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Silencio del papel
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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
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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. Her reservations against the color gave up little by little with the time and the crystal of the gaze poured on the paper the luminous range of the solar spectrum, but her love for the line shines with unmistakable force in her paintings, even in the most abstract.
E. R. Blackaller
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Drawing is a ceremonial act: It changes with the pencil, the charcoal or the inexhaustible catalogue of inks and brushes, transforms creation into rite and makes out of the painting a cult and out of each exhibition the feast.
E. R. Blackaller |
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1970. BA Degree in Modern Literature at the National Autonomous University of Mexico, UNAM.
· Poem Silence of the paper.
· Human figure with teacher Guillermo Santi. |
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1970 |
Flores, 1966 |
Abuelo, 1970 |
Niña dormida, 1970 |
Día de San Juan, 1970 |
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1971. Chinese language and calligraphy in the College of Mexico. |
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| 1971 |
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1972 |
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Caballo Tang, 1971 |
Brute beauty and valor and act, 1971 |
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Caballo brioso, 1972 |
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1971 a 1973. Sumi-E, traditional drawing with Chinese ink, with master Koyo Okamoto. |
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1973 |
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Caballo, 1973 |
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The first exhibition dates back to 1974 and in her paintings of original expressions are the 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 are the revealing force that comes incessantly in search of the spirit up to the point of meeting one self.
Clementina Díaz y de Ovando |
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1974. First individual exhibition. Prima mostra.
1974 a 1976. MA Degree in English Literature at the University of Kent, England.
1975. High temperature glazing in Canterburry, England.
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| 1974 |
1975 |
1976 |
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Samurai, 1974 |
Loto, 1975 |
The Nededles, Kent,
Inglaterra. 1976 |
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Marsala, 1977 |
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Cargador, 1977 |
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Rosa roja II, 1977 |
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Mujer con flores, 1977 |
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1978 a 1984. Painting, drawing, nude, philosophy and psychology of art with Master Robin Bond. |
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| 1978 |
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Bambú, 1978 |
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Con los brazos abiertos, 1978 |
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El sol
Porque
Cuando al atardecer
cae
como gota en el agua
cae
como gota en el cielo . . .
las ondas se alejan
y desaparecen
como risas de niño color bermellón.
Lucille Wong |
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Lucille Wong's ideas about painting are not logical, but magical. her vision of the world rests on a definitive assumption: the identity between the human and nature. To create is to reveal the unity and harmony of life, to cause the movement of the potency and secret faculties of 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 |
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Exists in the chinese philosophy a concept called Wu Li. According to the way in which it is used it 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 her work reveal an active participation in nature and in the world.
Robin Bond |
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1979. 1979. Exhibition. Picasso Gallery in Mexico City |
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