{"id":6734,"date":"2022-05-27T13:59:10","date_gmt":"2022-05-27T05:59:10","guid":{"rendered":"http:\/\/www.yang-maolin.com\/wordpress\/?page_id=6734"},"modified":"2024-01-22T18:27:34","modified_gmt":"2024-01-22T10:27:34","slug":"lasting-spring-wood","status":"publish","type":"page","link":"http:\/\/www.yang-maolin.com\/wordpress\/lasting-spring-wood\/","title":{"rendered":"\u82b1\u843d\u6625\u672a\u76e1\u2013\u6728\u8cea\u6750\u6599"},"content":{"rendered":"

2020 \u2013 Present<\/h2>\n

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\u4f46\u662f\u756b\u5e03\u7684\u6311\u6230\u5c0d\u4ed6\u800c\u8a00\u986f\u7136\u9084\u662f\u4e0d\u5920\u523a\u6fc0\uff0c\u300c\u82b1\u843d\u6625\u672a\u76e1\u300d\u7cfb\u5217\u7684\u8d77\u624b\u5f0f\uff0c\u694a\u8302\u6797\u53c8\u63da\u68c4\u4e86\u76f8\u5c0d\u5b89\u5168\u7684\u3001\u5728\u6846\u67b6\u88e1\u8d70\u7b46\u7684\u756b\u5e03\uff0c\u800c\u662f\u4ee5\u300c\u6728\u677f\u300d\u7e6a\u756b\uff0c\u4f5c\u70ba\u4ed6\u65b0\u5be6\u9a57\u7684\u8d77\u9ede\u3002<\/p>\n

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 <\/h4>\n

The Lasting Spring \u2013 Wood\uff5c2020 \u2013 Present<\/h2>\n

The second series under the theme of The Quest for Mandala is The Lasting Spring.<\/p>\n

Yang Mao-Lin, at the prime of his life in the late 20th century, moved away from painting that made his reputation and success, and began exploring sculpture in wood. This is because he was already highly familiar with the material and expressive means of painting, which became less adventurous for him to make any breakthroughs. However, after a long period of reflection, he has now revisited the canvas starting with Wanderers of the Abyssal Darkness to realize all the new possibilities that he has contemplated on to \u201cunfetteredly paint with the method of no-method, and usher in all the demons and monsters one would potentially encounter in the world of painting with the rush of adrenaline, and be defeated by and eventually defeat them.\u201d<\/p>\n

As a matter of fact, the challenges of painting on the canvas are clearly not thrilling enough for the artist. To start the series of The Lasting Spring, Yang renounces the relatively safer approach to paint on the canvas and within a fixed frame. Instead, he chooses to paint on \u201cwood slabs\u201d to launch a new experiment.<\/p>\n

Yang\u2019s painting on wood slab is completely different from the ancient genre of panel painting. He directly paints on raw wood slabs and old, round wooden tabletops from his personal collection. Preserving the irregular shapes of the wood material, together with its original texture and quality, he develops the painting series by observing and following the condition of the material, while incorporating the natural marks created by lightning strikes and gnawing of insects to convert these elements into part of the scenarios and narratives in the series.<\/p>\n

In order to enrich the painterliness and warmth of his work with the color and grain of the wood, the artist preserves the wood foundation, which already differs entirely from the ancient practice of creating a canvas-like foundation on wood panels in panel painting, let alone the varying absorption of water and oil. Consequently, to paint on raw wood material is itself an experiment, which means that the artist must constantly search for new and suitable ways to paint on different types of wood; hence, the unexpected surprises in the making of this series.<\/p>\n

To keep the intriguing wood grain, in the series of The Lasting Spring, Yang repeatedly applies thin rubbing and rendering to create the wood slab paintings, utilizing dense dots to create the thickness and lightness as well as the brightness and darkness of color. Consequently, an unusual way to view this series of works is through the magnifying lens of one\u2019s smartphone, which will reveal the countless dots that constitute different parts of a work\u2014such a remarkable technique is the ultimate meaning of what Yang has described as \u201cthe method of no-method.\u201d<\/p>\n

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