Paintings Come from Galaxy: An Ism of Zhang Fang-cun’s BZ Art

Paintings Come from Galaxy: An Ism of Zhang Fang-cun’s BZ Art

Written by Xia Ke-Jun (crítico de arte)

Artistic mystery consists in awakening of the memory, and artistic talents come from germination of the mysterious memory of the life, particularly, to waken those remote cosmos memory. Stephen Hawking said, "The most mysterious and impressive subject is the remote similarity in the cosmos. Artists just same as scientists are constantly looking for the conceivable and unconceivable similarity, but the former normally creates a rhythmic empathy with the cosmos through his works, thus, the artistic secret is glistening therein.

Artists are constantly looking for the hidden empathy similar to the cosmos, using their invented color and formation to release the cosmic energy connoted in materials and to obtain the formation of spiritual empathy. This is the material to be sought by artist; through unique operation to lead energy into transformation, emerge artistic formation language, and result in transformation of the pigment quality. This is why the contemporary art continuously requests to demonstrate the sense of material quality, the main purpose of which is to trigger off its "Quality Transformation"; through artist’s individual imagination to transform materials into spiritual empathy, so as to display the ecstatic style.

Artist Zhang Fang-cun uses his unique BZ Art to introduce the new art landscape and miracle into contemporary art: he has discovered and invented the exclusive BZ pigment and solvent to increase the water solubility and absorption onto mineral pigment, modify the burning quality to integrate water and fire marvelously, and change the material quality thoroughly. He also applies the concocted pigment onto the canvas, rice paper, glass, acrylic plate, porcelain plate, and chinaware according to the concocting proportion and the operating sequence. Trying to secure harmonious color sense on his tableau basic upon the cosmic RGB (red, yellow, and blue), he adds pigment and solvent of the experimental BZ Art to result in tableau appearing with complex vision effect. Moreover, BZ Art has its own painting energy formula — E=mntf/s divided by 6.25. In the medium E represents energy / Unit: (J) one granule. m represents BZ pigment quality /Unit (kg).n represents medium luminosity of BZ material /Unit: Grade 1~7. t represents the reacting time necessary for BZ Art painting/Unit: (s). f represents the oscillation frequency/Unit: (Hz). s represents the area necessary for BZ Art painting/Unit: (sq. meter). 6.25 is the cosmic constant k in BZ Art. The said tableau needs several days to conduct the self-organized movement, so as to display artists’ desirable BZ Art works in the course of time.

 Through the variously important parameter of the "Prescription", we may read a perfect coordination of technology and art, in which, the medium "luminosity"— the light perception (lp) released by such a new pigment becomes even more splendid and fluid; this is the artist’s first time to solve the difficulties in respect of the pigments dissolving on porcelain plate. As to the time property — this is the principle to be contributed by Chinese art… let the time sufficiently function, let the time cultivate arts, thus, painting is to cultivate pictures. The oscillation frequency is either the trace left by self-organized movement and vibration, or the cosmic rhythm with vibrations, hence, artists are demanded to find out the responding relation between artistic form and cosmic rhythm. The painting area is the space remained on the tableau plane, or a space where pigment can be stretching — it is similar to the tension relation between real and virtual images. The "constant" placed in the cosmos is using the ratio existed in the cosmos to reach the maximum "Plasticity" of materials. If we return to the movement mutually operated by artist and pigment, art is no more than the unique action. Artists make BZ pigment to produce the chemical oscillation reaction, then, adding catalytic to make it become verified and result in the mineral appearing diverse synthetizations and decompositions; the unceasing growing and mixing and the continuously subtle oscillation are forming a wonderful grain and trace.

It is necessary for us to consider the unique art axiom brought by BZ Art’s experiment and creation.

First of all, herewith is the internal dialogue between art and science, through the chemical reaction and self-organized growth to form a formative language on the tableau; this is the unique producing mode and method for artistic language. BZ Art is to regress the element relation from materials to science, or return the elements to the life quality, so as to finally obtain the empathy between visual fluidity and cosmic mental imagery.

 Subsequently, artist’s exploration is also embodying in the generation of diverse materials, thus the generated tableau characters are different too. This is the verified beauties of the world; the temperature and the pigment on porcelain painting in the very beginning are nearly impossible to integrate each other (this issue has not been solved by tradition but changed by BZ pigment), including the sleek degree and purity level on glasses (the existed sleek quality with the color transparency) and the fluid integration and the nuance on papers (an tension not being equipped on traditional water-ink painting; internal compatibility of water and fire) that can further embody the nuance and the faint mystery on cloth (same as the pure monochrome and internal seclusion listed in the series of Apocalypse).   

Furthermore, in terms of the relation between the BZ Art and the domestic and foreign art history, such a fluid color differs from Zhang Da-qian’s splashing color on the one hand, for BZ Art is utilizing the pigment vibration to leave the trace that looks like the material being automatically generated, but actually being controlled by artist. On the other hand, it also differs from Pollock’s dripping painting. The consequential control appears accidentally, but its lines actually are having the rhythm and dissolve, particularly, the sense of convolution to give vent to the main body of life and the desire thereof. Notwithstanding the former artists have ever painted the work extremely similar to Pollock’s flaunting lines, the artists get closer to the BZ art, then, their lines become finer and suppler to shape the tableau along with the material vibration, em outras palavras, they sufficiently take advantage of the material plasticity. Respects for the material plasticity may be coming from the enlightenment of Chinese water-ink art, which emphasizes the comply with the natural variation, particularly, the water fluidity. The natural plasticity is the axion contributed by Chinese contemporary art. This is the language regressed to western theology — Apocalypse, a kind of meta language appeared in the universal light perception in chaos, so as to respond to the artist who named his own work as Apocalypse.

 Continuously, what stunning people is the BZ Art coming from Galaxy; as we face the tableau language, marvel at its richly and mercurially splendid color — those peerless colors, i.e. red, yellow, and existed purity, together with concentration and quality sense, seem to have been turning into flame to enkindle the painting while the skin-texture sense seems to like the wonderful relic after the painting is burned. BZ’s painting language is a primary language, or the original memory onto cosmic language. At sight of these bright-colored works and fluid tableaus, we marvel at the art being returned to the sky — the painting seems coming from Galaxy. This is the mazing cosmos memory. Such a splendid color has sufficiently develop the material plasticity and absorption to waken the heat cosmos energy. The burning tableau just like the Galaxy flow layer, so hot to complete a Galaxy painting; this is a new energy aesthetics. Art is able to release energy particles and change the trace of seclusive particles, or fluid and scream loves. The entire image seems to bloom, and all things on earth just like the flower, blooming and surging to transmit artists’ love for the Universe.

In conclusion, BZ Art allows us to reconsider the possibility of another art, which is the relation between technology and nature; the more the technique, the more the nature. It is different from Japanese art the latter is, the more the nature, the less the artificial technique (actually the man-made reduction). Chinese contemporary art is to arouse the natural potential, and regress the western abstraction to the natural material.

Appearance of a new art is passing through the life change to find the unique material, and through the unique technique to release the existence energy, so as to obtain the unique form and release the unique spirit energy — the said energy can infect each audience who comes to appreciate the works. To open the future energy space has the artistic difficulties which appear with the exceptionally natural, magnificent, and copious chances.

 The series of Apocalypse on the canvas is no doubt the classic work in paintings, particularly, the trace left by the pigment on the cloth looks so wonderful, just like the flower trace, meticulous picture, or the maze of insects’ world. All things on earth are seclusively playing and growing, like the swelling cosmos leaving its similarity as a generous vestige with the love sign still secretly spreading. Yes, painting is provided for us to breathe; this is the life provisions provided by the Universe.

Xia Ke-jun

2017.9.1

Xia Ke-jun: the philosopher, art critic, and curator. He has published his personal writings (about 10 books) and tried to use the philosophy conception — "Surplus" to find out a new way to walk toward the world for Chinese philosophy. He also tried to use the infra image, infra mince art, no dimension, osmosis, and virtual Utopia to form a series of Chinese contemporary art for the Chinese to think about the new contribution and rewrite its modernity.