Ai-Wen Wu Kratz
My works are influenced by nature, classical music, stage design and choreographic lines in ballet and modern dance. My search in the visual art is spirituality, intellectualism and aesthetics. I grew up in one of the high-rise buildings in Hong Kong, a city among the most populated in the world. The skyward expansion in architecture and the twenty-four-seven city activities had fostered my ability to be flexible, a dutiful sense of community wellness, and an appreciation for higher education. The self-made toys in childhood had enriched my imagination and aptitude for creativity. Here, I would like to share Richard Strauss’ viewpoint on composing music: “… the most important aspect a composer has to face is inspiration, for without it nothing of lasting value can be put on paper. A good composer must also be a skilled craftsman …. But no matter how clever the workmanship, no composition will live unless it is inspired.” (From an interview of Strauss conducted by Arthur M. Abell.) I am attracted to the romance of purity. The mere mention of Mahler’s composing huts has the power to drift me afar.
Please tell us more about your background and how you began creating art?
I am of Chinese origin. I came from Hong Kong to the U.S. for college education. I received a BFA degree from Fort Wright College, Spokane, WA and a MFA degree from Cranbrook Academy of Art, Bloomfield Hill, MI. In addition, I attended Skowhegan School of Painting and Sculpture in Skowhegan, ME and New York Studio School of Drawing, Painting and Sculpture in NYC, NY.
In my immediate and extended family, there are painters, calligraphers and mathematicians. My father valued education and integrity. A distant uncle of mine is a recognized calligrapher in China. It is said that his calligraphy scrolls have been prohibited from leaving China.
Georgia O’Keeffe said her “first memory is of the brightness of light”. Since my childhood, as told by family elders, I avoided
people of vulgarity. It was said that I have a natural inclination for aesthetics.
My parents had six children. I am one of the younger three. I caused no problems in school or at home, so I was pretty much left alone to my fascination with dolls. I started with drawing and cutting paper dolls and sewing for the one real doll I had. I often kept little things around me as collectibles to make mini-furniture for my doll. One day, I was brought to fame in my high school days for having made a full set of cloth puppets for a puppet show in school. This marked the beginning of my inclination for creativity.
What does your art aim to say to the viewers?
Although visual art can be a vehicle for social function, my works carry no specific messages. They are definitely void of social or political contents. My search aims at spirituality, intellectualism and aesthetic. The sensitivity behind my work is subjective and personal. Since it has been proven that art has healing effects, I am interested in sharing my works for the healing function.
To the public, I would like to say: "Come to us, the visual artists, dancers, poets, writers, playwrights, musicians and storytellers. Together, we'll form a shade to shelter you from the heat and weariness of life. Together, in this sanctuary, we shall hear the birds’ happy mating; share the breeze of renewal; and bathe in the warmth of the fragrant earth.”
I particularly feel for people who grew up from a broken family. In 2017, I had an exhibition at a private property. I made it known that anyone who grew up from divorced parents and found consolation from my works may select, for keeping, a large framed giclée of my drawings; No explanation or personal information were required. No one came forward to make a claim.
Ellsworth Kelly took pride to make only public art of monumental scales. He disdained to have artworks to be in households and offices, while I find it a fulfillment to have my works in living and working spaces. It is a fact that when the public goes shopping, they select items that they like, in addition to what they need. This confirms that the tangible objects in our environment do matter to our peace and contentment. I would like to meet such a need with my artworks. It is not for beautification, but to cherish our daily living on a higher spiritual and intellectual level.
Do you have an essential philosophy that guides you in your creative expression?
Although my years living on a foreign land is beyond the years in my homeland, the basic Asian values remain deeply rooted in me.
My father supported my choice to be a painter. But he warned me that I need to be a moral person, because my art is bound to mirror who I am. I draw inspirations from nature, literature, classical music, stage designs, vocal art, choreographic lines in ballet and modern dance. I hope my works will bring joy and relief to others like ‘Molly Pitcher’s’ water delivered to the American soldiers during the Revolutionary war.
What art marketing activity do you put into practice regularly that works most successfully for you?
I hope Contemporary Art Collectors would be a helpful lead to art marketing. There are a great number of individuals and companies offer art marketing services. However, they are very expensive. I sold some paintings through Agora Gallery, NYC, NY. I signed up for the usual social platforms: Face Book, Instagram and LinkedIn.
Can you tell us about the process of creating your work?
My process to create is rather direct. Firstly, I think of the factual aspects of the material I have in hand. The size and the way to have the units relate to one another, if it is a composite. Secondly, it is liberating, yet, a difficult stage to delineate the areas of the canvas with thin tapes that are used for detail work in the auto industry. This stage requires keen judgements and a total immersion of feelings to construct a coherent flow of forms. It would be like a choreographer composing movements for a dance. I use acrylic paints and I seal the thin tapes for delineation with an acrylic medium. The color applications would be another process to compose. A final image will emerge as the different steps progress onward.
How much planning goes into each artwork?
One of my teachers, who no longer lives, said that before he started a painting, he let the stretched canvas lay around and let some marks happen to it. Ai WeiWei loves and lives with an extraordinary number of cats around him. I read that his cats once moved around some scattered wooden sticks in his studio. Then, it came the spark of an idea for him. To the contrary, my romance with a new painting begins with making sure that there is not a dirt mark on my canvas.
I do not start a work with a fixed plan, while I often keep the Fibonacci proportion in mind for the overall layout on the canvas. From a rough idea, I build the parts from moment to moment at each turn. I find it gratifying to push a thought to grow continuously into a complete whole. It gives me the satisfaction of going through an organic process.
What’s the essential element in your art?
I associate art making with writing. Both go through a structural process that bases on the choice and placement of interrelated elements. My goal is to make visual poems to bring the intellectual and emotional value of visual arts into the life of the public.
Color is the essential element in my works.
In 2021, in a group exhibition at the Luigi Bellini Museum, Florence,
Italy, Dr. Mara Ferloni, Critic and Journalist, commented on my works.
Original / Italian
Un affascinante linguaggio ricco di significato formale ed una dialettica che indica maturita stilistica ed un lirismo emotionale che diventa protagonista attraverso una palpitante resa formale. Una resa scenica piena di gioia, che si guarda intorno come in un gioco di colori che testimoniano una grande sensibilità creativa in un linguaggio che conserva nel valore strutturale fascino a poesia.
Translation
A fascinating language rich in meaningful forms with a dialectic indicating a style of maturity; an emotional lyricism which becomes a protagonist across a palpable rendering of forms. A scenic rendering full of joy, in which one is surrounded by a joy of colors which testify to a great creative sensitivity expressed in a language which preserves a fascinating poetry in its structural integrity.
What is your daily routine when working?
Sometimes, there are days I am not able to work in my studio. On days I work, I keep six to eight hours during the day and leave the clean ups for the night.
