Portrait N3, 2019, 30x20 cm, oil canvas
The lady in Turban N1, 2018, 28x35 cm, oil canvas
Fragments of the Lupines, oil, canvas, 2018
Ink abstract calligraphy
Using the plants as brushes for ink painting, I can search for the new proportions, besides the classical brush works of the dry/wet, hard/soft touch and shades of the sumi ink, focusing only on the line/spot balancing and the plant proportions pattern.
Temple, 2016, 120x85 cm, Ink, paper
Chrysanthemums, 2016, 120x85 cm, Ink, paper
Symphony, 2016, 120x85 cm, Ink, paper
Orion, 2016, 120x85 cm, Ink, paper
Oriental, 2016, 120x85 cm, Ink, paper
About plants "language of proportions"
Trying to give vector graphics the feeling of watercolour was 15 years of challenging work but both of the styles, classical watercolour and vector graphic, were still way too antropo-centrical. Work with ink and real paper enables another level of “brush flow”. Plants and flowers can be used not only as inspiration for jewellery and paintings, which is typical for asian ink painting and old poetry, but also can be used as brushes. Plants have a longer evolution on earth then humans. Asian artists choose plants as the main inspiration in understanding human nature, the art with this graphical language of plants can give us new graphical transfer of “rules of nature” into artwork, and yet it was always clear for traditional asian ink artists long ago before the 5th century. Plants as brushes are added in technic natural proportions and impart “rules of nature” into work, when digital and classical brushes take so much energy to go out of your own standards of proportions as human being. But plants as brushes are soft enough to have more freedom to let ink go. Speaking through ink the language of the proportions of plants is making the search for the balance between chaos and order easier, using a traditional ink technique to equilibrate spots and lines. And it is also a process of learning from plants.