Ink painting… Not so simple afterall

Ink painting… Not so simple afterall

Jin Yin Mo is pleased to announce the opening of its YouTube channel.

The purpose of its YouTube Channel is to provide videos of Mr Lim’s creative process for selected works.

The initial soft-launch of the channel includes four full length videos of Mr Lim’s creative process in creating four artworks (based on the seasons) that are part of the field study conducted in late 2016.

Subscribe to the Jin Yin Mo YouTube channel for updates.

Featured Field Session III

Featured Field Session III

The third session centred on the shared travel experiences of the participant and Choon Jin. The participant was able to share her vivid memories of her travels and provided a helpful sense of emotion and personal reflections about her work and travels.

A photograph of what the participant saw during her trip. Image courtesy of V Li.

“Based on the sharing of her travel experience, I leaned towards the usage of strong colours to express what she saw. In conventional Chinese Ink painting, you seldom see this kind of expression. This is my way of fusing Western and Chinese concepts in my work, as a development for my unique Chinese Ink painting style.”
– Choon Jin

Choon Jin reflects as he paints his personal interpretation of the participant’s travel experience.

The resulting artwork surprised the participant due to the intensity of the image and colours used.

“The blend between Western and Chinese art is surprising to me. When you see the painting from a Chinese painting perspective, things you seldom see in Chinese art, you can actually see in this painting. When you see it from a Western art perspective, you can see a tinge of Oriental flavour in it.”
– V Li

As a personal takeaway from the session, the participant was able relive the memories of her trip and even the emotions she felt then.

“It (the session) was very pleasant. It reminded me a lot of my trip there… the scenes, the feelings and emotions that I had when I was at that place. This artwork really reminded me of so many places there.
– V Li

Featured Field Session II

Featured Field Session II

The second session involved the contribution from the participant’s brush strokes as a challenge for Choon Jin, The participant, a Chinese ink art student, emphasised on gestural strokes for his contribution – this emotive sense of his strokes conveyed a creative influence for Choon Jin to further develop and refine.

I am interested in how Mr Lim could interpret my gestures to something else. So the interaction between his experience and cultivation of his skill-set… how would he be able to utilise them to realise a piece of art… the results would be very interesting.
– J Liow

Participant applying his brushstrokes.

Choon Jin shares his thoughts about winter as a concept.

“The winter scene to me is not so plain like just snow or coolness of the environment. It is a mixture of everything being stagnant.”
– Choon Jin

Perhaps, Choon Jin sees winter as a state in which nature comes to a stand still or even a state of mind for the artist or audience. Based on the finished artwork for this session, the resulting sense of desolation is a curious one and definitely something to look out for when this artwork is presented during the exhibition.

Featured Field Session I

Featured Field Session I

As this was the first session to be held with the assistance of a participant, a great sense of anticipation and tension was felt by Choon Jin. In the few days before the session, Choon Jin was curious to know what kind of input the first participant will provide.

The first session began with a minor hiccup when the participant provided too much input for Choon Jin. After a brief consultation and some encouragement, the participant tried again to fulfil the conditions of the experiment.

“When I find someone intruding into my painting by drawing lines and adding subjects… It was a bit difficult for me to start. As everybody will face difficulties in their lives, I have to overcome this initial difficulty and compose the painting as I envisioned it.”
– Choon Jin

Based on the contributed lines from the participant, Choon Jin applies his vision and Chinese Ink techniques to effect.

Nevertheless, the participant enjoyed herself and shared her opinions with us.

“In terms of the process, I guess, different people do it differently. So it’s very hard to say whether it is a different perception from mine. At the end of the day, it is how different people handle their thoughts differently.”
– F Koh

The participant, using a mobile application to cross-process the unfinished artwork, came up with this version which Choon Jin and the researcher found extremely amusing and interesting.

Courtesy of F Koh 2016
Courtesy of F Koh 2016
Field Study – Interventions and Contemporary Ink

Field Study – Interventions and Contemporary Ink

Often is the time when the audience feels deeply connected to a particular artwork that is on display – the conveyance of the artist’s emotions and feelings, reinterpreted into a visual form, creates this thought-provoking and emotive connection with the audience.

I want you to feel this, to hear what I have to say, and to share with you my thoughts.

These notions are what the artist is conveying to the audience – a valid way to communicate stories and reactions of what the artist perceives in his or her life, or perhaps to raise awareness within the audience for a myriad of social issues that are ever-present in our global society today.

However for the audience to engage critically as part of the creative process (not as a collaboration but as an influence), it may be perceived negatively as an intrusion into the artist’s personal and distinct style of creativity – or is it?

From the months of June through September 2016, Choon Jin will be participating in an academic field study that will look into the nuances of the creative process through physical and social influences.

Choon Jin working on a control set of artworks.
Choon Jin working on a control set of artworks.

The Visual Arts Centre (Singapore) will host the results of this field study, as an learning-oriented exhibition, in early 2017.

Title of Research Study
Interventions: A Field Study in Reconstructivism and Contemporary Chinese Ink
Principal Investigator
Vincent Lin, Independent Curator (Artist Practise and Visual Art Theory)
Participants Involved
12 individuals

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