The sign, the light and the other side (Part 1)

Finally, I finished my first serious painting in thirteen years. Titled "The sign, the light and the other side", 610 x 762 mm, Oil on canvas. As I pondered what I could say about it, my thought was quickly drawn into a dilemma before every little words were gathering and forming a queue.

To ask a painter to write about his/her own work, is to place s/he in a paradoxical situation. When one paints, s/he has picked a particular medium over others to express (or simply just to "put down") something s/he "sees", feels, thinks or whatever has in mind. That is the best way. To do it other way would be self-defeating or self-deflecting (if there's such a word).

In a relationship, a girl (mostly girls, agree?) has certain desire in mind that she wants her admirer to know, say having a romantic night out this weekend, or as trivial as noticing her new lipstick colour ("No, that's nothing trivial! it's bloody important!" You can almost hear her screams). The last thing she wants is to spell it out. Instead if her admirer can see through her mind, by her subtle moves and signs, apparent unrelated suggestions or just telepathy out of his wholehearted devotion to her (Yes they believe it exists!), that will be immensely satisfying. She has found the proof of his love.

But when all her maneuvers go unnoticed with every minute passing, she gets more and more agitated. How can my masterful Van Gogh get no appreciation? Doesn't my beholder see my beauty? Where is his attention on me? In the end, she can no longer contain her desire (and temper), and reveal the mystery (indeed the revelation comes in great enigmatic magnitude as its decibel).

"Oh, Darling, why didn't you just say so!" Her lover complains, doesn't realize he has asked one of the greatest philosophical question about love, and also art.