Previously I had mostly focus on the framework around Abstract Expressionism, Minimalis, Post-minimalism and non-representational art. The list of artists references I had chosen was the reflection of my practice, which I tried to position myself between them. I would say that’s the safety zone of my art practice which I have been reading for the last couple of years. From the second round of dossier, I can see the precedents I have selected had changed. They remind me of my real interest in organic form and nature, but I find it ever so hard to put it into my practice.
Herman De Vries, Anya Gallacio and Chris Drury, together with the previous collection Andy Goldsworth and Richard Long they are all dealing with organic materials. It is one of my desire to engage my art practice with nature. I genuinely admire their practice. They are all related to land art and mostly dealing with ephemeral assemblies of natural materials; their works are aesthetic in the sense of impermanence and imperfect. Carol Lee and Anya Gallacio’s work carry the uncertain and time factor in their work. Kazuma Nagano, Yu-Fang Chi, and Agnes Martin help me to articulate the repetitive gesture of my practice. Rosalind Krauss’ text about Grid helps me to understand the historical side as well as a deeper meaning of grids. They all form an essential part of my latest art practice and inspire my work in a different way.
Keeping dossier alive seems to have become one of my habits at the moment; it helps me to archive the referencing ideas and concepts. It is fascinating to see the links and common qualities between the selection of precedents. It is useful for me to identify the transformation of my art practice.