Land scape
Chung Nguyen Van
CONTEMPORARY ART REVIEW
inspiration and ideas from many sources . I had the inspiration from frescoes with the ancient letters and from Chinese hieroglyphs . For example , when I enjoy Chinese calligraphy , not all the works that touch my emotion , but I find some of them interesting . I realized that the painting must be like this or like that ( this is invisible when you feel ) and from that time I understood invisible charm of painting . The deeper I learned about number , the more interested I was . In my visualization , I could think of my own uniqueness . I visualized that all people from birth until deaths are associated with numbers . When you are born , you will have ordinal number to mark before your name , then house number , car number , bank account number , telephone number …
Once , a person asked me : “ What is the meaning of numbers in your painting ?” I answered : They have no meaning , they are my feeling , sometime I am going to draw like this , and it is finally in another way . However , finishing a completed work for people to enjoy is not simple . I have invisible feeling and intuition , for example , why is a work full of numbers but some works still have one or two numbers . I myself feel that this is fine but that is not fine or adding leads to damage or cutting down leads to lack . I also give another example of music to interpret the painting . When you hear the symphony No . 1 , 2 , or 3 , maybe you do not like , or you prefer symphony No . 2 . I am sure that you will not explain , but that ' s your invisible feeling to the music . The abstraction in my paintings , too - Viewers like , or dislike
For this special edition of LandEscape we have selected No . 8 and No . 4 , a couple of paintings from your recent production that our readers have already started to get to know in the introductory pages of this article . Your paintings communicate a successful attempt to transform tension to harmony and what has at once captured our attention it ' s their dynamic and autonomous aesthetics : are your works painted gesturally , instinctively ? Or do you methodically transpose geometric schemes from paper to canvas ? The brushstrokes that condense your visual vocabulary have a very ethereal quality : we appreciate the way you use such straight lines to communicate a sense of motion . Can you talk about what you ’ re trying to communicate with your visual language in your work ?
For me , oil painting on fabric or watercolor painting on paper also has equal expressive value . For oil painting on fabric known by most people , it has many methods for your expression such as patching , filling , erasing until you satisfys . But the most important of