Sun Xun

Newspaper Paintings,2015–2018. Installation view, Museum of Contemporary Art Australia, Sydney, 2018. Ink and colour on newspaper.

Sun Xun (born 1980) is one of China’s most exciting young artists, best known for his animations made up of thousands of ink paintings, charcoal drawings and woodcuts. Containing very little dialogue, these hand-made films use combinations of image, sound and text to raise questions about what we perceive as truth and explore the slippery dynamics of memory, history, culture and politics.

+ i think i should look into more contemporary chinese artists and explore the differences and significance in modern art of my own origin

Dan Hays paints Dan Hays’s

Colorado Impression 10 a + b (after Dan Hays, Colorado)
2002, oil on canvas, 152 x 203cm
Colorado Impression 11a + c (after Dan Hays, Colorado)
2002, oil on canvas, 152 x 203cm

Dan Hay, British 1966. This large landscape painting is from a series based on images the artist found on the personal website of a man also called Dan Hays who lives in Blackhawk, Colorado, USA. In addition to using appropriated images rather than creating his own landscape compositions, the digitisation and subsequent manipulations of the electronically stored images are important elements in Hays’ working process. The pixelation heightens the differences between individual colours. Hays replicates this effect in his painting, squaring off the canvas and systematically applying small areas of colour which are matched to a digital section of the image stored in his computer.

The Colorado Impressions series is a response to the growing proliferation of information, particularly visual information, on the internet. 

+ Using traditional method to paint the digitally sourced materials, and to be so realistic to depict a bad ‘ image’, with this sense of lo-fi quality in large scale, im guessing the result to see in the flesh would be phenomenal than the irony of seeing these on my digital screen…

Moving Charcoal Drawings

9 Drawings for Projection, 2005

“In considering the concept of the static drawing being animated or passing over into “another state”, William Kentridge’s animated drawings from the 1970s are still representing the type of crossover now possible, in fact inevitable, between drawings, etchings, animation and sculpture. Since 1989, he has created series of charcoal drawings towards animated films known as Drawings for Projection.

These ten short animated films—made over a period of more than 20 years—are intimate, personal meditations by Kentridge that resonate with the recent turbulent history of South Africa. “The distinctive animation technique used by Kentridge, in which he draws, erases and redraws parts of his charcoal sketches over and over, allows traces of the past to remain visible in the present. This technique also reveals the importance of remembering—and forgetting—in the work of Kentridge.”——

In terms of Kentridge’s performed drawings in conjunction with animation, Anne Rutherford (2013) writes that:

For Kentridge, the body becomes a medium in itself. He is not a dancer but he knows the poetry of a body moving in space. To his teacher, the famous Jacques Lecoq, the body was the vehicle of creativity and experimentation and the essence of creative theatre was play – an openness to discover what can emerge from movement and play.

(Rutherford 23)

+ Kentridge describe his techniques as cross-fertilization between different mediums and genres, which is essential at play with the experimental exploration of my practice.

+ The reconstruction of the drawings, collages, thoughts and ideas that he puts together given us a pin-hole to how he makes sense of the world, and embodying the openness of ideas though the physical act.

+ He encourages not to have a script or a clear plan, to not know the answer, and embrace that provisionality and uncertainty

Overton, Neill. “Drawing as Performance: The Art Gallery Meets Experimental Theatre.” Fusion Journal, no. 7, 2015.


Rituals II (Chillin’ in the Blue Dessert)

Luis Toledo Laprisamata creates a surrealistic depiction of a women who is relatively gigantic comparing the golden figures on while they are all siting / chilling on the ground. The complexity of the image seem like arbitrary map of veins, road and highway, consisting a range of colour that appeals psychedelic and vibrant. In the digital collage, he finds his favourite discipline, which lets him put together in a more effective way, each atom of colour to create a vast universe.

More Rituals form the Blue Desert

In this image we see the codes of the size differences again, which indicates that there are two types of beings exisiting, the small two groups of being look like connecting to their god of for the ritual being held here. There are many codes and symbolisms, I can see a hourglass device; three symbols on the right side that look like some magic spell of hexagon; a stairwell to the gate of the dark universe. Thousands of biomorphic and little OP Art/ optical illusion components, constructing every figures and on the air in this frame. One of the ‘god’ has a big cat head, some kind of hybrids and imaginary creatures. They look like they are about to fight, is this an indication for the conflicts of the man vs the animal realm? The intensity of the complexity evokes so much power and an otherworld illusion.


Death, spirituality, necessity, beginning and end. Death is just one more step in which we abandon the skin to continue our existence with another form. The liberating end. Another aspect of life, so vital and necessary as life itself.

The use if images and aesthetics picked up from the past, mixed with abstract and contemporary forms, transport us into a un-timed territory; and in here, present, past and future mix in a symbolic reality.

Way of Seeing

“The camera isolated momentary appearances and in so doing destroyed the idea that images were timeless. Or, to put it another way, the camera showed that the notion of time passing was inseparable from the experience of the visual (except in paintings).
What you saw depended upon where you were when. What you saw was relative to your posit on in time and space. It was no longer possible to imagine everything converging on the human eye as on the vanishing point of infinity.” — p18

When the camera reproduces a painting, it destroys the uniqueness of its image. As a result its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings. — p19

“In the age of pictorial reproduction the meaning of paintings is no longer attached to them; their meaning becomes transmittable: that is to say it becomes information of a sort, and, like all information, it is either put to use or ignored; information carries no special authority within itself.
When a painting is put to use, its meaning is either modified or totally changed.” — p24

“Cezanne made a similar observation from the painter’s point of view. ’
A minute in the world’s life passes ! To paint it in its reality, and forget everything for that! To become that minute, to be the sensitive plate.., give the image of what we see, forgetting everything that has appeared before our time…” — p31

Berger, John, and Michael Dibb. 1972. Ways of seeing. [London]: BBC Enterprises.

“Camera, by making the work of art transmittable, has multiplied its possible meanings and destroyed its unique original meaning.”

“Uninterrupted silence and stillness of a painting can be very striking, absolutely still, soundless, becomes a corridor, connecting the moment it represents with the moment of which you are looking at it.” — bbc ep1

Man With a Movie Camera

Dziga Vertov's Man With a Movie Camera (1929) | Liquid Architecture
Man With a Movie Camera (1929)
Man with a Movie Camera review: power to The People

“I’m an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility. I’m in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse’s mouth. I fall and rise with the falling and rising bodies. This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations.

Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you.”

—— Dziga Vertov

Artist living in Harlem

1. Exit Breathe.JPG

Khari Turner (b. 1991) is an American artist. His works are expressive of how he uses spontaneous brushstrokes very intensively, and clear depcition of the African Amerian’s features of nose and mouth, yet in chaotic and immersive texture with the various interesting effects, they are embodies of the popular culture within their community, they show a strong attitude and pride.

Even that he works with very surrealistic colourful palette with canvas, but I excessively love the monochromatic black and white in a combination with the colour and the flesh. These are ink on paper, and splash and smear use of black and white paint, so many interesting actions with the drips; scribble; bleed and smear…

The noses and lips of black skin represent my history and connection to my heritage, but they also represent the fact that people with wider noses, thicker lips, and darker skin statistically getting longer prison sentences in the US and this positive and negative is what drive the point of the work.

Khari Turner

Retracing Black

Aldo Tambellini Black Electromedia Performance at Black Gate, 1967
Aldo Tambellini, performance of Black Zero, 1965, at Black Gate Theater. Photo by Ehrlich.

Aldo Tambellini, his experimental work in television and cinema. Fascinated by the blurring of boundaries between creative disciplines, he began to fuse film projections with music, dance, poetry, painting and spoken word, producing kinetic, sculptural installations. An artist and a poet, Tambellini began working with overpainted, scratched or perforated 35mm film slides, calling the results ‘lumagrams’ and projecting them onto the sides of buildings, as in Black Light (1966-67). His early, large-format black paintings were done in a fast, ‘low’ style, employing gloss paint, enamel and sand. The works’ imperfect state of preservation is a result of Tambellini’s radical spontaneity and his practice of deliberately exhibiting his work outside institutional and commercial contexts.

i am intereted in Tambellini, because his broad media and immersive experience with all the combined media + art forms that he curated together. He focuses on the merging of the private dimension of everyday life and the public dimension of television. Thus, i’m very intrigued with the notion of black, the unknown, origin and entropy, the zero ground, Avant-Garde Jazz, and the Cosmic Void. All of these elements are done in a very experimental mash up in monochromatic shades and sharp industrial sound.

+ other than exploring colour and emotion with expressive style, black is also a very versatile shade to create a purer essence of feeling with its tone, form, shade and texture…

+ i am engaged with the fast ‘low’ style of his way of working, the imperfect and spontaneous practice that i can immerse into my way of thinking and let the universe force take control

Daniel Richter

Daniel Richter, ‘Tarifa’, 2001
Tarifa, 2001
Oil on canvas, 137 4/5 × 110 1/5 in, 350 × 280 cm
Daniel Richter, ‘Süden’, 2002
Süden, 2002
Oil on canvas
289.4 × 299.6 cm
Daniel Richter - Grimm Gallery
Gundula, 2001
Oil on canvas
230 x 150 cm
Daniel Richter, Flash (small version), 2009
Flash (small version), 2009
Oil on canvas
270 x 220 cm

Daniel Richter, ohne Titel (untitled), 2009
ohne Titel (untitled), 2009
Oil on canvas, 298 x 598 cm | 117 3/8 x 235 3/8 in

Daniel Richter (b. 1962) is a German painter whose strongly coloured, often slightly surreal paintings convey current events and art historical issues with an irreverent and energetic approach.

A way of working through the insecurity, fear and paranoia of being in the world. The key, he says, is to avoid distance and to make painting human: “The moment you take something that has a human effect on you, something you can’t describe, the whole thing transforms from a topic to something that is about yourself.”

“I wanted to bring as much information into a painting as possible, which was, on a very simple level, a way of coping with reality,”

in the painting Tarifa, that moves me so much, not only the vivid colour almost-fluorescent colors and variegated brushstrokes. This reminds me of heat detection of living beings… these figures are crammed and flowing in a small representation of a dark sea… cold and desperate… the strong distortion of the facial expression… these are indexes for danger, for fear and death, for a clue in topic of refugee, or a situations of rebellion.

i think the fluorescent colour and psychedelic scene is a very contemporary approach, as the paint is only relatively new, here i dig into some research on paint that has fluorescent pigment / or even glow in the dark.

The brothers Robert C. Switzer (1914 – 1997) and Joe Switzer where the inventors of the first fluorescent pigments which they called Day-Glo. Felix De Boeck (°1898 – + 1995) is one of those first artists to experiment with fluorescent colors. The Boeck only made eighteen fluorescent paintings. “ He used earlier grafisms – mostly self-portraits, portraits of Vincent Van Gogh and a few abstract works”. He soon realized that fluorescent paints have a limited lifespan. In conclusion: Fluorescent painting only last a short time. Even if the works are conserved optimally, the first signs of intensity loss will be visible after five years.


stare iii by jenny saville
STARE III,  2006
oil on linen
270.6 x 220.6 x 6 cm. (106.5 x 86.9 x 2.4 in.)

Jenny Saville, UK, member of Young British Artists (YBAs). She focused her interest in “imperfections” of flesh, with all of its societal implications and taboos, reconstruction of human flesh was formative in her perception of the body—its resilience, as well as its fragility. 

The angle she chose, life force, the look of a vulnerable, out of control state.

She is very ambitious on working on large canvas, and exploring the female artists boundary… and that sense of scale shows immediate affect the relationship with the reader and the human in the paintings, she acknowledges that large painting are taken seriously. She is currently scaffolding how to put ideas into multiple realities, “we dont live in one reality now.” She said. This is also the idea i want to reflect in my work, overlapping movements that show multi-angles and a sense of time, and presence…

I’m trying to see if it’s possible to hold onto that moment of perception, or have several moments coexist… Like looking at a memory.

Jenny Saville

+ Saville overlaps with me in ways of expressing vulnerabilities, multi-realities, and the perception in the age of digital communication