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Artist Statement:
In late modernity artists have
not only to master a technique
of representation as was the
case during the past tens of
thousands of years they now
also have to come up with
their own content! They need
to master their technique in
order not to be burdened by
technical matters but content
definitely finds central stage
in artistic creation and
"beauty" or "ugliness" relates
thus more and more to the
content of a work.
Without technique an artwork
seems inachieved and without
intellectual content it is as
if it were shallow.
We breathe the air of our time
in a very selective fashion
and the air of our time is our
present day reality. Knowledge
is our breathing technique and
it acts as a catalyst on our
visions of human perceptions
of reality.
In our extremely rapidly
changing world art is all
about rendering in visual
signs the human perception of
reality that is emerging.
Such signs have a societal
functionality which is to help
unify the worldview of all in
our societies and thus assure
the cohesiveness of our
societies. Viewed through such
a lens, and seen the utter
atomization of our late modern
societies, one could argue ...
Further Information
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Artist Exhibitions:
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Artist Galleries:
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Artist Reviews:
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Collections:
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Commissions:
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Lao Dan Biography:
| Biographical information for Lao Dan can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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59
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| Gender |
Male
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| Status |
Married
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| Children |
1
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| Religion |
not provided |
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| Education |
not provided |
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| Hobbies / Interests |
not provided |
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| Favorite Artistic Medium |
Painting Oil
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| Favorite Arthistory Movement |
not provided
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| Favorite Visual Artist |
Hundertwasser
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| Favorite Work of Art |
not provided
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| Biggest Artistic Inspiration |
not provided |
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| Why Did You Become An Artist |
not provided |
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| Your Personal Biography |
I had the exceptional chance to have the great WATKINE as master in my teens. He taught me the love of nature and also the freedom to play with colors. By the time I attended university in Brussels, as young provincial, I was attracted by SOMVILLE and attended some of his classes at the Boitsfort Academy of Arts, I did not expect that 12 years later I would befriend one of his colleagues TIMPER. The decade between SOMVILLE and TIMPER, both culturally Latins, has been the most influential in my life. It has been a kind of jumping out or perhaps of dropout of society's conventions, seeing with Castaneda's Don Juan and learning with Krishnamurti to appreciate the higher plane of harmony's perpetual change. JIPI, the Flemish Shaman, showed me how to let lines and colors go where they want free of interference from oneself's will. It was also a time of group painting with PIERROT, STEURS and others culminating with free expression at the "BRASSERIE" that in the end pitifully fell in Walloon pessimism. This is when I quit the maelstrom and tried to immerse myself in Belgian society's decision making. But this proved to be too much for me and I left a few years later to land in China in 1986 where I stayed 2 decades digesting the philosophical pleasures of insipidity, learning the taste of water and its natural movement down the slopes. During those years, oh irony, Xiaohong taught me the roots of European classicism and helped me to appreciate technical rigor which I discovered "en masse" at the hands of Chinese painters. |
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