I'm a cat so I don't care if you think I'm fat #2
Admit it or not, you have just had a terribly unpleasant day. Life in London is like a joke made by Satan and the rain drops sound like waves of tease from above. Needless to say, even if everything has gone well, you constantly feel deprived and defeated. But now, you are standing in front of a painting of cats. They’re formed by combinations of colours in various shapes that became the image of what is in front of you: a bunch of fat lazy cats.
As you look closer and longer into this painting, you will begin to emerge yourself into this ambiguous atmosphere of smoothness, the colours will engulf your mind and swallow up the negativity from the recent past, the previous unbearable thoughts that almost crushed you into pieces are diluted into strokes of relief, a release set by the comfortable shapes of these relaxing figures.
You are now a fat lazy cat.
The original intention was inspired by the book “Ways of Seeing” of the history of western painting’s interpretation of female nudity, where models were instructed to display in passive postures to represent the idealistic image of women through male painters’ point of view, therefore I decided to transform this style of work with a sense of irony, to replace women into cats while maintaining the passiveness of the atmosphere. However, after few experimental paintings I have realised the exploration of brushwork and colour tones are more interesting than the meaning of the work itself.
Inspired by the history of painting, from Claude Monet to the abstract expressionism of William de Kooning, although composition of these creatures are derived from the developing use of personal colours and spontaneous brushwork on a canvas in this space, yet under the same spectrum, one cannot help to notice their dynamic atmosphere in swagger. Stand still and look deep, let the Monet-like cats guide you to the wonders of their world, sooner or later, you shall be part of them.
“I’m a cat so if I don’t care if you think I’m fat #2” is the documentation of a world from the first stroke of brush to the last shade of touch. It not only records the fundamental forms of cat figures and their appropriate rearrangements within the same space, but also is an exploration of entertainment that creates layers of obvious and hidden cat forms through various brushstrokes and combination of colours.
In contrast to conventional paintings, the tones of green and purple are rarely used in large scales, yet these colours propose a new visual perspective that pushes such an objective matter into a subjective discussion. Moreover, they are able to elevate the emotional responses combining with intensive brushstrokes to the viewer when seen in completion. Despite the complexity of the structure, “I’m a cat so if I don’t care if you think I’m fat #2” captured the beauty of stillness in a frame of movements, almost like a scene from a stop motion that indefinitely preserved the serenity of madness. Viewers are then invited to engage with the painting through personal observations from different angles, distance and perspectives, to be absorbed into this world of abstraction that is both delightfully innocent and sophisticated simultaneously.
www.yenjungchen.xyz
As you look closer and longer into this painting, you will begin to emerge yourself into this ambiguous atmosphere of smoothness, the colours will engulf your mind and swallow up the negativity from the recent past, the previous unbearable thoughts that almost crushed you into pieces are diluted into strokes of relief, a release set by the comfortable shapes of these relaxing figures.
You are now a fat lazy cat.
The original intention was inspired by the book “Ways of Seeing” of the history of western painting’s interpretation of female nudity, where models were instructed to display in passive postures to represent the idealistic image of women through male painters’ point of view, therefore I decided to transform this style of work with a sense of irony, to replace women into cats while maintaining the passiveness of the atmosphere. However, after few experimental paintings I have realised the exploration of brushwork and colour tones are more interesting than the meaning of the work itself.
Inspired by the history of painting, from Claude Monet to the abstract expressionism of William de Kooning, although composition of these creatures are derived from the developing use of personal colours and spontaneous brushwork on a canvas in this space, yet under the same spectrum, one cannot help to notice their dynamic atmosphere in swagger. Stand still and look deep, let the Monet-like cats guide you to the wonders of their world, sooner or later, you shall be part of them.
“I’m a cat so if I don’t care if you think I’m fat #2” is the documentation of a world from the first stroke of brush to the last shade of touch. It not only records the fundamental forms of cat figures and their appropriate rearrangements within the same space, but also is an exploration of entertainment that creates layers of obvious and hidden cat forms through various brushstrokes and combination of colours.
In contrast to conventional paintings, the tones of green and purple are rarely used in large scales, yet these colours propose a new visual perspective that pushes such an objective matter into a subjective discussion. Moreover, they are able to elevate the emotional responses combining with intensive brushstrokes to the viewer when seen in completion. Despite the complexity of the structure, “I’m a cat so if I don’t care if you think I’m fat #2” captured the beauty of stillness in a frame of movements, almost like a scene from a stop motion that indefinitely preserved the serenity of madness. Viewers are then invited to engage with the painting through personal observations from different angles, distance and perspectives, to be absorbed into this world of abstraction that is both delightfully innocent and sophisticated simultaneously.
www.yenjungchen.xyz
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