- This topic has 3 replies, 3 voices, and was last updated 5 years, 3 months ago by
.
-
Posts
-
-
I wanted to share with you an inspiring woman I know (from Belgium). She has studied Japanese and Chinese calligraphy and is an artist and sculptor. A series of her work contains her calligraphy throughout the years and I find it really beautiful. She named the series “Fragments” and explains in following text why she chose that name. Please share if you like her work 🙂
My personal favourite is the last one in blue, if I’m not mistaken this one contains a collection of poems of Li Bai. Really magnificent if you see it with your own eyes.
The story behind the fragments
These works were created (starting in August 2014) on old canvasses (20/25 years old), my erstwhile unfinished attempts at oil painting. In some cases I no longer remember what was on them because all those years back I painted over them. On those old foundations, those bases, new works were born (each naturally, in its turn, a fragment). They consist of snippets of Chinese and Japanese calligraphic scripts, exercises performed during my ten years of training at the Heian Culture Centre, as well as copies of texts written by old masters, odes to nature, philosophical texts etc. that I calligraphed using a paintbrush on Japanese paper, then coloured, tore up and stuck (using traditional techniques) onto those old canvasses, onto which I also stuck other scripts. The texts are presented in various calligraphic styles, the principal ones being standard, medium-cursive, cursive and sigillary.The fragments symbolise passages from various lives, successive phases in this life, in an endeavour to bring together their different strands.
For ten years I trained at the Heian Culture Centre in Brussels (a branch of the Kampo Harada College in Kyoto). And because I was allowed to pose few if any questions about the origins or evolution of the scripts, I set about doing my own research, often wondering why and what drove me to it. The impulse to do so nevertheless sustained my perseverance throughout the years and provided me with something worth doing during the many hours I spent on the train. Anyway, I am a seeker and I always manage to find something that needs to be researched!
The materials I use are of first class quality. The inks are indelible. They are ink-bars – pure pigment – which the calligrapher has rub against an ink-stone. It is a time-consuming activity but it enables the calligrapher/painter to calm his soul before commencing work.
As regards the texts, the aim is not that they should be entirely legible. Being torn and worked, they too become particles, pieces of a puzzle, fragments of something that once existed as a “whole”.
Here and there red stamps are to be found on the texts. They are my signature.
Behind all that lies concealed the idea of an ode to the solidarity that binds the fragments, a solidarity between cultures, between man and beast, between all that lives in time and space. Not merely an ode, but – far more – a deep inner quest for a life in harmony with all creatures.
Realising that you are a piece of a puzzle is perhaps disconcerting at first thought, but the realisation that there is a puzzle – or that one can be created – implies the importance of each fragment, the importance of each particle, and that makes it bearable!
-
Thanks a lot for this nice sharing! Please try not to share the email address here because this is not secure for you.
We have anti-spam tool on our artist listing pages. You might be more interested to move this post to the artist page. 🙂
https://www.inkston.com/community/directory/
If you need assistance, please feel free to contact our
https://www.inkston.com/inkston-oriental-arts-materials/contact-us/
Customer Helper.
-
-
Dear kmo
If you wish to know more about the artwork or the artist herself, she will gladly give information 🙂
-
- You must be logged in to reply to this topic.