Loading...

Art Critiques

  • Art Critique by Dr. Barbara Aust-Wegemund, Art Historian

    Listen to the Birdsong

    Hong Liu-Sertti at Miami Art Expo

    Dr. Barbara Aust-Wegemund

    PHD from Christian-Albrechts-University Kiel

    A spread of paintings in a meditative medley surrounds the Miami Art Expo with works by Hong Liu-Sertti. Inundated with visual metaphors, her artwork appears in a tactile interplay of spaces and forms using a meditative symphony of brush strokes in elegant compositions. The subtle colours and the play of light endow the works with luminosity.
    Hong Liu-Sertti captures the movements in her meditative brush strokes that carry us seamlessly into a mystical realm. A lifelong fascination with painting and calligraphy shapes the work of Hong Liu-Sertti, who is selected from the Jury Committee of Miami Art Expo to present her recent series “Transformation” in Miami. Main subject in the series are sea waves in blue green brush stokes and water drops transforming in birds and stamps.
    The artist, who is living in Espoo, Finland, is delighted to be selected for the show in Miami, hosted at Nina Torres Fine Art. The 8,000 square feet gallery space across the street of Margaret Pace Park is located at 1800 North Bayshore Drive, in a high-rise building adorned with fountains and with breathtaking views of Biscayne Bay, Miami Beach and the Port of Miami.
    So what are the characteristics in Hong Liu-Sertti’s work? ”The key elements of my artworks”, Hong Liu-Sertti explains, ”are birds and calligraphic seals. The seals resonate with the theme of the painting. The simplicity of Finnish art and nature is a great inspiration for my creativity.“ About the process of painting, she continues: “My painting process is a flow of spontaneous creativity. The colors, the brush strokes, the movement and the stillness, the vibration and the silence are all flowing in a natural rhythm. By integrating spontaneous brush strokes with rational arrangement of colourful calligraphic seals, I explore the ways to express conflict and harmony; limitation and freedom.
    In this eternal universe, the birds fly their lives and sing their songs of praise for the freedom. Sunny days or stormy days, the birds never stop their love for singing and never stop their love for flying. The motivation behind my painting is to awaken people to reflect on our life and our relation to the universe.”
    Hong Liu-Sertti graduated (BFA) at the renowned Guangzhou Academy of Fine Arts, China (1996-2000), before she participated at Aalto University of Art and Design (2007) and Sibelius Academy Finland (2006). Her work has been featured worldwide (Guangzhou, Helsinki, Stockholm, Oxford, Paris, Izmir, St. Petersburg among others) and is held in private and public collections in Finland.
    Hong Liu-Sertti is a member of the Helsinki International Artists Association (HIAA), China Calligraphy and Painting Artist Association, registered Artists International Network (ART RAIN), the European Union Migrant Artists Network (EU-MAN) and Finnish Art Association.
    Her work has been awarded by the State Fine Arts Committee of Arts Promotion Center Finland grant for the solo exhibition “Bird, Forest, Lake”(2013) and byThe Finnish Ministry of Education and Culture grant for HIAA group exhibition “Speak to me – Puhu mulle“ (2012).
    Created from an inner silence Hong Liu-Sertti’s work is facing the question how to reconcile the traditional literati mindset of retreat into nature with the public appeal for social intervention of reality emphasized in contemporary art in order to complete a universal transformation. Hong Liu-Sertti prefers to seek out valuable ideas and resources for creative transformation within her own rich cultural traditions in contributing philosophical values and views.
    In reviewing her complete oeuvre she has reflected a deep impact of sensibility. By going into the painting, behind and underneath the surface, the painting gains a unique kind of physicality seeking out what lies beyond the surface appearances.
    Hong Liu-Sertti’s concept is focused on the importance of mind, body, unity and purity. While viewing these paintings, the mind remains in the now, being fully aware of the illusory nature of material life. What is in and behind the waves? How deep is the ocean? Where is real peace in life? Just listen to the birdsong to make peace with yourself.

    ( published in ART SLANT Miami Magazine and ARTFIX Daily – Curated Art World News and Exclusives 2015)

  • Reflection of life and tradition in the transcultural context - Review of Hong Liu-Sertti´s painting by Art Critic Hu Bing

    Reflection of life and tradition in the transcultural context

    Review of Hong Liu-Sertti´s painting

    Hu Bin

     
    -Deputy Director of the Art Museum of the Guangzhou Academy of Fine Arts (GAFA), Associate Professor of the Art Management Department

    With the intensified globalization artists with Chinese and international background have become a prominent phenomena in the art society. Thus we can sort out and follow a long thread. Hong Liu-Sertti is undoubtedly in this context. What I am interested is, from the observation of her, we could survey the characteristics of artists with transcultural background.

    Hong Liu-Sertti graduated from the Art Education Department in GAFA where she received a comprehensive art education, which has given her a  solid foundation for her art. After moving to Finland she has got new nourishment from the art and humanities as well as the nature of the new country. Her art works in recent years mainly focus on the theme of flower, bird and landscape. Her art language is pithy and fresh, the shades of color bleeding is exquisite– very distinctive oriental artistic charm. But when observed more carefully you will notice that her stroke and color are not the traditional Chinese style of ink painting. The strokes are either lightly brushed, or sharply scratched, not of the calligraphic method. The colors demonstrate an exceptional purity with the dreamlike innocence. Additionally the stamps, the very traditional symbols of Chinese painting and calligraphy, are used in her painting composition. She does not simply follow the so-called traditional Chinese painting practice , but rather creates the oriental expression with an open mind. The different kind of materials like rice paper, canvas, pigment, mica, acrylic, foil etc make the painting colourful and luminous. Still in a general view, the deep-rooted Chinese cultural is strongly imprinted in her work. Her stamps are not of the conventional Chinese style. They are in Chinese, English or Finnish with different shapes and colors and the meaning of the words heighten the theme. These ”stamps” , dotting the painting in picturesque disorder, turn into music melody in her works. Similar to using stamps as part of style and composition, she creates in her work random light-reflecting holes, which increase the mottled dimensional depth and enriches the gradation. She herself summaries the nutrition behind her creation: mutualism of blankness and fullness of Chinese traditional painting technique and the Finnish concise, rational and straight-forward art style increase the richness of the work. The beautiful nature of Finland gives the fertile soil of the flourishment of my art. ” Yes, her creation has been benefited from this transcultural context.

    Continue to follow the transcultural thinking, it is not difficult to feel the action in her painting. The pursuit of aesthetical perfection of painting is not her only target. She emphasizes on the rhythm and tempo in the process of creation . It is like the mentally controlled energy(Qi) flow and spontaneous action in the traditional Chinese calligraphy and painting, combined with the improvisation and dynamics of the western art tradition. In her work one can sense movement and stillness, conflict and harmony, freedom and limitation…her creation is like walking with dancing steps. The process demonstrates the path and the final completion.

    ”Love” and “Freedom” are the eternal themes of Hong Liu-Sertti’s art. There are always birds in her paintings. Some birds are brilliantly colourful and emphasised, some are just simplified like dancing symbols. From her point of view, they represent freedom and harmony with nature. The reflection of “love” can be seen from the held or stretched hands as well as the innocent child. Surely we have no need to find meaning of the symbols in such simple manner. The spirit of positivity, warmth and softness, lightness and freedom fills her work. This is a motif of universal value. Historically there are numerous excellent works under this theme, being noble, or romantic, or inspiring,or profound. As a female artist migrating between east and west, she expresses the motif with individual viewpoint from her heart, which resonates with every viewer.

    Through the phenomena of Hong Liu-Sertti we realize that artists who are in the transcultural context between China and the West, are more open in breaking the bonds of old convention and in applying innovative techniques. At the same time they are more consciously returning to the traditional form and spirit. They often choose  the motif of universal value, but the path of expression is inseparable from the eastern background. This seemingly contradictory phenomena appears however in many overseas Chinese artists. Their way of cultural expression renders us another viewpoint towards the Chinese tradition, and their way of creation can not be neglected when we are looking at the world of contemporary art.

  • 刘译鸿的“畅鸣鸟”及其艺术方式 - 陈国辉/文

    刘译鸿的“畅鸣鸟”及其艺术方式

    陈国辉

    中国艺术研究院美术学博士,独立策展人


    旅居芬兰画家刘译鸿长期以鸟为主题,创作了关于人性自我、文化融合、爱以及四季回归自然等系列综合材料作品,并将画面中的鸟自诩为“畅鸣鸟”,寓意自由与自在的心境,畅快表达着自我感想的某种象征性意义。在中国文化传统中,状物抒情是花鸟画艺术的常用手法,其艺术效果有如杜甫诗中的“感时溅泪花,恨别鸟惊心”之含蕴,一花一鸟,或触景生情,或移情于物,处处总关情。“畅鸣鸟”便是刘译鸿画面中的一个独特艺术符号,是一种自我寓言式的艺术表达。


    尽管刘译鸿在创作媒材上使用了水墨和宣纸,但她的创作方式却不是传统中国画的典型样式,而是挪用了“后波普”观念,塑造出独特的造型系统、图式结构和趣味取向的综合性绘画。首先,在媒材上除了使用水墨语言的相关媒介如宣纸、毛笔、中国画颜料之外,刘译鸿还在画面中大量探索金箔、水彩颜料与肌理、笔刷印痕等艺术张力,有意突破传统中国画创作的媒介藩篱。其次,在语言系统和表现手法中,她既采用了中国画的某些文化元素,如“畅鸣鸟”的写意方式显然是参照了传统花鸟画的样式与技法,印章图式则是中国文化符号的象征;同时她有意地将英文字符、块面构成、圆点符号、笔刷肌理、浓烈色彩与各种箔料的有机融合,在一种率性、随机的绘画基底上,采用某种简约、理性的设计感,以平面构成的方式在画面增添不少符号性的元素,这些元素的大小、方圆、阵列排序根据画面的需要而定。因此,从技法层面而言,刘译鸿的绘画既有工与写、又有泼洒与盖印、重复与留白、基底与符号等多层次的,具有虚实相生的绘画语言。从画面意境而言,其既有中国画的“家族相似性”,绵柔而流畅的抒情性,又有别于传统中国画创作的符号指示性和“后波普”式的复数、重复的图式构成;在这两者之中,传统中国画的构成章法是根基,是画面架构的支撑力量,即是说,无论刘译鸿怎样糅合其它域外的文化元素和艺术手法,她的画面效果咋一眼看来仍然是东方式的文化意象,当然仔细琢磨和体味,事实上是中西文化掺和的有机处理。即便是她的一些作品描绘海潮来临时,海鸟自由翱翔的海景,类似水彩性的写生作品,墨色晕染、画面虚境在颜色和箔料的衬托下也仍不乏东方的审美趣味。第三,我更想谈谈刘译鸿画面当中的语义系统。所谓“语义系统”,它是从语言学当中引申出来的,是话语的能指和所指。刘译鸿曾在某些画面当中给符号性的“畅鸣鸟”添加双腿,或是以心形的阵列组合,或是以影痕的方式加表述,或是增添合拢的手型等具有象征性的文化符号,表征创作主体试图借助语言媒介,在技术、语言和观念意义上进行更多元的、具有自我独特体验的思想表达。此种艺术表达,它打破了传统中国画的叙事逻辑,将笔墨情结的内容进行消解,引入图像/图式结构的叙事方式,从中西文化碰撞与差异性当中寻找问题,探讨水墨画切入当代的可能性。


    在当今全球化的语境当中,东方绘画如何融合西方元素,以及如何有机地表达出创作者的文化敏锐性和提出问题的深刻程度俨然成为艺术界探索的重要课题。一方面,我们要避免以文化激进主义的态度从简单的厌恶传统情结中彻底否定东方的绘画传统;另一方面,我们又不得不警惕以文化保守主义的情愫从传统艺术精神的发扬中固化我们的创作思维,同时也要避免不洋不中、张冠李戴、似是而非的创作表达。鉴于此,刘译鸿的“综合性绘画”探索,在传统与当代、东方与西方等二元问题上的艺术追求及其成效将是值得我们反思和借鉴的优秀范例。

    2016年8月23日匆草于广州天河北

  • Art critique from Heinz Playner,curator of MAMAG Modern Art Museum , Austria

     

    A charming, multi-facedted style of Hong Liu-Sertti has strong bond between the artist and her roots from Asia. She can perfectly combine modern and classical Chinese style. You can feel in the artworks poetry, the music and a warm blowing wind, which invites the viewer into the elegant world of Hong Liu-Sertti.