Beyond the Horizon of Abstract Landscape Painting
In traditional Chinese art, Shan Shui (Mountain-Water) is never just a depiction of scenery; it is a philosophy. This series takes that concept to its abstract limit. I do not paint places that exist on a map. In my gestural landscape painting series I paint “Inner Landscapes.” Using the explosive energy of gestural calligraphy, I transform the brushstroke into a mountain ridge, and the ink splash into a valley. It is a landscape, abstract landscape painting, defined not by geography, but by emotion.
1. The Inner Geography
Mind over Matter
These works are improvisations. There is no sketch, no plan. The landscape emerges from the chaos of the ink. A dark, heavy stroke suggests a rock; a wash of diluted ink suggests mist. The viewer is invited to wander through these spaces, which are familiar yet alien. They are echoes of nature, filtered through the subconscious of the artist.
2. The Kinetic Brush
Calligraphy as Landscape
Here, the technique of “Writing” meets “Painting.” I use the same rapid, uncorrectable strokes as in my Cao Shu (Cursive Script) calligraphy. Instead of building a landscape layer by layer (as in Western oil painting), these landscapes are created in seconds or minutes. The speed of the brush captures the “Qi” (Life Energy) of the earth itself—restless, shifting, and alive.
3. Material & Flow
Dancing on the Surface
To heighten the fluidity, I often work on non-absorbent surfaces like Yupo or glossy synthetic paper in my gestural landscape painting series. Unlike traditional rice paper, which absorbs ink instantly, these modern materials allow the ink to “float” and pool. This creates organic textures—riverbeds, sediment, erosion—that look like they were formed by nature itself, not by a human hand.
Shan Shui (山水画) vs. Abstract Expressionism
Is it East or West? It is both. The spiritual foundation is the Chinese concept of Shan Shui—the veneration of the void and the substance. The execution, however, owes much to Western Abstract Expressionism. It is the point where the meditative silence of the East meets the loud, gestural freedom of the West.
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