Chin Wu’s

Odyssey

Different human cultures nourish arts with distinctive attributes, and, in the process of artistic development, yield depictive signals. Zao Wou-Ki ever stated: “Everybody is bound by tradition, and I have two.” Reminiscent of my life experience, there were exactly two old traditions that kept myself restrained. First, my artistic enlightenment originated from my childhood and was well founded on Chinese painting and calligraphy. Second, I have ever lived overseas, including San Francisco, New York, and London, for more than a decade, enabling me to be deeply immersed in authentic western culture. Ever since, I have started to contemplate the interrelationship between my self-existence and artistic expression.

As a consequence, the series of my creation for “tracing the origin” mainly employs the western media to interpret my inner oriental scenario and affection. As Jackson Pollock said, “I am nature.” In light of this, as I was involved in my creation, I viewed my body as a media and let my subconscious feeling be revealed to the fullest, followed by connecting the power of outer world so that my body could turn out to be a physical body that could be loaded with power, just like the pen conducting its writing on the canvas. Only by doing this can I seek the authenticity of my inner heart, namely tracing my origin, mingling my heart with the origin of the universe. Hence, my creative process can be referred to as an action, a performance and an intuitive performance on the canvas like the springing tableau of stream of consciousness. Based on a comprehensive perception upon my previous creations, ranging from seeking the balance of points, lines and surface inside the tableau, and that of colors and layers to the transition of cadence and the sense of speed, a facet of spiritual atmosphere was created. In other words, each piece of works corresponds to a universe of soul.