Historical Aspects of Mark Making

Seeing into my artwork is bid going on a very dangerous journey, peerless that requires the participants to let go of their tri howevere and preconceived mindset, and must be willing to experiences doubt and suffering. From the get of my artistic career, I was late in love with the quaint Chinese calligraphy, not because of my similarity as an Asian person, but because of the means. In my point of view, the essence is the source that is closer to the truth. old-fashioned Chinese language is elusive, it stool have multi-meanings and multi-levels of understanding regard on each individual(a)s cultivation. See the account below for example.\n\nFig.1 Ding Shimei. River. 2008 http://www.skyren-art.com/en/dingshimei/calligraphy-/210-xijingyue.html\n\nThe Ancient Chinese image for river, one wriggly linage in the middle and a few lines on 4 corners. Can you get the mind? From this jump off point, I develop an eye for lay makings. I learning that to retain marks is the fir st flavor in deconstructing an idea or concept of a flavorless artwork. Historically, I was influenced heavily from Rembrandts paintings. I dont think he is a virtuoso painter, but I appreciate the quality of nominal and simple, slap of paints that he puts on the canvas to show the spectre of light. Here I am not talking closely the chiaroscuro, but the part that is in the darkest area of most of his painting. It seems want nothing, but it is everything! See the shape below.\n\nFig.2. Rembrandt. http://www.artwallpaper.me/wallpaper/archives/2202/rembrandt-wallpaper-painting\n\nWhen carefully observe Rembrandt painting, I wear that each brushstroke is direct and even off to the point, nothing is wasting. Analytically, I accommodate the idea of simplify my marks, thence is suitable to conserve energy, and at the same time, using the backup man energy to do more. Which bestow up another cardinal artist, Tom Freidman, that I found very intriguing and able to appropriate some...