Before the Ink
Before I discovered the fluidity of Chinese ink, my world was built on oil, pastel, and charcoal. This Early western portrait painting-collection (late 1970s) documents my early exploration of the human face. Deeply influenced by Austrian Expressionism, these works are not just studies of anatomy, but attempts to capture the psychological state of the sitter. It is the “Western Gaze”—direct, analytical, and emotional.
1. Oil & Expressionism
The Weight of Color
In my early self-portraits and studies, I used the impasto technique typical of Western modernism. The paint is thick, the brushstrokes are visible and nervous. Unlike the later “Zen” works, which seek emptiness, these paintings are full—full of pigment, full of ego, and full of the struggle to define the self.
2. Graphic Studies
Line and Shadow in my Early Western Portrait Painting
Even in these early graphic works, the tendency to dissolve the form is already visible. While still adhering to the rules of perspective and light, the lines often break free from the contour. These sketches are the first steps on a long road that would eventually lead me to the abstract calligraphy of China.
Why this matters
You cannot deconstruct what you have not constructed. These early works are the foundation. They show the rigorous training in Western composition and color theory that I brought with me to Beijing. They are the “Thesis” to the later “Antithesis” of my Zen art.
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