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Biography
The spirit of eastern abstract art-and its continuation in the modern era-can both be found in the art of Liao Chi-Chun. In descriptions of his work dating from both 1930 and 1960, Liao said, "l portray my subject by distorting or exaggerating its form in whatever way enhances its beauty. ... I want to give ample play to the colors of our southern regions. Abstract painting is a natural trend, because modern painting is no longer concerned with external visual experience, but with the direct expression of inner feeling. It's no longer a question of the choice between abstract or representative art. Whether or not real forms are presented, what matters is expressive content. The form of a painting is nothing more than a medium for the artist's spiritual expression. ..."
The variations of color in Liads work display his sensitivity toward the pure elements of painting: he knew how simple hues could highlight the feeling he wanted in a particular work, and how to produce innovative imagery through rearranging color, line, and form. Liao also excelled at his own unique brand of poetic lyricism, seeming to always find the perfect middle ground between reality and reverie. The colors of Liao Chi Chun's art reflect the nature of eastern ethnic art, in particular, the special use of color in Chinese art. The deep, brilliant colors of his work, often in primary palettes, overlaid with other saturated hues, give his canvases a bold, fervent quality. (continued on the bottom)
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I like to use clean, strong color, heightened through emphasis and contrast, and I build up lines with an eye also to the forms they shape. My painting isn't a reflection of the impression of any particular moment, but expresses the sense of color I'm hoping to achieve. The intense colors of our ethnic art-the designs in blues, reds, and greens overlaid on a white base that give Ming pottery its elegant, strong color-isn't easily found in the ethnic art of other regions. Pure abstract painting isn't based on any concrete form and has no definite content, so the viewer's direct response of the moment-arising and vanishing with equal speed-is the source of its meaning. The reserved quality of semiabstract works, on the other hand, allows the viewer to slowly savor their implications and take away more lasting impressions.--excerpted from commentary by Liao Chi-Chun in the 1960s and '70s
Returning home from a study tour of the US and Europe in 1962, Liao Chi-Chun's style began to undergo a marked change. Blocks of color, more solid and even than before, occupied greater space on the canvas, while pure blacks and whites borrowed from Chinese painting enter into the rhythms of the paintings. In the Chinese tradition, black and white represent emptiness and solidity, whereas in the West they indicate light and shadow. Liao successfully embraced a synthesis of eastern and western viewpoints, in particular during the late 1960s, by expressing elements of the unique Chinese humanist painting tradition. That is to say, his work was exhibiting more of an eastern ethnic cultural viewpoint: From ancient times, Chinese painting has concerned itself not merely with realistic images of objects, but with an eastern philosophical stance emphasizing the conception that informs the painting. The growing importance of this viewpoint in Liao’s work had become especially apparent by the years 1968-70, when Liao communicated well-defined abstract concepts through his work with particular force, producing compositional structures through pure color and building them into works of exceptional beauty in a stunning creative tour de force.
Liao Jichun in Web Sites (Click on link to view image)
Chinese Art Network
3 works online and short biography
Ching Wan Society
GuishanIsland
Artprice
Auction records for Liao Jichun
Antiques and the Arts Online
The Spanish Chateau
Artrades.com
3 paintings online