Sam Szafran’s Painting Art Research

In view of the current neglect of natural reality and the abuse of subjective dominance in mainstream painting,the question of vision as a fundamental issue of painting needs to be re-examined.Since the Second World War,generations of pioneering artists have been proposing new ideas and creating new schools of thought,systematically transforming traditional painting with a mixture of media and the superimposition of various ideas and techniques in order to assert the dominance of the subject.As the subject’s will to dominate continued to expand,art’s inquiry into things themselves diminished and the question of visual depth was diminished.Moreover,with the rise of science,technological dominance became dominant and gradually replaced perception as the only way to understand things.The fragmentation and mechanisation of technology has created a fragmentation of the human and natural world that is becoming problematic.Based on these two points,the question of how to find the depth of vision and reconnect with things in a visual way has become a concern of figurative expression painters.As one of the representative painters of figurative expression painting,Mori Sanfang’s painting practice is a response to these issues.However,the knowledge of this artist in China is still insufficient and there is a lack of systematic research.Therefore,this paper will develop a comprehensive study of the artist through the analysis and interpretation of his works,quotations and related critical articles(mainly from Jean Clair and Situ Li).This includes his thematic generation using vertigo and spirals as clues;expressions supported by materials such as colour pastels,watercolours and silk,and the process of transformation from abstract painting to intuitive sketching and back again to viewing the intentional composition of flow.From visual issues to spatial issues,we learn that Mori Yamafata’s painting practice takes visual reality as a starting point for thinking about the spatial issue of ’perspective’,drawing inspiration from the ’spirals’ of plants and staircases,and exploring spatial forms to In his exploration of spatial form,he explores the depths of vision and offers us a new way of seeing the world.