Silencio del papel


El silencio del papel es un silencio interior.
Mi oficio : volverlo sonoro.
Todo sucede en un instante.
La intuición y el espíritu vuelan libres,
se abre la mente, los recuerdos regresan,
curiosidad nos vuelve temerarios. Entonces todo empieza a sonar.

El silencio emana música,
la materia inerte cobra vida
y la obra de arte se gesta.

Testimonio y testigo manifiesta

que alguien vivió

que alguien sintió

y lo dijo

  Lucille Wong




Lucille Wong's first paintings bear the mark of her Oriental ancestry: works in black and white where the world of man and nature unfold thanks to the miracle of drawing. His reservations against the color gave little by little with the time and the crystal of the gaze poured on the paper the luminous range of the solar spectrum, but its love towards the line shines with unmistakable force in its paintings, even in the most abstract.

  E. R. Blackaller


Drawing is a ceremonial act; It changes with the pencil, the charcoal or the inexhaustible catalogue of inks and brushes, transforms the creation into rite and makes of the painting a cult and of each exhibition the feast.

  E. R. Blackaller

  1970. Degree in Modern Literature at the National Autonomous University of Mexico, UNAM.
· Poem Silence of the paper.
· Human figure with the Teacher Guillermo Santi.

Flores, 1966

Abuelo, 1970

Niña dormida, 1970

Día de San Juan, 1970


  1971. Chinese language and calligraphy in the College of Mexico.  
1971 1972

Caballo Tang, 1971

Brute beauty and valor and act, 1971


Caballo brioso, 1972

  1971 a 1973. Sumi-E, traditional drawing with Chinese ink, with master Koyo Okamoto.  


Caballo, 1973



The first exhibition dates back to 1974 and in his paintings of original expressions are recurring themes that will be enriched with greater depth and beauty in subsequent exposures. One of these topics was the representation of agile horses, which for Lucille Wong were revealing the force that comes incessantly in the search of the spirit up to the meeting of one himself.

   Clementina Díaz y de Ovando


1974. First individual exhibition.
1974 a 1976. Master in English Letters at the University of Kent, England.
1975. High temperature glazing in Canterburry, England.

1974 1975 1976

Samurai, 1974

Loto, 1975

The Nededles, Kent,
Inglaterra. 1976


Cuadriga, 1977


Marsala, 1977

Cargador, 1977


Rosa roja II, 1977


Mujer con flores, 1977


1978 a 1984. Painting, drawing, nude, philosophy and psychology of the art with the Master Robin Bond.


Bambú, 1978


Con los brazos abiertos, 1978

    El sol


Cuando al atardecer
como gota en el agua

como gota en el cielo . . .

las ondas se alejan
y desaparecen
como risas de niño color bermellón.

  Lucille Wong


Lucille Wong's ideas about painting are not logical, but magical. Its vision of the world rests on a definitive assumption: the identity between the human and the nature. Creating is to reveal the unit and harmony of the life, to cause the movement of the potency and secret faculties of the man; it constitutes at the same time an act of communion and a meeting point and conciliation with the essential energy of the universe.

   E. R. Blackaller


Exists in the chinese philosophy a concept called Wu Li. According to the way in which you use can have different meanings, but the essential meaning is " models of organic energy". This notion, in my view, represents the key to Lucille Wong's deeply compromised art. The intensity and the refinement of its work reveal an active participation in the nature and in the world.

   Robin Bond


1979. 1979. Exhibition. Picasso Gallery in Mexico City

  1979         Dos manzanas, 1979

            Pequeña flor, 1979


Sauce llorón azul, 1979


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