Pro-Formas

I think what interests me about Richter's work is not just his paintings, not his feelings behind something, but the way he shows his thoughts and feelings by using the forms and images he paints.

​

I think he shares some similarities with Tuymans in that they both use abstract painting as a metaphor for history and to embody the complexity of collective memory and the neglected humanity underneath historical events.

 

I think this video is more interesting because he describes the significance of photography in Richter's creative sources and photography as a choice of material.I envy and want to learn from him how he expresses what he thinks easily through his crisp and clear way. For me it's a very difficult thing to do, and through his work I feel that a good work is to show a rich story very directly through the picture.

 

I think one of the things I like more about his recent paintings is that he doesn't make any assumptions about the picture, and he doesn't really make any assumptions about how it will turn out. I think this is what I aspire to, but because I've been trapped into wanting to do a good job with each painting, I've been constantly constrained and bound myself in the process of creation. But when I'm close to breaking down from the subconscious of my self-imposed restraints in my creation, I often learn from Richter's way of creating, painting with a large squeegee, retaining some specific elements, covering large areas, and starting a new painting on a new layer.

​

I like to think of the artist's job as at heart being about organising information. We can take difficult or intangible concepts or information and transform them into experiences that invite an audience to understand something, whether that's something is emotional or intellectual.。

Firstly, I learnt new ideas about presentation from her video, which she presented in terms of her working methods and inspirations in relation to her work.He mentioned that I like to think of the artist's job as at heart being about organising information.We can take difficult or intangible concepts or information and transform them into experiences that invite an audience to understand something, whether that's something is emotional or not. whether that's something is emotional or intellectual.

​

I like to think of an artist's work as being at the heart of organising information. What I mean by that is that we can take difficult or intangible concepts or information and transform them into experiences that invite an audience to understand something, whether that's something is emotional or intellectual.

 

The point he makes about organising information is something I really agree with, I think drawing a picture is about telling a story through the different elements and compositions of the picture. Through textures, shapes, and geometric patterns that suggest different moods and atmospheres, the narrative is told through a visual approach.

 

After watching his video, he mentioned the use of paper, pencil, graphite, and animation as the medium of creation, and also the clever use of the characteristics of the materials to make the narrative of her images more accurate and direct. But I am very confused that I don't know how to discover these unique and clever materials, when I don't want to paint only oil paintings, I can express my ideas exactly in my works by using other materials.

My thoughts on this lecture are, as an artist and a painter, should I make changes in the face of ever-expanding forms and ways of painting Should I still explore more mediums of painting, should I still explore the diversity of ways of paintint？
German writer Anne-Lynn Petersen, "Painting is burnt out, and it is surviving"

The lecture touched on the idea that painting is an obsolete art form, but survives because it has a commodity value and a market. In fact, I didn't agree with this view at first; I supported the idea of modern art, focusing on the pure medium of painting, painting for painting's sake. I compare the history of painting to a large tree. In the process of growth, the tree grows taller and stronger, and in the process, it also grows new branches and leaves, which is undoubtedly very good, but the whole tree cannot be chopped down because of the new branches and leaves, nor can the value of the tree and the significance of its existence be denied because of the new branches and leaves. The big tree cannot be replaced by branches. In my opinion, traditional painting and contemporary painting are the relationship between root and structure. At the same time, the expansion and growth of painting's possibilities give painting a continuous vitality. The two fulfil each other, support each other and grow together.

 This lecture made me realise more deeply that the boundaries of painting are constantly widening, and the materials and forms of painting are rapidly becoming diversified. Sculpture, space, performance, animation, photography ...... All these art forms, the boundaries between them, the boundaries between them and painting, are dissolving. In the future, they may gradually merge into one, becoming a form of display for painting.

I believe that painting is fluctuating and spiralling. The continuous exploration of painting forms and the breaking of inertia reveal the progress and development of painting. The fact that painting is being thought about and discussed proves that painting is still the mainstream of the moment.

​

We should rediscover the significance of painting in today's civilisation. This lecture has inspired me to reflect on whether my current way of painting needs to be further changed, and I need to think more deeply about what painting means to me, what I mean to painting, and what my painting means to the society？

In this engaging talk, artist Lisa Chang Lee presents her exciting work from the past decade and provides insights into her motivations, the evolution of her ideas, and the ways in which her work is constructed. Her work focuses on the way we co-exist with the natural world, looking at the world around us, including the architectural landscapes of different cities, rural landscapes and unexplored urban spaces.

​

By recounting her experiences in her multidisciplinary practice, Lisa Chang Lee explores how she uses algorithmic analysis to deepen one's understanding of one's surroundings, as well as the contingencies embedded in the algorithms. She provides examples of how this approach enriches our perception of the environment, thus providing a unique perspective for artistic creation.

​

In her lecture, she mentioned being inspired by traditional Chinese painting and compared the narrative techniques of traditional Chinese painting with those of Western painting. She analysed in depth the differences between Chinese and Western paintings, focusing on revealing the use of scattered perspective in traditional Chinese paintings. Through three perspectives - "flat view, upward view and downward view" - Chinese painters blend scenes from different angles into the same picture, skilfully shaping the pictorial space of centre, distance and nearness, and incorporating narrative elements into it.

​

This contrast resonates deeply with me. Traditional Chinese painting is fundamentally different from Western painting in the way it expresses space. Through its unique techniques, Chinese painting gives the picture more depth and a sense of hierarchy, and emphasises the unity of the overall vision.

​

What fascinated me most about Lisa Chang Lee's talk was the diversity of her approach and medium, and the fact that she sets no limits to her creativity. She has always held the belief of following the motivation of her creations, and has conducted a lot of information tracing, field visits and deep reflections before creating her works. I am convinced that this solid research methodology has laid a solid foundation for her work, which ultimately reveals the beauty of her stunning art. This lecture not only demonstrated the unique perspective and profound thinking of the art creator, but also inspired the audience to understand and appreciate the art creation process on a deeper level.