Tianyi Wang 王添一
tianyi
Course Contexts
1.
Our course leader, Geraint, gave a lecture on landscape painting. During the talk, he discussed his own paintings, which combine elements of landscape and figurative painting, and referenced numerous works related to landscape art. My own work is also rooted in observing the world, and to some extent, these landscape paintings have inspired me greatly.
During the lecture, Geraint mentioned Hurvin Anderson’s painting Rootstock. I was particularly drawn to the relationship between the figures, trees, and colors in his work. I admire how Anderson deconstructs the landscape he observes—in this case, a tree—in a modernized way. At the bottom of the composition, the trunk and branches are clearly visible, rendered in vibrant shades of green that evoke a sense of vitality. In the middle of the painting, a pair of feet and a faint, almost ghostly torso can be discerned, adding an air of mystery. The interplay of red, blue, and white lines introduces a dynamic, rhythmic quality, creating a striking contrast with the surrounding foliage. At the top of the painting, large swathes of aqua blue and gray seem neither like the tree nor an extension of the background. Instead, they feel like an abrupt structural element, infusing the work with an enigmatic atmosphere. I find this effect captivating.
This has inspired me to consider incorporating more figurative elements into my own paintings to highlight the impact of abstract color. By blending representational figures with abstract forms, I hope to create a similar sense of intrigue and depth in my work.
Rootstock，2016，Hurvin Anderson
2.
In Daniel Sturgis's lecture, he not only discussed the works of many abstract painters but also presented his own creations in detail. As someone familiar with his work since my undergraduate studies—he was my thesis advisor in my third year—I found his presentation particularly insightful. His paintings are known for their repetitive patterns, precise grids, and meticulous lines, which create a unique sense of order and rhythm.
Initially, I was puzzled by his highly rational approach: why repeat geometric forms with such precision? It wasn’t until this lecture that I began to grasp the deeper meaning behind his work. Daniel’s practice is not merely an exploration of form but a profound inquiry into the essence of painting. His repetitive patterns and precise lines challenge viewers’ perceptions of “order” and “chaos.” Through minimalist forms, he reveals the complex structures beneath visual surfaces and explores the boundaries and possibilities of painting as a medium.
After the lecture, I had an in-depth discussion with Daniel about his creative motivations and methods. He mentioned that his work is deeply influenced by modernist traditions, particularly the minimalist aesthetics of Piet Mondrian and Agnes Martin. However, unlike these predecessors, Daniel infuses his rigorous geometric structures with a sense of humor and playfulness. For example, he often embeds irregular shapes or colors within seemingly strict grids, disrupting viewers’ expectations and prompting a rethinking of painting’s essence.
This exchange made me realize that Daniel’s work is not just about form but also about redefining the language of painting. His art reminds us that painting is not merely a visual presentation but an experiment in thought. Through repetition and precision, he constructs a new visual grammar on the canvas, allowing viewers to experience complex emotions and ideas within seemingly simple forms.
Inspired by this lecture and conversation, I am now considering how to incorporate similar experimental thinking into my own practice. Perhaps I can explore the use of repetitive elements and precise geometric structures while retaining my focus on color and emotion, thereby developing a new visual language.
Daniel Sturgis: Strict and Lax（2014）
3.
Another time, there was an artist talk session, but I can't quite remember the name of the artist who gave the presentation. She showcased some of her previous works, which were presented in a form similar to collages, featuring large areas of highly saturated colors along with many symbolic texts and patterns. The texts and patterns seemed to be sourced from old newspapers and news articles. I vaguely recall that the content was related to a residency project the artist had participated in, likely emphasizing a specific issue. What particularly intrigued me was another one of her projects, which was a site-specific work integrated into a unique physical location. There was a QR code that viewers could scan, allowing them to view the work on their phones in combination with the physical space. In the virtual space, the artist had constructed an independent panel filled with relevant text, which was also strongly connected to the physical environment. This method is something I might consider trying, as I also hope to create a sculptural work that stands in a specific location. However, due to the workload and feasibility issues, I haven't been able to realize it yet.