Painting Illustration by John Salat
The Tao artist plays with void more than trying to hold shape or form. The empty space transcends the core of the abstract. The essence of what is captured is what the eyes sees an interprets. The paper may be the skin of the painting superficially, but more importantly plays with the empty space (magic void) to stir imagination. Sublime mysteriously paint like of misty shrouded waters.  If you paint nature, be the nature you paint, like the flower or the bird so your energy is fused by their energy while your energy paints it.

For Sumi painting, the white background represents empty space where the essential element allowing vision to explode onto an open canvas.  The mystic sensation alters the paradoxical realm to the real world as impressionistic figures that evolve ethereal qualities.

The hand and brush are the conscience speaking energy trails, while the ink is the medium of energy leaving souls impressions on the paper. The paper is the abyss and flow which captures the story. The visual art is a fluid dance transcending origins where the observer is coax from the hidden self out the heart of paper. By using all formations, the subtle suggestions with accompanied simplicity extracts the abstractions to be real. The medium starts from the artist energy essence flowing to the fingers down where the brush is held and finally reaches the paper where it ignites and sheds being.

The true art is the hatchery of imagination that expands spirit in boundlessness. The artist falls into a trance and the paper and ink fussed like transcending an endless meaningful experience. The ethereal quality of clouds, mist, vapors, breath partake the light impression of Yin vocabulary while the stronger abstract forms such rocks, trees or ground act out the Yang lead role. As result, these energetic Yin/Yang qualities stir the visual bridge of the two worlds in complete harmonic balance. A painting is ever changing form where you submerge in it and vanish.


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Last revised April 7, 2007 copyright (c) 2002, John Salat All rights reserved