a r t i s t i c s t a t e m e n t ( f o r R o y a l P o r t f o l i o o n l y )
In 2016, I started the "ROYAL PORTFOLIO" as a separate collection of repertoire works that showcase my "more exquisite"
"Neo- Classical/Byzantine/medieval" style artworks. I began with portrait painting of (2016) Salvator Mundi {Jesus).
Although I have painted more "classical" style paintings in the past, I wanted to start fresh and create a separate portfolio that alluded to old masterpieces shown at various Art Museums around Europe.
"Neo- Classical/Byzantine/medieval" style artworks. I began with portrait painting of (2016) Salvator Mundi {Jesus).
Although I have painted more "classical" style paintings in the past, I wanted to start fresh and create a separate portfolio that alluded to old masterpieces shown at various Art Museums around Europe.
g e n e r a l a r t i s t i c s t a t e m e n t
(also applies to INK Portfolio), (does not apply to Lee's "Royal Portfolio")
New York School Artists and the Abstract Expressionists. My work revels in their representative aesthetic, and aims to metamorphose into a more modern, personal form. My ultimate goal is to create something that captures, immerses the viewer into the nether-world of artistic expression. Like a moth to a flame, or Icarus to the golden Sun. When words like “beautiful” and “interesting” become merely phatic in describing this art - I can finally rest.
My journey, as artist and human is boundless. I have to make art that reflects the transient, the mesmerizing and fluctuating I wish my viewers to respond to. A derelict look of a wall, street or wooden cabinet; the instability and uncertainty of spontaneous, yet familiar decay - contrasted with natural patterns in marble created by erosion. That burnt or washed-out and faded look of the temporal resides in my artistic manifesto: the physical is not forever, but our emotive impressions, or artistic response is forever. While searching for something new and fresh, like most painters, I work in periods and phases. I vacillate fluidly between different styles, things that inspire artistic curiosity and appreciation.
An Homage to the New York School Artists of the 60s, Abstract Expressionists of Europe and perhaps a little bit of something else, I denote these pieces as soft tributes to my revered predecessors. But such nomenclature is subjective - I invite my viewers to find another name. Coming from a traditional training and a family of traditional visual artists/designers, with my dad painting only impressionistic art, I pursue much more than just literal depictions.
For this world is more than the physical - it is an amalgamation of the literal and the imaginative.
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My journey, as artist and human is boundless. I have to make art that reflects the transient, the mesmerizing and fluctuating I wish my viewers to respond to. A derelict look of a wall, street or wooden cabinet; the instability and uncertainty of spontaneous, yet familiar decay - contrasted with natural patterns in marble created by erosion. That burnt or washed-out and faded look of the temporal resides in my artistic manifesto: the physical is not forever, but our emotive impressions, or artistic response is forever. While searching for something new and fresh, like most painters, I work in periods and phases. I vacillate fluidly between different styles, things that inspire artistic curiosity and appreciation.
An Homage to the New York School Artists of the 60s, Abstract Expressionists of Europe and perhaps a little bit of something else, I denote these pieces as soft tributes to my revered predecessors. But such nomenclature is subjective - I invite my viewers to find another name. Coming from a traditional training and a family of traditional visual artists/designers, with my dad painting only impressionistic art, I pursue much more than just literal depictions.
For this world is more than the physical - it is an amalgamation of the literal and the imaginative.
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New York School Artists and the Abstract Expressionists。我的作 品狂歡於他們各自的美學之中,旨在蛻變 成一個更現代、更個人的形態;最後將觀 眾帶入到藝術美學的陰暗一面。有如燈蛾 撲火、或衝往太陽的伊卡洛斯。當「美 麗」、「有趣」等形容詞流於俗套時,我 的任務就達成了。
我對於藝術與人生的追求是無邊際的。我 要讓作品反映能令觀眾有所反應的一個瞬 間、魅力,及波動。可以是荒廢的牆、街 道或木櫃、自然的不穩及虛無;又或是與 大理石自然風化對比的衰落等。我的格言 就是:萬物總有枯朽的一天,但情感及藝 術上的印象卻是永存的。當大家在尋求新 鮮的手法時,我卻又在不同時期間遊走, 為求激發對藝術的欣賞與追求。
從六十年代的紐約派藝術家、歐洲抽象表 現主義者及其他來源中得到啟發,這些作 品是我對那些前人的一份敬意。但這樣有 點主觀——我歡迎觀眾去尋找更貼切的稱 呼。傳統的訓練與來自傳統的平面設計 師、藝術家世家,加上父親是生命中唯一 的印象派畫家,令我不滿足於字面上的描 繪。這個世界是表象與想像交融的結果, 遠遠超越實體本身。
我對於藝術與人生的追求是無邊際的。我 要讓作品反映能令觀眾有所反應的一個瞬 間、魅力,及波動。可以是荒廢的牆、街 道或木櫃、自然的不穩及虛無;又或是與 大理石自然風化對比的衰落等。我的格言 就是:萬物總有枯朽的一天,但情感及藝 術上的印象卻是永存的。當大家在尋求新 鮮的手法時,我卻又在不同時期間遊走, 為求激發對藝術的欣賞與追求。
從六十年代的紐約派藝術家、歐洲抽象表 現主義者及其他來源中得到啟發,這些作 品是我對那些前人的一份敬意。但這樣有 點主觀——我歡迎觀眾去尋找更貼切的稱 呼。傳統的訓練與來自傳統的平面設計 師、藝術家世家,加上父親是生命中唯一 的印象派畫家,令我不滿足於字面上的描 繪。這個世界是表象與想像交融的結果, 遠遠超越實體本身。