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I first began to study Asian calligraphy over twenty-five years ago. I was drawn to the expressive and beautiful line that seemed a complete and immediate record of the writer’s being at the moment fluid ink became static on paper. As an artist taught in the anxious techniques of erasure and painting-over, the idea of a permanent indelible commitment seemed risky, frightening, and even dangerous. And, for a very long time an expensive sheet of paper was enough to paralyze my vision and render me impotent as an artist.
The Chinese alphabet began as pictographs, little shorthand drawings of the item or idea expressed. In modern times the characters continue to express ideas in context very differently from our alphabet, which is phonetic and expressive of the sound of letters. I do not read or speak Chinese, however I began to perceive Chinese calligraphy as the perfect abstract form. As my facility with brush and ink improved I began painting and drawing exclusively with this medium.
The materials and tools of Chinese brush painting have remained unchanged for almost 2000 years. The ink is made from lamp black and animal glue and has interesting properties when mixed with water in various ways or allowed to dry up and then re constituted. The papers are varied in transparency tone and absorbency and the brush with its long flexible point allows great sensitivity and a connection of the heart, hand and eye in stunning clarity. This medium is truly magical.
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