Past Exhibits

arts

Sandra Naddaff and Leigh Hafrey Three Columns Gallery

year/month/day

Artist

Previous exhibits at the Sandra Naddaff and Leigh Hafrey Three Columns Gallery

RETURN to Mather Gallery Page

2013 September 6th


Three Columns in a Notebook

Jim Condron

33
Does it make any difference whether I do or not,
oil on paper on linen.

2013 April

citizen or subject
drawing of a family Archive

Avery Webster Williamson

Avery

2013/02/11
No Protocol

Steve Mitchell

&

Matthew Terry

no protocol

2012/09/06

I did a series in a very hot August

Julia Rooney

rooney

2012/03/23

An exhibition of images from China
and
The Rhythm of The Chinese Calligraphy

Mike Mei

2011/11/22

Walker Evans: Before and After the FSA


An exhibition of images,
curated and produced by the photographer

John Hill

Department of Photography, Yale University.

2011/10/29

C. E. Morse

2011/10/07

Christie McDonald
and
Michael Rosengarten

Co-masters of Mather House

2011/08/23

August 23- October 7, 2011

Jim Nickelson

2011/02/16

February 16- April 23, 2011

Karen McEachern Cass

2010/10/16

Jason Houston

2010/02/17

Lennie Peterson

2010/02/04

Sara Joe Wolansky

2009/04/02

Mark Lewis Higgins

2009/01/06

Daniel Khon

2008/12/02

Peter Urban

2008/10/22

Yige Wang

2008/09/06

Eva Timonthy

2008/01/17

Young Song

Nature’s Sculptures

2008/01/10

Christine Vaillancourt

2008/01/08

Paul Wainwright

2007/11/28

Lisa Tyson Ennis

2007/10/09

Ron Rosenstock

2007/09/04

Becky Haleky

2007/04/12

Gary Stanton

2007/02/22

Rob Reeps

2006/11/30

Brian Adgate

2006/10/19

Christian Waeber

Jim Condron Originally from Long Island, NY and Connecticut, Jim Condron lives and works in Baltimore, MD. Condron earned his MFA at the Hoffberger School of Painting at the Maryland Institute College of Art (2004) and a BA in Art and English from Colby College, Waterville, ME (1992). He also studied at the New York Studio School of Drawing, Painting and Sculpture (1993-'95). Since 1993, Condron has studied with Rohini Ralby, the artist's mentor. His work appears nationally and internationally in galleries and museums as well as in corporate, university, public and private collections.

Jim Condron’s recent works are abstractions based on Sienese and early Renaissance paintings by artists including Giotto, Sassetta, and Fra Angelico. Condron intensely studies the early paintings, internalizes them, and then creates his work. Each piece is titled with a snippet from a story. The textual fragment relates to the narrative presented in the source painting. The titles are taken from great works by authors such as James Salter, Ernest Hemmingway, Henry Miller, Anais Nin, Gogol, and many others.

The juxtaposition of the text and image asks the viewer to examine how and why the words connect or converse with the colors, forms, and textures of the paintings. The source paintings and titles complement each other despite their surface incongruence. Just as the source paintings are transformed into abstract colors and shapes by the artist, the words and sentences are divorced from the context of their original stories creating a new experience.

Julia Rooney received her BA in Visual & Environmental Studies from Harvard College in 2011. She returned part-time to Harvard in 2012 to work as a TA in the VES department and to co-curate the SNLH Three Columns Gallery. She is primarily based in New York, where she is a painter.

Gary Stanton: Unseen I explore and construct within a computer, painting with nature-based photographic information. Sensing the unseen beyond the natural world that we see, I represent unseen…I imagine it! I intuit what I can't see as different; these different rules of the unseen call my push to extremes which reveals strange—yet familiar—places. I recognize this theme. It calls to my mind the intersections of mathematics, science and spirituality in my exploration within quasi-familiar surroundings.

Ron Rosenstock of Holden, MA will exhibit over twenty large format black and white photographs at Harvard University’s Three Columns Gallery at Mather House.

Ron Rosenstock's  images  are uniformly simple in content and direct in execution; nothing missing, nothing extra, no cleverness, no embellishments or exaggerations, no contrived drama. Their very lack of visual complexity places a burden upon us. One must be truly open and present to the images, before their subtleties can convey inherent deeper truths and meaning. We must move slowly through the selections.

Looking patiently and quietly at these prints may allow the viewer to enter into the same realm of quiet experience of life and heightened sense of being that Ron so evidently finds capable of immersing himself in, while working with camera.

Above all, Ron invites us to experience life stripped of artifice and fiction: to simply be here - now - in humbleness, seeing brief glimpses of that mysterious 'something' that falls beyond the usual grasp of our understanding; beyond the surface impressions we take so literally as being all of life.

  - Paul R. Turnbull, Executive Director Hallmark Museum of Contemporary Photography -

Born in 1943, Ron Rosenstock earned his MA degree in Photography from Goddard College. He studied Photography with Minor White  in study groups and workshops from 1967 to 1973. Ron has also participated in private studies with Paul Caponigro from 1969 to the present.

Rosenstock has published four photography books; The Light of Ireland , Chiostro: Photographs of Italy, Hymn To The Earth, and Journeys. His photographs are held in the collections of the Fogg Art Museum, Worcester Art Museum, Massachusetts Institute of Technology, International Center of Photography and the Polaroid Collection.

Lisa Tyson Ennis’ photographs reveal secrets that the eyes cannot see. Using very long exposures and working in extremely low light levels, her film collects light as it passes across the landscape, forming a composite of the light as it travels across time. Her imagery portrays the ethereal fleeting unison of light and landscape that is simultaneously representational and symbolic. By seeking subject matter that is visually quiet, light becomes a large part of the subject, and the essence of the piece.

Ennis works exclusively with historical processes, large and medium format cameras, black and white film, handmade toners, and oil paints. Each photograph is printed by hand in a traditional wet darkroom, and then toned to enhance the rich color of the print and to archivally preserve it. Many of her prints are then further enhanced by the addition of subtle oil paints and pencils.

Lisa Tyson Ennis received a BA in art history from the University of Delaware before pursuing a career in photography. Through several masters level workshops, she has distilled her vision, focusing on low light situations to create the timeless images she is known for. Ennis is represented by the Wexler Gallery in Philadelphia, the John Cleary Gallery in Houston, the Packard Reath Gallery in Lewes, DE, and the Courthouse Gallery in Ellsworth, ME. She has recently exhibited at the Delaware Art Museum, the University Arts League in Philadelphia, and the Museum of Fine Arts in Houston.

Paul Wainwright is a fine-art, large-format black & white photographer who lives and works in Atkinson, New Hampshire.  Paul specializes in traditional, wet-process photography, and produces museum-quality prints for exhibition and collection.   His portfolio includes interpretive images of landscapes and 19th century architecture.  His work evokes a feeling of quietness and contemplation, and has been described as being reminiscent of some of the masters of the mid-20th century.

Paul has recently been juried into the Museum of Fine Arts, Boston, the Currier Museum of Art in Manchester, NH., the Hubbard Museum of the American West in Ruidoso, NM, the Center for Fine Art Photography in Fort Collins, CO, the Photomedia Center in Erie, PA, and the San Diego Art Institute in San Diego, CA.  His work is in the collections of both corporate and private collectors.

Paul has been making black & white photographs for more than 40 years.  For a short time he considered majoring in photography in college, but instead he was drawn to physics, and earned a PhD from Yale.  He enjoyed a lengthy and rewarding career in research at Bell Laboratories.  All the while, however, photography provided an expressive outlet for him, and in 2001 he left Bell Labs to pursue his original love full time.

In recent years, Paul has studied with noted landscape photographers Mark Klett, Bruce Barnbaum, and John Sexton, and master printer George Tice.

About my prints:

All of my prints are exhibition quality, and are made from large-format 4x5 negatives.  Each print is individually hand crafted using only archival materials and procedures.  Starting from the negative, the image is fine tuned over several darkroom sessions to bring out the expressive feeling of the final print.  I use only fiber-based paper, which has been shown over the years to be far more stable than the more modern resin-coated paper.  I selenium tone each print to provide “depth” and archival permanence.  Mounting and matting are done using only the finest, museum-quality mat board.

Christine Vaillancourt ARTIST OVERVIEW: Christine Vaillancourt received her BA from the University of North Carolina at Chapel Hill and her MA from the Rhode Island School of Design. She has exhibited widely in the United States as well as in Toronto, Canada and Taipei, Taiwan. Christine had a one-person show at the Creiger-Dane Gallery in Boston in 1999; at the Andrea Schwartz Gallery in San Francisco in June 2002; and at the Newport Art Museum, titled “Techno-Retro.” In October 2004 she had a one-person show at the Nikola Rukaj Gallery in Toronto, and was featured by the gallery at the Toronto International Art Fair 2004. Her work was included in the Fuller Museum Triennial, 1999 – 2000 and was recently in a traveling museum exhibition. Christine was featured for the third time in the New American Painting Magazine in 2000.

Among her many corporate clients are ITT, MCI, SAP America; Nordstrom in California, Texas, and Florida; Essex Investments, Intercontinental Boston, Dana-Farber, and Fidelity in Boston; Hale and Dorr in New York City; CSC Index in New York and Chicago; ONEX, and MAC in Toronto.

Christine is represented by Nikola Rukaj Gallery in Toronto, Andrea Schwartz Gallery in San Francisco, Karen Lynne Gallery in Beverly Hills, and  Trinity Gallery in Atlanta.

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REVIEW OF ARTIST'S WORK: Vaillancourt’s paintings reverberate through time. Geometric abstractions, rooted in the early twentieth century work of the Constructivists, Concrete artists and Mondrian, Vaillancourt carries us forward to the1950s, the decade of her childhood. Post-war enthusiasm for engineering and machine production manifested itself in design, in particular, textiles filled with abstract color blocks, circles and lines suggesting mathematical symbols. Fast forward fifty years to the bpresent, in which Vaillancourt ‘s imagery connects us with the high tech world: digital info, bits and bytes, molecules, genes, quarks, the building blocks of matter providing us with glimpses of our attempts to understand the possibilities of nanotechnology.

She further engages us with illusory techniques, making acrylic look like encaustic, fooling the eye with depth perception, and creating playful yet provocative motifs. Calculated and precise multi-colored shapes—circles, ovals, squares, rectangles and dots—levitate in space in Vaillancourt’s paintings. She achieves this effect by layering her forms beneath heavily applied translucent acrylic medium. Vaillancourt invites the viewer to enter her world of contained but free moving objects. She writes, “My work is a study of geometry, color, line, space, movement, and the natural, historical human connection of elemental geometry as metaphor.”

– Nancy Whipple Grinnell, Curator of the Newport Art Museum

Eva Timothy. LOST IN LEARNING, is the title of the latest project by internationally accomplished photographer, Eva Timothy. 

The collection provides a unique glimpse into the lives and the original works of some of history’s most celebrated learners. In it, Eva has drawn extensively from historic texts and the Harvard University History of Science Department’s collection of artifacts and instruments.

The project as a whole is a commentary on learning as an exploratory process. Eva’s premise is that education is not a destination, but rather a voyage undertaken out of an innate desire for mastery and meaning over the course of a lifetime.

Through the use of chiaroscuro and sfumato photographic techniques, Eva blurs the lines between the known and the unknown, inviting the viewer to venture deeper into the realms of historic learning and discovery.

Yige Wang: The Three Columns Gallery at Mather House presents Roads to Tibet, an exhibit of photographs by Yige Wang.  Twenty years ago when he was an English teacher in China, Wang fell in love with Tibet, and applied to the Chinese government’s Tibet Program to teach for year.  He was not selected due to an overwhelming number of applicants, but his passion for Tibet was undaunted.

Few foreigners have had the luxury of travelling unescorted in Tibet, but for the past six years, that is what photographer Yige Wang has done. Each summer, Wang takes a different route into Tibet, renting a jeep in Chengdu. Traveling independently has allowed hime to penetrate into some of the most remote and beautiful areas in Tibet, a true photographer’s paradise.

Yige Wang has selected some of his best images, including those of wild animals from Ngari in the North, colorful prayer flags from the east, pious pilgrims to Lhasa as well as some of the great prayer halls from the south. The exhibition includes 25 photographs from his recently released book, also titled Roads to Tibet. The exhibition and book offer a panoramic view of the unique landscape and customs of modern day Tibet.

Peter Urban has been an established Boston photographer for almost two decades. His portrait work includes Todd English, Pops conductor Keith Lockhart and Mayor Thomas Menino. He has been published in The New York Times, the Boston Globe magazine, Improper Bostonian, New York Magazine, Boston Magazine, Inc., and Photo District News.

More recently, his fine art work has been presented in Boston, New York, Portland,OR and Houston. The body of work on exhibit here is titled “Advertising my Friends” and is based on the premise that even if all advertising may not be art, all art is advertising.

Among the images in “Advertising my Friends” are the last great portrait of film star Fay Wray (King Kong 1933) with internationally known designer Carleton Varney, a photograph which received national exposure, plus the mystery novelist and screenwriter Robert B. Parker at home with his talented wife Joan.

Daniel Khon New directions - Work generated by the Residency at the Broad Institute of MIT and Harvard. Daniel Khon

In 2003, Todd Golub, then an Oncologist at Dana Farber in Boston wrote to me about work of mine he had seen in Lenox, MA. Among other things, he mentioned his interest in the connection between art and science, which struck a chord with me. (Although my work has never engaged science directly, I have over the years tried to follow ideas in science). This led to a series of visits and collaboration which eventually grew into my residency at the Broad Institute for Genetic research.

In these early discussions with Todd about the nature of Art and Science we found that we shared a common perspective, namely that one can look at “fundamental science” and “fundamental art” as both seeking to put together a vision of the world, with the tools at their disposal, and within a fairly coherent historical tradition, which in turn allows these views to be understood. Much as physics was seen to dominate and shape our view in the 20th Century, biology seems poised to define the 21st.

As I am fascinated with world view and paradigm shifts, I had a desire to experience this process first-hand rather than from the ambient culture, and so I took up Todd’s invitation and started to visit the Broad on a regular basis. After a year or so of short informal visits, it seemed that a more sustained residency was the best way to plumb some of these questions.

My work at the Broad has followed several simultaneous tracks:
- I have been having interviews and discussions with scientists, as well as a few collaborated with specific research projects, with the aim of allowing a deeper exchange between us. Through these collaborations, I hope to attain a better understanding of the knowledge being generated at the Broad, and to contribute my own knowledge of visual organization and analysis to the research. In keeping with this direction, I co-founded the Broad visualization group last year, both as a thinking group on issues of representation in science and to collaborate with scientists on visualization questions.

- This in turn feeds my own research – painting, drawing, modeling in the computer. In my own experimentation I want to explore in the visual realm some of the thought processes of genomic research. I am currently working on large scale pieces based on the “space of genomics” for a June show in New York.


Beyond my own work, I am trying to create an Art/science hub at the Broad, a Lab, which can serve as a physical point of convergence, where artists and scientists can meet and work together to address the question of representation in the new paradigm that is emerging in contemporary science.

The Image Dataset
Over the past 2 years, I have begun to develop a process which has some interesting connections to the work being pursued at the Broad.

As a way of assimilating the conversations I was having with scientists, I started working in watercolor on grids made up of 8x8 inch sheets of paper. At each state (perhaps the end of a day) each sheet is scanned into the computer. This allows me to continue working on the drawings while generating a database of images. Each drawing can either continue in its original grid order, or a single sheet can be used as the basis of a new grid, or may take on a life of its’ own.

The digital states also allow work to go on in the computer, mixing images, taking elements of on into the other, or drawing with a tablet.

These can then be printed, reworked in water color, scanned once again...
Please bear in mind that these watercolors are studies.

Sara Joe Wolansky I am a tourist. No matter how many authentic dishes I try, how many “cool, foreign friends” I make, or how many times I scoff at the made-in-China tourist trap souvenirs, I still retain this title. Despite the fact that accepting the role of the tourists often involves sharing this title with the hawaiian-shirt-donning, zinc-oxide-nosed “stupid American”, we should not be ashamed to label ourselves as such. Tourism is important not just to the economy of the countries we frequent, but often to the cultural sights themselves. Many cultural sights become significant simply because they are well-touristed. Just as a work of art gains aesthetic significance when it is placed in a museum context, a product of culture gains importance once a critical mass of people comes to look at or experience it. Tourism crafts culture just as a museum curator crafts monumental works of art.

My photographs are not only about tourism, but are touristy in themselves. My mere presence at the sights I visited indicates their cultural significance. The fact that I have chosen to photograph these sights further increases the extent to which they can be called significant, as the act of taking a photograph indicates a desire to look at the subject again in the future. The main quality that differentiates a major tourist sight from a minor one is the volume of visits and the number of photographs taken. Whether or not a sight is considered “important” or a “must see” is a quality determined by the present tourist, not by the past historian. My photographs are not only an exercise in making sights important, but capture the process of cultural shaping through depiction of tourist sights and tourist activity. The goal of these photographs is to explore the concept of the tourist from the perspective of both the observer and the actual tourist in order to highlight the tourist as an agent of cultural shaping. He does not “leave no trace” but rather shapes the society in which he visits through his mere interest and presence.

Lennie Peterson. The theme of this exhibition is inspired by one of Lennie Peterson’s influences, artist Paul Klee, who once said, “A drawing is simply a line going for a walk.” "That speaks to me as a great explanation for this improvisational style of line drawing. One line leads to another and another, allowing the pen and the line to 'walk' and ramble throughout the overall composition of each drawing and even onto the next." Peterson compares the creative process of his original artwork to that of a jazz musician: “All of my work is improvised and spontaneous once the basic outline and form is complete. It is similar to a musician who is able to improvise freely and spontaneously within a given form and framework of chord structures.” Lennie Peterson has dedicated his life to music, visual art, and arts education. Peterson was a professor at Berklee College of Music in Boston and was on the faculty of the South Shore Conservatory in Hingham, MA. For more information, please visit: LenniePeterson.com

Jason Houston is an independent documentary photographer focused on the intersection between social and environmental issues around the world. He works regularly for editorial and NGO clients and his work has been published widely in print, online, and broadcast media. Jason's images have been exhibited in galleries and public spaces across the country; he has served as a juror, curator, and reviewer for many different photography festivals and organizations; and he regularly presents on using the narrative tools of photography combined with the power of art to influence cultural change. He lives in western Massachusetts where he also works as picture editor for Orion magazine.

In 2009 Jason Houston traveled with writer William deBuys on assignment for Rare Conservation to the Lamandau Wildlife Reserve in Central Kalimantan, Indonesian Borneo. Working closely with local NGOs Yayorin and the Indonesian office of Orangutan UK, they spent several weeks with the communities living at the borders of the reserve, documenting their daily lives. Through the stories of the individuals they met there, they are documenting examples of the complex, multi-faceted dynamics on the ground that challenge conventional wisdom about international conservation. It is increasingly apparent that for long-term sustainability, conservation must seek to do much more than sustain biodiversity and habitat; it must also consider the lives of the people who live in and depend on these places.

For more information on Jason Houston, see the artist’s website. www.jasonhouston.com

C.E. Morse Consequential Abstracts: Photographs by C.E.
Random events throughout our lives shape our vision. Growing up in Maine, it’s almost impossible not to be influenced by the natural world. The smell of wet sumac after a late season snowfall, brook ice crackling on the edge of a stream, sand rippling underfoot like nature’s own massage - these things call me. The intent is to evoke something beyond the image itself. Much like ourselves, the subjects of these images have experienced some wear, some embellishments, some scars. These incidents create a visual history of the subject at which we can only guess. The images are not titled in any way as to influence interpretation in order to let viewing be subjective.
I make these photographs because I can’t resist. I am a lover of junk, collector of vehicles, and traveler on the back roads of Maine (and anywhere I happen to be). There are three things I can’t resist – a good photograph, a good fishing hole and a salvage lot. I carry a camera and a fishing rod because you never know . . . .

C.E. Morse, Artist

CE Morse’s photographs are immediately engaging. The viewer cannot help but search for- or see familiar shapes and forms in these images, like one sees animals in clouds while lying on your back in the grass on a summer afternoon. Carefully framed abstract compositions of mundane bits of detritus are transformed into images of surprising beauty. Rusty bits of metal, graffiti, dumpsters, train cars and rusting hulks of old machinery all take on new meaning under Morse’s watchful and sensitive eye.

The artist states that he is, “...looking for Rothkos, DeKoonings, and Pollocks in the wild.” Morse is an observer of color, shape, line, and texture, and when his observations are arranged and constrained by the four sides the camera’s frame, they form what he calls “Consequential Abstracts.” Subject matter, the actual substance of his photographs is unimportant, it is the viewer’s experience that brings meaning to this work.

Karen McEachern Cass warms the icy Harvard University campus with her enchanted gardens. The exhibit will be on display at The Three Columns Gallery from February 16 – April 23.

Bask in the glow of these earthy and alluring oil paintings. Be transported to other-worldly landscapes of lush vegetation paired surprisingly with quilt-like patterns. Cass presents a unique interpretation of the natural world as a metaphor for memory. Her richly colorful paintings evoke deeper connections as they stir up symbolism and contradictions found in the fertile ground of nature.

“The tree…” she muses over an experience in the rainforest of Puerto Rico, “in its towering majesty above and dizzying network of exposed roots below is a conundrum of grandeur and intricacy.” This concept has made a lasting impression and confirms her philosophy that nature and memory are kindred phenomena. Just as the landscape is at once vast and delicately complex, human memory has both the extraordinary capacity for storing a lifetime of images and knowledge, yet at the same time, can be heart-breakingly fragile.

The unusual juxtapositions in these paintings render a dreamlike quality . Unexpected overlays of geometric shapes, abstract patterns and “strategic drippings” are the harmonizing elements that stitch the images together into a cohesive visual poetry. Cass calls the images “stream-of-consciousness wanderings”.

Glimpses of ghostly interiors and graceful plant forms intermingled with rich color fields give hints of an unfinished narrative. “My work celebrates the incongruous relationships that come together in dreams; the vague and fragmented nature of memory”. The viewer is invited to become an active participant in finishing the stories.

Jim NIckelson

Jim Nickelson was featured in a photography exhibition entitled “Jim Nickelson, Selected Works 2007-2011” and features square format nature, landscape, and night photography.

Jim's photographic interest is in the beauty and complexity of the natural world and he seeks out the edges in nature - between land and sea, sea and sky, day and night, and between one season and the next. The nineteen works selected for this exhibition feature these aspects of his work and include a wide variety of work from Maine, Massachusetts, Colorado, and Utah. The majority of the photographs are from landscapes in Maine, particularly locations in Acadia National Park and midcoast Maine.

Jim Nickelson is a professional fine art photographer based in midcoast Maine and specializing in landscape, nature, and night photography. Besides pursuing fine art photography, Jim also presently works as a professional custom fine art printer serving numerous artists. Before committing himself full-time to photography and printing, Jim pursued earlier careers in engineering and law, acquiring a B.S. in Aerospace Engineering from The University of Texas at Austin and a J.D. from Harvard Law School.

To see more photographs, to find out more information, to purchase a print, or to contact the artist, please go to:

http://www.jimnickelson.com

Christie McDonald and Michael Rosengarten

The exhibit was created by Mather Co-Masters Christie McDonald and Michael Rosengarten to commemorate the 40 (or so) years since the creation of Mather. It displays images from the firm that designed Mather which include more than 40 possible proposed models for the structure. The images were supplied with  the permission to use them in this exhibit by Shepley Bullfinch.

Walker Evans, a friend of Christie McDonald's family, has been called the most important photographer, even the most important artist of the twentieth century. He is the American photographer whose signature work for the Farm Security Administration in 1935-36 during the Great Depression both locates and transcends that time and subject. Evans looked to literature, French modernist poets and novelists, to ground his ideas, yet worked relentlessly against the grain of fine art images; he later defined his own style as “lyric documentary.” Evans’ plain and unflinching vision is claimed as a seminal influence by generations of photographers as well as artists from other disciplines.

John T. Hill, is a photographer, designer and writer. A friend and colleague of Evans in Photography at Yale University and executor of Evans’ estate, he produced five books including Walker Evans First and Last, Walker Evans At Work, Walker Evans, Havana, 1933, and Walker Evans The Hungry Eye (awarded the Prix de Nader, Paris, and the Krasna Krausz Photography Books Award, category Art Culture and History, London). He is the co-author of W. Eugene Smith Photographs, 1934-1975.

Mike MeiWahar Art Gallery and Studio

Chinese calligraphy techniques consist of structure, flow, and rhythm. While structure and flow are obvious visual aspects, the rhythmic elements in calligraphy strokes are
rather abstract. But observe the order, position, direction, and depth of the strokes - there is a certain coordination and concordance in motion, achieving harmony,
just as in music. It is my goal in calligraphy, to bring to life the characters through harmony, and seek resonance from my audience.

在中國書画艺术里,比之于音樂,它们都有一个共同点,就是节奏或叫旋律。原因是艺术作品都体现着作者的情感,而情感在作品中的体现就是节奏。音乐的节奏旋律以音质大小或长短去表示,书法则靠线条的跌宕起伏丶和抑扬顿挫的笔触去表现其节奏感。我在哈佛展览我的书法,以 "中国书法的节奏"为题目,就是想让观者透过我的书法线條和笔触,看到我的某些情感轨迹,然后找到 "知音"。