Image:
combustion
(2001)
Chinese ink on watercolour paper
76cm x 56cm
Readings:
John clark, “Formation of the Neotraditional”. Modern Asian Art (Sydney: Craftsman House, 1998), 71-80
Prasenjit Duara, “Of Authenticity and Woman: Personal Narratives of Middle-Class Women in Modern China”, in Becoming Chinese: Passages to Modernity and Beyond ed. Wen-Hsin Yeh (Berkeley: University of California Press, 2000) 342-347
In John Clark’s reading, he introduced a term called “Neo-traditional” to describe a category of art works that have a blend of both traditional and modern cultural values. In this case, traditional is thought to be from eastern cultures as they are not modern, while western cultures are thought to be modern. Because of the need to become modern, the western are also thought to be strong and dominating. “Neo-traditional” is thus born because of the need. In order to understand Neo-traditional, one must understand traditional. Traditional is thought to be invented as it is constantly redefined. A community consensus sets a particular set of technique which helps identify themselves from others forms Traditions. Traditions are past down from one generation to another. Oddly, traditions can be altered from one generation to another, thus making traditions unaccountable.
In relation to my selected artist Yeo Shih Yun, I would need to first mention her artistic style. Falling under the catalogue of abstraction, her style is more abstract expressionism as artist like Jackson Pollock and Robert Motherwell have heavily influenced her. Her works is a kind of self expression which is not subjected to creating representational, figurative or objective visuals. But her works are more of abstract and often displays expressions of chaos and order through the play of space, lines, colours and marks. Like her predecessors her works has an emphasis on spontaneity and sub-consciousness rather than an organized and controlled painting.
With relation to the reading of how traditional is constantly evolving as it does not have a fixed set of markers. I would like to view Shih Yun’s works as Neo-traditional. She have taken a ‘traditional’ abstract painting and turned into a modernized ‘traditional’ abstract painting by changing its usual state. Firstly her cultural background as an abstract expressionism painting is very different as abstract painter during post world war II New York city. Hers have an Asian twist towards something western and we can see it very prominently through her constant use of Chinese and Indian ink than compared to oil paints.
John clark, “Formation of the Neotraditional”. Modern Asian Art (Sydney: Craftsman House, 1998), 71-80
Prasenjit Duara, “Of Authenticity and Woman: Personal Narratives of Middle-Class Women in Modern China”, in Becoming Chinese: Passages to Modernity and Beyond ed. Wen-Hsin Yeh (Berkeley: University of California Press, 2000) 342-347
In John Clark’s reading, he introduced a term called “Neo-traditional” to describe a category of art works that have a blend of both traditional and modern cultural values. In this case, traditional is thought to be from eastern cultures as they are not modern, while western cultures are thought to be modern. Because of the need to become modern, the western are also thought to be strong and dominating. “Neo-traditional” is thus born because of the need. In order to understand Neo-traditional, one must understand traditional. Traditional is thought to be invented as it is constantly redefined. A community consensus sets a particular set of technique which helps identify themselves from others forms Traditions. Traditions are past down from one generation to another. Oddly, traditions can be altered from one generation to another, thus making traditions unaccountable.
In relation to my selected artist Yeo Shih Yun, I would need to first mention her artistic style. Falling under the catalogue of abstraction, her style is more abstract expressionism as artist like Jackson Pollock and Robert Motherwell have heavily influenced her. Her works is a kind of self expression which is not subjected to creating representational, figurative or objective visuals. But her works are more of abstract and often displays expressions of chaos and order through the play of space, lines, colours and marks. Like her predecessors her works has an emphasis on spontaneity and sub-consciousness rather than an organized and controlled painting.
With relation to the reading of how traditional is constantly evolving as it does not have a fixed set of markers. I would like to view Shih Yun’s works as Neo-traditional. She have taken a ‘traditional’ abstract painting and turned into a modernized ‘traditional’ abstract painting by changing its usual state. Firstly her cultural background as an abstract expressionism painting is very different as abstract painter during post world war II New York city. Hers have an Asian twist towards something western and we can see it very prominently through her constant use of Chinese and Indian ink than compared to oil paints.
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