painter | Mysite

painter | 關於塗

/ Installation @ A Walk With A3 / 2016 /

A work about me and my father, a retired fitment worker.
I remember the first thing I asked him to teach me was how to paint a wall.

It was also the first time that I learned about his working.

This time, we exchanged what we usually do.

一件關於我和父親的作品。家父，退休裝修師傅。

回想起他教我的第一件事是油牆，亦是我首次了解他的工作。

這次，我們交換了工作。

INTERPRETATION

by Yang YEUNG

Everything had to be, until everything was subject to change.

“Kinesis is not just a difference of state. It carries the connotation of a transition, indeed a development, from one state to another: a ‘whence-whither’. […]

Kinesis, as a process of change between an initial and an end state,

is continuous, though it may be broken off or interrupted.” Dorothy Emmet,

The Passage of Nature (1992). [1]

The white on white is one object (a canvas painted white)

on another (a wall painted white).

The videos speak of their meanings – the father who paints, the son who follows. This simplicity of expression, however, comes from the grave and prolonged struggles the artist has been through. Here is the process.

It began from the artist’s determination to show 100 watercolor drawings of stones. The sheer number speaks of labor; the struggle was whether to show labor.

The days during which the drawings were made tell of lived time;

the struggle was whether to show time as a line – an arrow shooting forward.

The silence of the objects raise questions about what they can do facing the street; the struggle became how to invite others to find their stones and

keep the artist drawing.

And then everything changed.

Chino’s being there began to affect his perception of the place.

It was no longer an empty vehicle to be filled up with objects and human voices,

but a space whose dimensions are continuously subject to the change sunlight brings upon it; it is continuous with, not isolated from, nature.

He never painted what he observed.

Instead, he withdrew radically into thinking without knowing the next step.

He let that which was not up to him claim him.

He chose not to let go.

Nothing of this sort is apparent in his final iteration of this durational

showing, telling, painting, and installing.

But everything is also there to be the artist’s intense experience from

taming the space to having dialogues with it.

This time, he knows he does not have to be there when others are.

He knows he has been there as much as his father has been.