"Fairies" are not finely-painted paintings. They are abstract paintings executed on the extreme margins of figuration, but they come across as anti-abstract or even decidedly descriptive. They are landscapes. They are so fine as to be visible only under magnification. That they are landscapes is because they cannot be seen any more. The aura of brush method is identical to its disappearance.
The poetry of "Fairies" manifests in how brush method nullifies vision. The series raises a host of suggestive questions: how to convey fragrance in baimiao line drawing? How to convey the relationships between lines and threads? How to draw a sobbing flower, or broken heart, or a heart blooming and bursting with joy? These questions in "Fairies" constitute a complete poetic world. Ten thousand landscapes drawn in baimiao are not a matter of sheer quantity, but a matter of infinite variation. Baimiao is the foundation of painting. Consisting of both visible and invisible forms, it corresponds in its abstractness to the abstractness of literature. "Fairies" renders every poetic object and poetic concept as a landscape, so as to embody the capacity for landscape to encompass the myriad things. Poetry gives baimiao infinite possibilities. These ten thousand baimiao landscapes exhaust the descriptive capacities of lines and dots. Here the painter must express an abstract consciousness with her consciousness and hand. The poetry lies in the realization of abstract themes in abstract brush method.
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