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The Day Is at Hand: Daozi’s Calligraphy and Painting Exhibition

Dao Zi

Apr 3, 2021 ~ May 29

The Day is at Hand Danqing Chen It must be extra enjoyable to compose a poem to draw a picture, or draw a picture to compose a poem. I can't be a painter, or a poet who only writes, if I don't have the chance to enjoy. Although I am familiar with the joy of painting, looking at Daozi's subsequent paintings, I was infected with a strange pleasure. Is that the pleasure between poetry and painting? "Book Burning", "Sacrifice of the Sea", "Darkness at Noon", "the Blind Angel Weaving the Lightning into the looted Head"... I don't believe that he drafted these verses in advance. When he starts painting, he is no longer a poet—the entanglement and carnival of pen and paper belong to another dimension—when the painting is finished, the poet wakes up, jumps up, and intervenes, so there is "Elegy of the Righteous", "Skull of the Prophet", and "Ocean of the World", "Do not Go Gentle Into that Good Night." What does that mean? I don't guess the title of the painting, nor do I guess his painting. Even if he hides in painting because of despair, painting is still an extremely pleasant thing, and may not be equalized with emotions, thoughts, concepts, and even poetry: painting is close to a game. (Perhaps poetry is the same, but I don’t know.) Daozi is not the "amateur" painter we usually meet. Seeing his affirmation, recklessness, and changeability in his control of scales and patterns, his autonomy, spontaneity, and freedom of pen control, he is like a senior painter. What surprised me was that his first painting was completed in the early years of the new century in his forties. If he did not enter the painting world, he would not paint relentlessly, and his paintings would not be pleasant....

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