This series of paintings is based on the memory of a contemporary dance called 'FORGET ME OR NOT'. I have to say I saw this dance in London such a long time ago.
- what would happen if I recreated the memory and put my own reaction of what I saw into some paintings ?
- What would they like in the end ?
The first painting: I started it by memorising the motion of the dancer's body. When a body moves, as the dancer on the stage moved, faster and faster, the form of the identity gets lost, what remains in the audiences' mind may be just a shadow, that's what I wanted to catch - the moment of the impression in the audiences mind. By using the body as a place for transformation in painting. I intended to use the dancer's body to transform the motion into a shadow.
For me this is a beginning for the experiment of a body form before going any further.
The second painting: This is about the dancer's body incorporated with whatever may surrounding her, in the end the body was reshaped leading into an abstract image.
In this painting I have been infulenced by Futurism paintings. Futurism expresses works with dynamic motion and speed. The way Futurism paintings do is when they portray a human figure, they do not just paint it, they put emphasis on the movement and surrounding atmosphere emerge with the body. So what you see is not just a body also their surroundings. Like this painting, the symbol of speed associated with the human figure, the painter has transformed the dancer into an almost abstract equivalent of musical rhythm image.
Another thing I want to explain about this painting is what the photo doesn't show in great detail: there is some string tying up the whole painting.
I intend to give two meanings for that: the first one is response for the dance I saw, the dancer trying to escape her body and free her soul, but the more she danced the more she struggled. In the end she couldn't free her soul because of her feeling and emotion was still bound to her self. The second one is I wanted to express what I feel about painting, I feel panting has been stop for long time, and no longer going any surprising, I use this painting to questioning about: Is it painting really have a boundary and can't going any further as another media do?
The painting no. 3.
I used my feet as paint brush then combing painting and dance together, from this step, I feel something is going to change, something is more freedom to express and that enable me to go further for my experiment for the memory of the dance.
I don't use paint brush to paint, I use my feet and move my whole body to dance to paint, that able myself to achieve more immediate means of creating art.
The only different from the perious one is the material. I used egg tempera and I only use white colour that indicate some new process is going to happen.
when I finish danced on it, I left it outside for weeks, the thickness of the paint material is crack and dust and dirt gathering make the painting is naturally changing. I quite like this process as the painting will be finish by itself.
The last painting:
I paint myself with blue colour and wrap up tight in a cloth. And the paint simply squeeze out from my body, as I move my body and dance along, it leave the mark of my movement on the cloth as it showed my physical presence evidence.
I dance along with the memory that recall the dance I saw, and that was moment during my dance. I really feel there was some sort of chemical happening between my skin, the blue paint and the cloth.
Its almost feel like I put myself on the stage, the memory and the dance I saw was fading away, and I was recreating the memory that only belong to myself but not the dance I saw. Strict speaking, I was replacing the original memory by recreating my own interpretation.
- My work is inspired by Yves Klein and Jackson Pollock, both of the artists use bodys as a strategies to interact with paintings and recording the body physical energy by using human body as living paint brush.