Energies in Movements Year 2008
First Site Gallery Melbourne
2008年，我第一次个人画展
地点： 墨尔本First Site画廊
2008, Yinghong was interested in developing an art practice that explores how a painterly process may be used to describe the absorption and releases of energy in human movements. She has been using painterly abstraction and 3D wall anoraks of on-regular shapes to investigate representations of human movements. Both sides of her paintings indicated ideas of positive and negative energies. Color is important in her work as it serves to symbolically describe various states of energy as it absorbed and released. She intend the color in he wall-works to reflect both on the wall and into the viewer's space. The shadow of her work was important too as it serves refer to movements. The cut-out and silhouette in her work described layers of recognition of energy of human movement.
The Space that measures distance 2010
Museum of Chinese Austrtalian History
2010年，有幸入选当年澳华历史博物馆的展出
Yinghong Sophia Li Studio李穎鴻藝廊
2009, Yinghong was engaged with the Chinese Buddhist concept of Kong to manifest in the form of paintings her everyday experience of being. Her concept of Kong is in turn informed by this practical activity of painting as well as philosophical discourse.
"Kong is one of the central concepts in Chinese Buddhism, and it acts for me as a model to understand my everyday experience of being". Translated literally 'Kong' would equal the term 'Emptiness'. However, as a concept it is more complex, in that Kong denotes the integrity and connection between both elements of apparently contradictory forces. For the purposes of this research project , she had paid particular attention to Kong as expressed through combinations of concepts such as Being and Non-being, Movements and Stillness, Control and Non-control, Positive and Negative, and Push and Pull.
Layering is a central element in her painting, and it seeks to manifest both the complexity of emotional experience of life, as well as the repetitive practice of everyday being. The thickness and quantity of layers are symbolic of such everyday activity and revealing of duration in the time and act of making. Color is important as variously monochrome, tonal or if chromatic then with a particular emphasis on color temperature. She also explored Pictorial space as variously ambiguous or concrete, deep or shallow. In order to manifest in painting the concept of Kong, Yinghong explored gesture as variously spontaneous or controlled. She used mark making as variously glazed, washed, moved, added, subtracted, scratched, bushes, or dripping.