gummi Chandelier ii in detail

gummi Chandelier ii in detail
Inside the gummi bear Chandelier Jr.

Thursday, January 30, 2014

Monet的豆沙紅

Claude Monet 1889 Valley of the Creuse, Evening Effect oil on canvas 65 x 81 cm Musée Marmottan-Monet, Paris


Monet的豆沙紅,
在晚午時分攀上了山崖邊,
湊合著對角山頭的陽光與花海
教粉紅幽幽隱著暗調的raw umber

近乎涅的焦褐垂倚在曠遠的紫綠前,
樹蔭背光下,雙眼摟著一層降階音符,
陽光欲墜。
Monet的豆沙紅蒸發起下邊的枯茶棕,
圓潤筆尖勾起波波伶俐的亮小豆。

初識的淡粉清黃膚紅水藍
難耐寸寸中年登高望遠伴失落。
Monet的豆沙紅揚起,
鋪灑了自信也裹不住的抑鬱。

2013.12.24與母親賞國立歷史博物館「印象·經典」莫內展

Wednesday, April 24, 2013

It is inherently rebellious


It is inherently rebellious,
tempting us to search day and night 
until One of us finds the tension so thin 
that a gentle tap can break the surface.

It is the rhythm that swings between two aspens in a field of white verticals,
each stretches to the blue before green caps the desire off,
a desire we did not recognize until it is a lost dream.
I too yearn for the permission to break,
yet tending to the tension so that 
all remain agreeable.

It is inherently rebellious, 
retracting time backwards while pushing us forward,
much like sitting in a train travelling in the opposite direction,
where the world glamours itself before we have a chance to touch or savor it.

It does not belong to us after all.
It does not belong to any of those we think it belongs to either.
It is inherently rebellious, didn't I tell you?

It breaks where we uphold it well and
merges where incisions are performed repeatedly.
I've seen it flee under a solidified status,
I've seen it linger when all was washed away in a flash. 
It is inherently rebellious, didn't I tell you?

Sunday, September 23, 2012

11 feet straight lines in two sections


It is such a morning when I did not remember I have slept.
It is such another morning I woke with the fundamental question of survival.

An ambitious spider defied the norm,
spun a total length of 11 feet, in two sections, aiming to build large, yet exhausted.

I questioned again,
why do I art?

It would be selfish to work for the primitive satisfaction of hands and mind.
It would be blind to work for the earthly substance.
It would be forgetful to work for the celestial elevation.
why do I art?

Does one must breathe when a respiratory system was given?
Does one must fight or fear when a sensation of death is near?
Is free will as free as one assume, without obligation to a reason of survival?

Did the ambitious spider spin for a meal
or
for her experiments of new ways to spin?

Her adventurous 11 feet straight lines in two sections most likely failed the supper,
yet achieved a recognizable hell of useless admiration from an equally impractical artist.


Saturday, August 18, 2012

First week in Montalvo

There is magic power pass midnight.
Muse comes in contact when liver goes into detox.

My first week in Montalvo Arts Center:
mountains
Saratoga
California.
Music
Food
global initiatives
indefinable.

Under the 4 windows
I read ink paintings,
observe polarities,
fight for a reason to be me.

Wings flung open late at night,
resistance dissolved.
Tomorrow, we will battle again.


Eden and I had a conversation on the difficulty times in our 30s.
Out of the presumptuous, not yet reclaim oneself,
I too feel like a snake having a hard time shedding her old skin.

Identity butchers the spirit.

We stayed late and danced.

Thursday, August 09, 2012

Dream Catcher

White dream,
leading from the silver thread,
fell out of the dream catcher,
on blue,
on grey,
on fainted reflection.

Travelling in quirky entanglement,
swirled towards opposite direction from the last turn,
CH 27 stitches,
then 5.3.

Melody sounded like breath,
like minty smile,
like lips in water,
unraveled through the dream catcher,
over flew as introverted bubbles.

It was a pleasant dream,
in a moment seeking mutual greetings.

We were there,
listening to the shadow who spoke to the form.
Spilling,
cascading,
and flowing again.


Inspired by Renée Azenaro's sculpture at create/re/create, an exhibition in den contemporary, West Hollywood, CA.