Page 55 - The MoMA/ Guggenheim issue of World of Art magazine (2001)

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IS FASCINATING TO EXPLORE THE ARTISTIC TO PSYCHICALLY PROJECT IMAGES AND EXTRACT IN THE NINETEENTH CENTURY &ROM THERE WE
PRACTICE OF 9ALI 0ENG TAKING INTO MEMORIES OUT OF ACCIDENTAL ACCUMULATIONS MIGHT MENTION &RANCIS 0ICABIA S ,A 3AINTE
)T ACCOUNT PAINTING TECHNIQUES DERIVED 7E MIGHT lND THESE ASSOCIATIONS THROUGH 6IERGE A PRIME EXAMPLE OF A $ADAIST
BOTH FROM EASTERN THAT IS #HINESE +OREAN STARING AT STAINS ON WALLS lNDING SHAPES OUT ANTI ART SENSIBILITY (AZARD AND ACCIDENT WERE
*APANESE AND 7ESTERN THAT IS AVANT GARDE OF MUDDY WATER OR CLOUDS OR THROUGH THE USED IN PROVOCATORY WAYS IN THE 7EST IN
TRADITIONS )T IS EQUALLY COMPELLING TO SITUATE OBSERVATION OF SEEING lGURES OR LANDSCAPES THE WORKS OF *OAN -IRO 4HE "IRTH OF THE
0ENG S INK ON CANVAS WORK BY REFERRING TO ITS COME TO LIFE AFTER PEERING AT STONE WALLS OF 7ORLD AND IN OF COURSE THE MATURE
DYNAMIC SPACE IN THE SERVICE OF CONTEMPLATION UNEVEN COLOR AFTER A RAIN FALL WORK OF *ACKSON 0OLLOCK 4O VARIOUS DEGREES
)N ORDER TO DO THIS WITH SOME SEMBLANCE EACH OF THESE ARTISTS WANTED TO GENERATE
OF ACCURACY ONE MUST TAKE INTO ACCOUNT A !CCIDENT AND CHANCE IS BOTH USED AND REFERRED IMAGERY THAT STOOD ON ITS OWN WITHOUT
DOUBLE SET OF REFERENCE POINTS THAT INFORM TO IN 0ENG S PAINTINGS 3TYLISTICALLY THE ARTIST OVERT ASSOCIATIONAL REFERENCES 9ALI 0ENG
THESE SEEMINGLY CASUAL YET HIGHLY DISCIPLINED USES BOTH DRIP AND SPLATTER TECHNIQUES AS IN ERR OWN UNIQUE WAY ATTEMPTS TO DO THE
PAINTINGS WELL AS MORE TRADITIONAL !SIAN BRUSHWORK SAME 9ET HER WORK GENTLY DEVIATES FROM
WHICH PUSHES INK IN FRONT OF THE TOOL )N THIS NON OBJECTIVITY
9ALI 0ENG BLITHELY PROVOKES US THROUGH HER SOME OF HER LINEAR WORKS IT APPEARS SHE IS
CAREFULLY CONSISTENT LACK OF SURFACE CONTROL DRAGGING INK BEHIND HER BRUSH IN ORDER TO %NERGIZED BUT CALM 9ALI 0ENG S PAINTINGS
4HIS LACK IS PURPOSEFULLY AND DELIBERATELY CREATE ANOTHER PERHAPS DEFERRED MEASURE HOLD US IN SUSPENSE WITH THE WEIGHT OF THEIR
APPLIED AS A POSITIVE QUALITY IN THE WORK )T OF PHYSIOLOGICAL IMPULSES LIGHTNESS AND SENSITIVITY #HARGING HER SURFACES
IS USED TO DEFTLY RELINQUISH ONE SORT OF LINEAR WITH A PLAY OF ENERGETIC PHYSICAL RELEASES THE
PLANAR AND SPATIAL AUTONOMY ALL LEADING TO 7HAT IMMEDIATELY COMMANDS OUR ATTENTION ARTIST COMPELS US WITH HER VISUAL CONUNDRUMS
THE NON REPRESENTATIONAL IN ORDER FOR 0ENG AS VIEWERS TO 0ENG S WORK IS THE MAGISTERIAL (ER WORKS ASSERT THE PICTURE PLANE WITH THEIR
TO ASSERT AN EXQUISITE OPENING UP OF lGURAL SENSE OF SCALE WITHIN THESE SMALL FORMATS OWN SENSE OF INVIOLATEDNESS EACH STROKE !.'%2 2%3%.4-%.4
POSSIBILITIES NOT OTHERWISE AVAILABLE IN HER AND THE STARK TENOR OF SILENCE AND EMPTINESS OF COLOR AND LIQUID APPLICATION OF PIGMENT (!42%$ !.$
WORK THAT SWEEPS OVER US AS WE CONTEMPLATE THE IS AUTONOMOUS ONE MINUTE YET THE NEXT &25342!4)/. /&
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PAINTINGS MINUTE A MAGICAL TRANSFORMATION APPEARS ).+ /. 0!0%2
4HE lGURAL LET S KEEP IN MIND IS NOT lGURATION EACH PAINTING CONTAINS PURE ENERGY UNDISTILLED 8 #- 8 ).
)NSTEAD IT IS THE AUTONOMOUS MARK ON THE )F WE WERE TO CONSIDER PAINTING IDEOLOGY IN SENSATION YET THE FORCE OF THESE ENERGETIC
VERGE OF DISAVOWING ITS SINGULARITY ON THE CUSP THE ANCIENT EAST 2EMARKS ON 0AINTING BY lELDS YIELDS ANOTHER CASUALLY SUPERIMPOSED
OF CLEAVING TOWARDS THE REPRESENTATIONAL 4HE 3HIH T AO IS RELEVANT HERE IT IS EVIDENT THAT CORRESPONDENCE TO NATURAL IMAGERY ! STALK
MARK IS ABOUT TO BECOME FULLY OPERATIONAL AS THE ARTIST 9ALI 0ENG SEEMS TO HAVE ACQUIRED OR A STEM OF A PLANT 'ROWING &ORCE OF A 4WIG
A MIMETIC MIRRORING OF SOMETHING WE KNOW THE VITALLY IMPORTANT hEMPTY WRIST h HSU A VINE TENDRIL RAPTUROUSLY ENWRAPPING
AND RECOGNIZE WITHOUT BEING FULLY CAUGHT WAN BEFORE BEGINNING TO WORK 4HROUGH SPACE THROUGH INmECTED LINES WITHIN LINES
WITHIN AN IMAGISTIC A PRIORI THIS TECHNIQUE BALANCE AND HARMONY OF 3PREADING A SOLITARY ORANGE SHAPE
THE BODY IS ATTAINED IN ORDER TO PREPARE IT ASSUMES THE SPACE OF A LEAF IN #HEERFUL 2% /##522).' /,$ )335%3
0ENG USES HER lGURAL NOTATIONS AND MARKS FOR THE CONCENTRATION THAT IS REQUIRED FOR 4OUCH BY A &RIEND #!. 4 "% #/-0,%4%,9
DERIVED IN PART FROM ACCIDENTAL PROCEDURES TO THE ARTIST TO PAINT PHENOMENAL EMPTINESS (%!,%$ %!3),9
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STUNNING EFFECT THE SURFACES OF HER WORKS ARE 4HIS EMPTINESS IS ONE ACCORDING TO HISTORIAN !LL OF THESE NEW PAINTINGS BY 9ALI 0ENG ARE 8 #- 8 ).
CHARGED AS ARE THE SPACES IN HER WORK &RANCIS #HENG hOF FULLNESS INTENSIlED TO THE RESOLUTELY REVERENT IN THIS RESPECT EACH
EXTREMEv !ND THROUGH 0ENG S IMAGERY THE WORK ASSUMES A RHYTHMIC CONVERGENCE OF
!CCIDENTAL PROCEDURES IN ART MAKING HAS A VIEWER S CONTEMPLATION RESULTS OPPOSITES EACH IMAGE REFERS TO THE WORLD OF
LONG AND RICH HISTORY !S HISTORICAL BACKGROUND NATURE YET IT RESOLUTELY LIVING A LIFE OF PURE
INFORMATION IT IS USEFUL TO RECALL THAT ,EONARDO )N THE 7ESTERN TRADITION THE TECHNIQUE OF NON OBJECTIVE FORM 4HE RESULT IS POETIC VISUAL
DA 6INCI IN HIS 4REATISE ON 0AINTING SPEAKS CONSCIOUSLY APPLYING ACCIDENT AND CHANCE IMAGINATION AT ITS BEST IN WHICH THE ACTIVITY
OF PROCESS OF INTERACTION BETWEEN MAKING TO PRODUCE AUTONOMOUS IMAGERY BEGAN OF PAINTING IN PHILOSOPHER %TIENNE 'ILSON S
AND MATCHING IN THE PROJECTION OF FOUND IN THE MID TWENTIETH CENTURY THESE WERE WORDS CAPTURES hA CHANGING mEETING AND
IMAGES OR ACCIDENTALLY MADE PATTERNS TERMED hDRIP PAINTINGSv MIGHT BE SAID TO ALWAYS INCOMPLETE EXPERIENCE OF A STABLE
AND THE NEED FOR THE ARTIST TO CAPITALIZE BEGIN WITH 6ICTOR (UGO S ECSTATIC IMPOSITION COMPLETE AND ENDURING ENTITYv
ON THESE MENTAL ASSOCIATIONS 0ENG S MARK OF HIDDEN FORMS WITHIN THE WEBS OF INK 4%22/2
MAKING ALSO FULLY EXPLOITS OUR INNATE ABILITY SPLATTERS WITH WHICH HE AMUSED HIMSELF $ & #OLMAN IS A WRITER LIVING AND WORKING IN -ANHATTAN

9ALI 0ENG HAS A -ASTER S OF ,IBERAL 9ORK #ITY 0ARIS 'ERMANY 3WITZERLAND 3HE IS FEATURED IN %NCYCLOPEDIA OF OF -ODERN AND #ONTEMPORARY !RT
3TUDIES - , 3 DEGREE IN !RT AND AND !RABIA 3HE HAS BEEN TEACHING ,IVING !RTISTS TH TH AND TH #ASA %DITRICE h!LBAv
(EALING 7ELLNESS FROM THE 5NIVERSITY ARTS AND CREATIVITY AT NUMEROUS ART %DITION !RT.ETWORK 0ENN 6ALLEY &ERRARA )TALY AND IN $ICTIONARY OF
OF -INNESOTA 5 3 ! 3HE TOOK HER CENTERS AND SCHOOLS IN -INNESOTA #! IN %NCYCLOPAEDIC $ICTIONARY OF )NTERNATIONAL "IOGRAPHY TH %DITION
lRST PAINTING LESSON AT AGE AND INCLUDING THE #OMPLEAT 3CHOLAR PROGRAM #ONTEMPORARY !RT #ASA )NTERNATIONAL "IOGRAPHICAL
#HINESE CALLIGRAPHY LESSON AT AGE AT THE 5NIVERSITY OF -INNESOTA 3HE %DITRICE h!LBAv &ERRARA )TALY IN 4HE #ENTRE #AMBRIDGE %NGLAND )N
IN 4AIWAN AND CONTINUED HER HAS AWARDS AND PUBLICATIONS FOR HER .EW !RTIST .O "" )NTERNATIONAL HER h3HOGAMAI #ALLIGRAPHY $ANCEv
CALLIGRAPHY STUDIES IN *APAN FROM PAINTINGS INCLUDING AN AWARD OF &INE !RTS :URICH 3WITZERLAND SHE INCORPORATES VISUAL ART IN THE
AGE THROUGH HER SCHOOL YEARS 3HE /UTSTANDING !RTISTS AND $ESIGNERS IN !BSTRACT !RTISTS OF 4HE 7ORLD PERFORMANCE (ER ARTS PHILOSOPHY
HAS BEEN EXHIBITING HER ABSTRACT INK OF THE TH #ENTURY BY )NTERNATIONAL 3CARECROW 0RESS ,ANHAM -$ IN IS BASED ON .ICHIREN $AISHONIN S
PAINTING INTERNATIONALLY INCLUDING .EW "IOGRAPHICAL #ENTRE #AMBRIDGE %NGLAND )NTERNATIONAL %NCYCLOPAEDIC $ICTIONARY "UDDHISM
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