So abstracted is this painting that it is only its title that hints at its original source: The Experience of Reading Vision: Basin No. 11, suggesting that the canvas of light and dark blues depicts a common, every day object, a trough that collects rainwater. Yet how did an image of a phyiscal, tangible, identifiable object become duo-toned abstraction? In order to create the effect, Wang Chunli Select images from daily life, and take pictures for them. The process is an act of reduction, of creating visually manifested difference between the original and its facsimile. Wang Chunli then paints the image that results, a means of both reconstructing the image and tracing preserving the emotional qualities of its degenerative.

A word from The Artist

The logicality and visual realism of the image itself have always held my concern. Many images we see, through continuous replication, have been losing such realistic effects, till the comprehensibility of the original image has eventually faded or been hidden.

Through superimposition of the image with the camera and computer monitor, a drastic visual gap has been identified between the original image and the processed one. To capture such visual contrast and have it presented via paintings on canvas or the profiles of piled up paper sheets mark the main visual characteristic of my works.

Painting is a means for me to retrospect and reconstruct the image that has been dissimilated by camera and computer monitor. The final images look like visions diluted through the course of time, which can only be interpreted and comprehended by the trail of blurry reality and a full imagination, while interestingly enough, such images that strongly embody the trace of time, bears no relevance with time itself, and is entirely compounded by a mechanical reproduction.