YI-CHIAO CHEN
ARTIST
.jpg)
Child with hope
6 / 2019,Oil painting 162 X 112 CM
​
This child is my son, who was born 15 days. With a blue colour around the child, the child is hope for the future. Wish in the future, and the child can master the power to a better life. Every mother hopes their child who can have happiness and a shining future. A New World, a child, can find an excellent place for you to tell a new story and let the world direct a new way for everyone.
The Aesthetic Meaning of "Leave Blank" in my painting, I added this concept.
​
The "leave blank", or "layout and leave blank" in Chinese paintings, is the most importantly, the ingenious combination of artistry and aesthetics can make the painting reach a heightened state in which the protagonist is supported by the supporting role, and the supporting role and the supporting role coexist. Emphasizing virtual reality is based on aesthetic needs, consciously setting the subject image and the center of the screen, and setting empty scenes with virtual whiteness to make the real scene more prominent.​
The blank space in the painting should let people see the imagination between the remote landscape and the scenery.
I use a virtual three-dimensional as reference for my paintings
(Child with hope and Gold with child).
Based on representation of space in traditional Chinese paintings:
Traditional Chinese paintings generally adopt the 45 to 60 degree bird 's-eye angle as the basic framing device with the bottom foreground remaining unchanged while adjusting the upper part of the painting to a wider angle to take in objects from three angles, eye level, inclining, and bird's-eye view.
Therefore, the three distances of horizon, depth, and height can all be incorporated into one frame. This technique of framing can be called "angle-shifting" or "multi-angle" method.
In addition to three-dimensional space, Chinese painting also has three-dimensional space, which is time.. Blank space is a metaphor for the nature of heaven and earth. The sequence and extension of time are formed around and inside the painting. This is true in high-format and large-scale works, especially in scrolls or ancient murals.
​
Also, I added airflow concept.The belonging of space in Chinese painting echoes the transfer of breath, and the transfer of breath is completely related to the airflow, and airflow is all the driving force.
​
​
Far-reaching is an overhead view
Techniques and development
​
Using part of the hiramaki-e [1] technique
My works(Child with hope,Gold with child and To see the light of the hope in the dark) combines the gold land (gold powder densely spread over the surface) and pear land (spraying gold powder on the surface with a dithering technique), and the halo painting (I use gold and rose gold powder to slowly overlap, mixed and interlaced). The purpose is to make the ink splash and smudge effect of the ink painting, so that I use the dry cloth and the brush and gently brush the effect of heavy ink and light ink.
​
New method of experiment
In contrast, it is different from the traditional way of ink painting that is my work not painted on rice paper or cotton paper. On the other hand, it is different from the traditional lacquer ware that I do not use the lacquer liquid to fix gold powder, but I use rabbit skin glue to brush the first layer. After that, add blue pigment to draw on the canvas or wooden board , then brush a layer of oil painting mixed liquid instead of raw lacquer. Sprinkle gold powder on the base of brushed oil painting combined with liquid, brush the layering in semi-dry and semi-wet. In order to show ink painting :Ink method requires - ink color, thick, light, broken, splash, stain, scorched.
[1]Maki-e（蒔絵） is a unique technique in Japan. Use the paint to draw the pattern, and then decorate the gold and silver powder. The powdered powder should use the "powder tube". The powder tube is cut into a slanted mouth with a feather tube, and the veil is covered. The inside is filled with gold powder, the vibrating powder tube, and the gold powder shakes off. The basis of the painting is actually the Chinese lacquer craft introduced to Japan by the Chinese Tang Dynasty dang (618-917). Based on this, Japan has combined the Korean's mother-of-pearl craft and the adhesive process in Vietnam to form the current Japanese enamel painting. In modern Chinese, there is a meaning of “sprinkling” paintings. Because of its most prominent technological feature, it is evenly sprinkled with various metal powders of gold, silver, copper, lead and aluminum into the paint to express rich colors and textures.