O F F E R I N G S
T H E P R E M I S E
My cousin and I visit Wong Tai Sin Temple twice yearly: once before Chinese New Year to offer thanks or wan sun, and once at the start of the new year to jok fuk in hopes of good for the year ahead. We bring fruit and cooked meats and light incense to Wong Tai sin, in addition to the burning of paper money for him to spend in the afterlife. You can burn anything that you want for the departed, including clothing, houses, Ferraris or jet planes. It is a simple procedure as far as rituals go, but taken very seriously by those who follow.
Tibetan monks have long painstakingly created beautiful artwork using dyed coloured sand that takes days or weeks to complete, only to be swept or destroyed in a ritual ceremony afterwards. The idea is said to reflect upon the impermanence of life and of not becoming attached to the object, which is immaterial and only a construct of our reality.
The native Indians of North America, where I was born have fascinated me. They didn’t understand how ‘white man’ could buy or possess the land when to them, the land possesses us. Also, the Indians made sand art to heal the sick. Art, singing and dancing were believed to be an intrinsic part of life and thus, would return the patient symbolically to the source of tribal energy. After a ceremony, the sand art too is destroyed.
– North American Native Indian
T H E O F F E R I N G S
Hong Kong has suffered months of civil unrest for nearly half of 2019 with protests and violence. With the start of 2020, coronavirus began it’s spread of an infectious disease, killing thousands in China. The world or earthly realm has in some ways become ill, sickened by natural causes of human intervention, so-called economic growth for the sake of progress. The natural resources of this Earth are being raped; we haven’t respected its place in the Universe. And the Earth is responding.
The above practices and rituals have lead me to enact an event called OFFERINGS. The intention is to give back something to nature, a transference of energy from art that I have created to the universe, to the sky from the al-chemical nature of fire, wood/paper and oxygen. It will the first time that the destruction of art will take on more meaning to me, versus the regret of an un-liked painting.
T H E A R T
As a reaction and motivation to the coronavirus outbreak, I envisaged a series of painting of red fluid both streaming across a medium, soaking into the surface of the material to form its fractal self-simulating creations. The artwork is entitled Corona20. Some parts would reveal itself through a calculated move (intentional and controlled) and others would be accidental spillage (non-intentional and chaos). As a study and a reaction for investigations, I used paper that was meant to be discarded by my neighbour, who ran a printing company. The paper is most likely non-archival and will suffer in a very short time. As such, it made for the perfect opportunity for such a study. Meanwhile, the porous nature of the medium lends itself ideally for natural osmosis, the slow bleeding of paint in the fibres of the paper.