#week 128

[mewpet]

Rough night?

[roguecanoe]

Week 128

[spncreatorsdaily]

This week we’re excited to feature @petrichoravellichor! 

Also, feel free to use out tracked tag #spncreatorsdaily for any original supernatural content that you make and want to see reblogged! 

Please join us in supporting our talented creators!

[jhutchmyanchor]

Week 128

Banner was made by the talented @litlifelover

Here is week 128, folks. As always, thank you to these amazing authors who provide me with endless amounts of entertainment. You are all amazingly talented!

Readers-please make sure you show these authors some love! If you’d like to check out my previous posts, follow #rachel’s fanfic lists or search the tag on my blog. Happy reading!

Quicksilver - gamemakers aka @finnicko-loves-anniec

Time of Peace - alliswell aka @alliswell21

As We Falter - @historywriter2007

Cake Crumbs - ally147 aka @ally147writes

The Banana Bread Pact - @historywriter2007

Surprise Guest - @historywriter2007

The Dark Arrow - alliswell aka @alliswell21

[sinetheta]

Shirkers by Sandi Tan. 2018.

Shirkers is a 2018 documentary film by Singapore-born, Los Angeles-based filmmaker Sandi Tan. It premiered at the 2018 Sundance Film Festival in January and won the World Cinema Documentary Directing Award,

Filmed in 1992, the original Shirkers was an indie road movie starring a teenage Tan as a 16-year-old serial killer named “S”. It was shot and directed by Georges Cardona, an American from whom Tan had been taking evening classes in film production. However, Cardona - whom she had also considered a mentor and close friend at the time - vanished after the movie’s completion, taking all the cans of film with him. More than two decades after Cardona’s disappearance, Shirkers traces Tan’s return to Singapore, reviving a story which is indelibly hers to tell. 

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[sinetheta]

Fire Master. Li Chen (李真). Sculpture. 2010.

Li Chen, born in 1963 in Yunlin, Taiwan, is a Taiwanese artist known for his bronze sculptures and oil paintings deeply infused with his own personal sentiment and the spirit and meaning of Eastern culture and religion. Before joining the military, he studied body sculpture in a workshop under Hsieh Tung-liang. He dedicated his studies to Buddhist and Taoist classics and religious art. His art career started when he was approached to produce traditional Buddhist statues for Buddhist shrines in the 1990s. While he worked on pursuing his own creative interests on the side, he found the process of creating these statues too restrictive. Li considers art to be an expression of creative desire from the heart, and through producing these statues, he did not see it as an act of subjective, artistic thinking. He does not claim these pieces made during this time to be his own creations. 

Li made his official artistic debut in 1999. His pieces are devotions to his spiritual contemplations and philosophical interpretations, and expresses his concern towards humanity, society and culture. Viewers will find that his artwork exudes a particular lightness in their visual tension between emptiness and fullness. 

Photo courtesy of Christie’s 

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[sinetheta]

Journey of a Yellow Man by Lee Wen. Performance. 1992-2001.

Lee Wen, the Singaporean artist who pioneered in defining and shaping performance art in Asia, passed away on 3 March 2019. Together with his contemporaries, Lee contributed to the redefinetion of academic art which opened its vocabulary and techniques to a socially engaged practice. 

Lee underwent the turbulent period of Singapore’s nation-building during the formational stage of his youth. Often mistaken as someone from Mainland China during his time abroad, Lee started to question his identity and the purpose of art: Subjected to the homogenising gaze of Orientalism, Lee embarked on a series of projects that developed alter egos he could use to address socially constructed ideas. Journey of a Yellow Man was thus born out of Lee’s critical engagement towards the discrepancy between one’s self and one’s constructed identity. The project evolved from a critique of Orientalism to a meditation on freedom, climate change, humility, and religious practices—responding to the locations in which Lee performed, spanning England, Singapore, India, Japan, Thailand, Mexico, Australia, and China.

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[sinetheta]

Bamboo and Tide (Jiang Shan) Landscape No.2 and No.3 (竹潮江山图 第二号和第三号) by Na Wei (那危). 2016.

An award-winning artist, Na Wei (那危) is a native of Northern China. He earned both his bachelor’s and master’s degrees at the Lu Xun Academy of Fine Arts in Shenyang, China, where he was a student of oil painting. Na has been creating and exhibiting works worldwide for over ten years.

Many of Na Wei’s recent works are connected to the tradition of Chinese landscape painting, from which he derives some inspiration. In his landscapes, Na utilises primary colors - muted blues and yellows contrast the bright, bold red of his waves. These serve to accentuate further the largely monochromatic bamboo, as well as the other details of the natural environment. The stripes that cut across the surface are created with a silk-screening technique, providing a grid through which the landscape must be viewed. Na, in abstracting historically familiar subject matter, employs the concept of xieyi - freehand calligraphic brushwork that emphasises resemblance in spirit, rather than reality - paradoxically departing from and returning to the traditional.

Follow sinθ magazine for more daily posts about Sino arts and culture.