink. Rooted from traditional Chinese ink-brush painting to contemporary New York Abstract Expressionism, Wong wields various free and fluent but forceful strokes and creative washing on canvas atop the heritage of her personal Zen calligraphy; in some cases, Cymn has collaged with traditional Chinese papier-mâché. Through the layering of multiple marks, colors and textures, or being used by perspective, she is able to balance her own spontaneity and control to accomplish the desired effect. When Wong applies to blend her canvas with splash-ink, free dyeing and deliberate sealing, her aim is to create a vivid and immersive sense of expanded spectrum that integrates the outsider viewers with the painting landscape. These stylistic elements combine to create an organic entity that is dynamic, engaging, and deeply contemplative. In exploring the blending entity of art and poetry as extrinsic “landscape” and intrinsic “soundscape”, the brushstrokes are hereby given fresh impetus by a single-unity involvement. Every brushstroke reflects an outer and inner state of creativity. Meanwhile, this embodied experience opens up a transformation and imagination of mindset. Wong declares, “By embracing plainness, simplicity and intimacy, my art emerges an insight for cultivating a cross-boundary ecological ethos. In most recent development of my paintings, I have been focusing on several key areas that are driving for a creative exploration. Firstly, I am placing a greater focus on the bean sprout as a central element of her work. The bean sprout is a crystalized symbol. Its unique shape evokes the numbers "0" and "1". The "0" of the bean sprout represents nothingness or emptiness, a void spectrum that is co-birthed with “1”. The "1", on the other hand, represents possibilities and growth. By incorporating the shape of the bean sprout into visual language, I link the binary concepts of "0" and "1" to convey a sense of stillness, calm, and openness in the other area of "0". Meanwhile a motion, another state of change comes birth in the open area of "1", building in a dynamic interplay between these two facets for growth and inherent continuously in every subsequent moment. Secondly, I attempt to create an alternative way of revealing the insightful wisdom of Zen philosophy, in a fusion of fluidity and freedom of abstract expressionism, siding along with the contemplative practice of Zen calligraphy. This integration of meditative peace and passionate energy presents a fresh landscape that is holistically dynamic and contemplative, evocative and reflective. The Zen strokes that feature prominently refer to the hope of splashing an endless creativity at any stage of life. Thirdly, in organizing a larger-scale of art forms, I gradually move to create a sense of unity and wholeness that highlights a stimulating dimension of cultural diversity in my painting canvas. Moreover, I strive to develop a stronger sense of spatiality by leaving white space blank within the compositions, which provides a stimulated sense of circulation and contingency, for an experimental interaction of fulfilling the gaps of different 3-D dimensions in life. Last but not the least I embrace my intuition of self-awareness under my personal practice of integrating multiple refreshing technical elements, that always plunging into the fundamental questions of man’s existence and the nature of living being. I appeal to the worldly communities for a spirit of connection and resonance that may well go beyond the surface of my painting art.” From 2022 to 2023, Cymn has extended a soul karma in her Washington saloon that spearheads to create a masterfully-suited-style of global ethos. The ethos showcases her accomplished selfhood of aesthetic views blending with both Eastern and Western cultures and languages. Wong attempts to vitalize the diversity of built-in imageries and present the visual art communities via a dynamic interaction of natural human passion with the uncontrollable social environment and the universe. In fact, Cynm’s lifelong commitments to bilingual poetry and expanded visual art have been widely applauded in multiple international platforms whereas her English...