Surrealism as an Early Influence on My Artistic Development
When I started painting decades ago, Surrealism was one of the strongest influences on my early work. My interest initially came through literature rather than painting. Writers such as André Breton and Paul Éluard opened a door to a world in which dreams, unexpected associations and the subconscious could become creative material. Soon I began exploring the painters connected with Surrealism as well, particularly Max Ernst and Giorgio de Chirico. What fascinated me was not a particular visual style, but the freedom to move beyond ordinary reality and allow images to develop according to their own inner logic.
My encounter with Chinese art eventually changed this direction profoundly. After beginning my studies of Sinology and later living and studying in China, Chinese painting and calligraphy became central to my artistic development. For many years, Surrealism moved into the background. Yet some of its fundamental questions remained: How much should an artist consciously control? Where do unexpected images come from? And how can a painting reveal something that was not fully formulated before the creative process began?
Over time, Expressionism and later Chinese art became more important to me. Neither has lost its appeal.
When I later returned to abstraction and more experimental forms of painting, I discovered that Surrealism had never completely disappeared from my work. It returned in a different form. Instead of constructing obviously surreal scenes, I became interested in ambiguous forms that emerge from spontaneous gestures, stains and lines. A painting may begin without a predetermined subject, while recognizable forms gradually appear and disappear again. The viewer is free to discover associations that I may not have consciously intended.
Surrealism as a Continuing Influence
Looking back, I no longer see Surrealism as a period that simply ended when I turned toward Chinese art. Its influence became part of a larger artistic vocabulary. Surrealist openness to dreams, chance and the subconscious eventually encountered the spontaneity of Chinese brushwork and my growing interest in abstraction.
My present work is therefore not a return to historical Surrealism. It is a continuation of questions that have accompanied me since my earliest paintings: how images emerge, how much control an artist should exercise, and how something unexpected can appear in the space between intention and chance.
There are still phases when Surrealism comes to the fore again. Often these remain experiments: ideas I play with without bringing every work to a conclusion.
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