The concept behind "Drop, then Fade" draws inspiration from the convergence of "negative space" found in traditional Chinese art forms, such as painting, calligraphy, and seal cutting, and the evocative paintings of contemporary Chinese-Canadian artist Matthew Wong. In traditional Chinese painting, the concept of "negative space" is integral, symbolizing the harmony between humanity and nature, accentuating the subject, and conveying a sense of boundless space to evoke profound artistic depth.
During a recent visit to the Museum of Fine Arts, I was deeply moved by Wong's works, which Raffi Khatchadourian eloquently describes as portraying "solitary figures, set adrift" amidst nature's overwhelming presence—whether depicted riding in a car at dusk or navigating through swathes of paint that seem to stretch endlessly. A discernible
dialogue emerges between Wong's paintings and the concept of "negative space."
"Drop, then Fade" delves into the musical interpretation of negative space, exploring how it intricately interacts with other elements—sometimes leaving them adrift, solitary, or overflowing, akin to ink drops diffusing into water and gradually dissipating. Within this musical framework, I integrate a poem I composed following my encounter with Wong's exhibition, adding another layer of artistic expression to the dialogue between visual and auditory media. / 2026-05-22T00:00:00Z
| Identifer | oai:union.ndltd.org:bu.edu/oai:open.bu.edu:2144/48841 |
| Date | 22 May 2024 |
| Creators | Yang, Guang |
| Contributors | Cornell, Richard |
| Source Sets | Boston University |
| Language | en_US |
| Detected Language | English |
| Type | Thesis/Dissertation |
| Rights | Attribution-NonCommercial-NoDerivatives 4.0 International, http://creativecommons.org/licenses/by-nc-nd/4.0/ |
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