In a painting, aim first at the general concept of rhythmic vitality, and then the filling in
of actual forms.Then weigh and consider. But if one has not the clear idea of the general
developing of movements and starts to think about the laborious details, one will have lost
the rhythmic vitality already
Han Chuo of the Sung Dynasty (11th -12th century A.D.)
Camouflage is the visual spectacle I attempt to create in my paintings. Combining the ingenuity of the concept with daubs of paint, I seek to explore the constant rhythm in nature to bond both the notion of camouflage and the process of my painting.
Camouflage, a phenomenon discovered in nature, can be described as the art of concealment practiced by both predators and prey. The connotation of the word ‘Camouflage’ is similar in my paintings. A painting occupies fields of motionless colour which creates a vision or an illusion. While a canvas may spatially limit these visions, they are let free by the artist’s imagination and ability to creatively disguise. Likewise, a camouflage refers to deception through the disguise of form and colour. In a painting, the background, middle ground, and foreground, in its actual or tactile sense, are not really there. The real or tangible appearance is an effusive gush of varied paints on the flat white surface of the canvas creating ‘illusions of space and form’. Such observations were similar to the fundamental queries on the dimensions of fine art raised in the early 20th century. These initiated various avant-garde movements that restructured and deconstructed the very nature of paintings, by exposing multi-dimensional forms on a single plane. My attempt, while in a similar vein, is slightly different. Inspired by nature, I endeavor to reposition lines and colors to the foreground by exposing the different layers that surface on a painting; these layers usually work to create illusions of perspective and dimensions. The various layers created on the flat surface are partially covered revealing the underlying layers. Thus the opacity in a painting, which creates illusions of space and perspective, is now revealed. In this process, I felt it suitable to make the notion of camouflage as the theme of my works – to reiterate the ‘paradox’ of the idea of camouflage in a painting.
There is a lesser-known but equally inspirational form of camouflage which does not rely on the concealment of the presence of an object, but instead on masking the fact that it is moving. Called ‘Motion Camouflage’, this dynamic technique was also discovered in nature. Hoverflies and dragonflies use this strategy to surreptitiously move towards their prey without being detected. They appear static while, in fact, they are in motion. As a painting is, in a literal sense, a motionless surface manifesting the artist’s imagination, I have taken the artistic liberty to create the contrary. A field of sunflowers lined up in symmetry, giving the impression that the sunflowers at the other end are in symmetrical movement, while in reality they are motionless and calm…