'Full Spectrum'
Acrylic oil pastels and charcoal on canvas
2020
24 x 30 inches (61 x 76 cm)
Daphne Ang. 'The Picture of Dorian Gray'. Acrylic and powdered pigments on canvas 30 x 24 inches (76 x 61 cm). Private Collection
'The Picture of Dorian Gray'
Acrylic and powdered pigments on canvas
2020
30 x 24 inches (76 x 61 cm)
Private Collection
Daphne Ang. 'Feelings'. Acrylic and gold-leaf on canvas board. 18 x 24 inches (46 x 61 cm)
'Feelings'
Acrylic and gold-leaf on canvas board
2019
18 x 24 inches (46 x 61 cm)
"The simultaneous passage through great emotions welds souls, and begets the strongest of all forms of love." - Mark Rutherford
‘Feelings’ encapsulates the conscious act to inaugurate a new mode of existence, constructing for both, a new way of existing with one another.
Set against a glittery cosmos, the work evokes a dramatic and passionate dance of two dynamic but complementary forces (and colours) in the act of uplifting and encircling, embracing, uplifting, and enveloping. It provides a vision of the confrontation between the terrestrial and the extraterrestrial, a rendezvous of heaven and earth.
Set against a glittery cosmos, the work evokes a dramatic and passionate dance of two dynamic but complementary forces (and colours) in the act of uplifting and encircling, embracing, uplifting, and enveloping. It provides a vision of the confrontation between the terrestrial and the extraterrestrial, a rendezvous of heaven and earth.
It is a visual declaration of love and a testament to the intensity of feelings (for another) when words and action were inadequate. The artist used the act of painting as a medium to convey the feelings and emotions arising from the decisive moment of conviction to commit to loving and living a life simultaneous and synchronous with another.
Painted in acrylic with gold-leaf finishing, 'Feelings' resembles a dramatic encounter of a fiery interstellar entity moments before plunging into a churning ocean of milk. Paint was applied to the canvas board through a variety of splashing, flicking, pouring, spraying gestures using non-traditional art tools. The artist affixed sheets of golf leaf into the thick impasto splashes of bright orange, enhancing a sense of the intensity of this encounter.
Painted in acrylic with gold-leaf finishing, 'Feelings' resembles a dramatic encounter of a fiery interstellar entity moments before plunging into a churning ocean of milk. Paint was applied to the canvas board through a variety of splashing, flicking, pouring, spraying gestures using non-traditional art tools. The artist affixed sheets of golf leaf into the thick impasto splashes of bright orange, enhancing a sense of the intensity of this encounter.
See this work in the exhibition 'A World Without End'
Daphne Ang. 'The Cross Section of You and Me (Moments Before the Death of Galaxy XMM-2599)'. Acrylic, ink on canvas. 40 x 30 inches (101.5 x 76.2 cm)
'The Cross Section of You and Me
(Moments Before the Death of Galaxy XMM-2599)'
Acrylic, ink on canvas
2020
40 x 30 inches (101.5 x 76.2 cm)
‘The Cross Section of You and Me (Moments Before the Death of Galaxy XMM-2599)’ explores the edifying and illuminative functions of the act of painting in conveying the full spectrum of love, life and human emotion. In this painting, the artist uses the language of abstract forms and colour to express and give meaning to the human psyche and its intangible elements of mood and emotion. This is depicted first through the spontaneous and explosive bands of colour applied thickly in ink and paint using knives and Chinese brushes, this is followed by the careful application of multiple layers of translucent glazes.
“I began this painting with a series of expressive and almost violent strokes of India Ink paint using large Chinese calligraphy brushes to form the main abstract composition before applying numerous overlapping layers of translucent colour glazes over the calligraphic brush strokes.”
‘The Cross Section of You and Me’ explores the edifying and illuminative functions of the act of painting in conveying the full spectrum of love, life and human emotion. In this painting, the artist uses the language of abstract forms and colour to express and give meaning to the human psyche and its intangible elements of mood and emotion.
“I believe that art must transcend life itself, it must speak of something beyond the natural world. Art must be something transcendental, extraterrestrial – art is the stuff of the divine and the sublime.”
‘Cross section Of You And Me’ was painted as a visual embodiment of the synchronicity at work when two people share a psychological and emotional connection which occurs deeper than the connection as understood by the rational conscious mind.
“I paint my inner world. For this work, I wanted to commit to posterity an encounter with a captivating vision of numinosity, words cannot describe it but it was an incandescent and iridescent vision and overwhelming feeling and non-objective awareness of wholeness.”
Daphne Ang. 'Love in a Time of Quarantine'. Acrylic and gilding wax on canvas board. 18 x 24 inches (45.6 x 60.8 cm)
'Love in a Time of Quarantine'
Acrylic and gilding wax on canvas board
2020
18 x 24 inches (45.6 x 60.8 cm)
This work is the culmination of a multi-layered, multi-phase process spanning over six months. Executed on canvas board, the innermost layer comprises a layer of black and white impasto layers of paint blended onto the surface with a palette knife in a swirling wave-like motion. In the second layer, streams of translucent paints mixed with isopropyl alcohol was collected from the overflow of another painting and then poured and dripped all over the work by standing the canvas board upright. The surface was then sanded down to reveal hints of the underlying monochrome layers.
At a later stage, the artist used a broken kitchen knife to cut and slash the canvas board. The large rupture in the middle of the canvas board was a result of repeated slashing and lacerations from the violent strokes of the knife’s blade. Using her fists, the artist punched the large gaping hole from behind and proceeded to burn and singe the perforated and frayed areas with a fire.
In another visitation to the work, the artist rubbed translucent washes of gold, pearl and interference paints over the ruptured surface painted with her fingers, pressing the shimmering pigments into the lacerations and scorched areas.
The last stage involved an application of thick resinous layers of translucent red oxide and crimson. The underlying layer of iridescent pearls and shimmering gold painted over the coloured base confers the painting great luminosity.
A final application of gilding paste was applied onto the tips of the 'keloids' of the ‘scars’ of the painting’s surface, as well as onto the rims of the punctured holes, allowing the viewer to look through the damaged sections through gold rimmed peek holes.
Here, the impetuous and violent act of destruction is balanced out with phases of careful restoration. While at one stage, the artist stabs, maims and mutilates the canvas, this violent act is always compensated with acts of compassion and redemption.
Completed just as the pandemic crisis of 2020 broke out in the United Kingdom, ‘Love In a Time of Quarantine’ is in itself a microcosm of the tumultuous cycles of destruction and creation that permeate the creative process of painting from its conception to completion.
See this work in the exhibition 'A World Without End'
'Il Medico Della Peste [The Plague Doctor]'
Acrylic and ink on canvas
2020
23.5 x 31.5 inches (60 x 80 cm)