Without Beginning or End — The Trans-Temporal Art of Yeachin Tsai
Tsai’s lines—whether circular or straight—move. While literally static on the paper, they contain within them the energy of the artist’s gesture as they endlessly redraw themselves before the viewer. The two major traditions which inform Tsai’s work—traditional Chinese calligraphy and painting and modern abstraction—share an important kinesthetic ground. Critic Harold Rosenberg’s description of Abstract Expressionism as “action painting” is in many ways applicable to Chinese calligraphy and painting: the paper is akin to the canvas which becomes “an arena in which to act” and what we see in the finished work is “not a picture, but an event.” Tsai describes the action of her painting as “dancing in space and time with the brush.” Dance is a corporeal and temporal art form. What happens to all the corporeal movement of a dance as it is transferred to a painting? Where is its time? The energy or chi of Tsai’s dance is embodied in the form of works like Hooked (2017) from her “Icons” ...