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T. W. Chui

IT'S IN JUST ABOUT ANYTHING

All living things are caught in the relentless struggle for existence. Whereas the art of man encompass no such purpose. The autonomous nature of art has a force at times greater than the will of its creator; but is essentially useless in aids of his survival. Art is independent of reason but has its logic. It has no practical function yet is essential to evolution. Ultimately art is no more than an abstract concept concerning only itself. The characteristic of art is distinctively human. Through which it separates man from the law of existence and unto the realm of the sublime, where one can see all lives are one, and beauty is in just about anything.


AION, 交叉線油畫 Cross Hatching Oil on Canvas Portrait Painting, 30x40 in.

Septuple dot one's i's and octuple cross one's t's over and again till you get there.

This deliverance of knowledge from servitude to the will, this forgetting of the individual self and its material interest, this elevation of the mind to the will-less contemplation of truth, is the function of art. --Schopenhauer
交叉線美術	Cross Hatching Line Art Portrait, 5x6 in.

      Stipple Drawing, ALL IS LOST, 8"x10"
The nude, oil on board 28x28 in.
Kali's Daughter, 交叉線畫  Cross Hatching Oil on Canvas 36x48 in.
Drummer and Goddess, oil on canvas 96x64 in.
Forms and Symbols, oil on canvas 42x42 in.
Black Eagle, oil on canvas 96x64 in.
Green Leaf, acrylic on board 14x20 in.
Christine, oil on canvas 72x48 in.
Baba Muktananda, acrylic on paper 17x13 in.

MY WORK

In the early stage of my career I worked as an illustrator, providing line art and airbrush illustrations for the editorial and advertising industries. As computer graphics began to revolutionizing visual communications, I jumped on the bandwagon and created some cutting-edge imagery that won me an international grand prize. However, more than a decade later, I felt that the systematic processing of images may be better suited for AI. So I returned to the free associate creative psyche to play with oil on canvas. Though occasionally I render a sketch first, other time I just splash paints on canvas and let the patterns emerge naturally, which paves the way for experiments in successive layers by following with a mixture of colors repeatedly applied with brushes and knives over dried coats, then scratched off and painted over to create translucency of hues in multiple layers. At this point, an extra dimension is added by loading ample pigment on a palette knife and cutting into the paint surface to create a body of raised sharp lines that float above the strata of colors, which resulted with a repoussè effect of lines that accentuates reflected light and shadow over the translucent texture. Since I often build up 5-10 layers in the process, different results are achieved by alternating various techniques and shuffling the orders of the layers in the procedure. From a technical standpoint, my paintings always present a multilayer surface with forms and patterns dividing and unifying the image into an optic carnival of abstraction. Since this is a new approach, I am interested in your suggestions (EMAIL ME HERE). For the moment, let's just call it:
CrossHatch Line Painting 交叉線美術.

   交叉線美術  Crosshatch Oil on Canvas Close-Up Layers, 36"x72"

SALLY, 60"X30" OIL ON CANVAS >>
Painting stolen at Oakland Art Murmur at 477-25th St. Oakland, CA between Aug. 25th-28th, 2009

Lost oil painting: Old Wound, oil on canvas 24x18 in. OLD WOUND, 24"x18" OIL ON CANVAS
Painting stolen at my studio in Richmond. Reward for information regarding to its where about. Call me at 510-918-2333. Thank-you!
Lost oil painting: Sally, oil on canvas 60x30 in.