Imitation vs. Representation

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Title : Imitation vs. Representation
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Imitation vs. Representation

Olina Chang asks: "I have a question [about the painting below]. When presenting these curvy overlapping shapes, you drew "the idea" of what looks like, like how the curvy, tangled way as you "feel" (or "the style" you saw), or what exactly you saw on site? (Maybe you saw 100 curvy tubes, but you draw 30 ones since they are so many ... ) Not sure how to express my question more precisely."


"Let me use the paparazzi people as an example. The three people you decided to leave in your painting, what they wear were what you saw during the day? Or you arrange them? (like the positions they stood to fit the composition, color, ... etc.) I like you show the thinking process of adding red-ish to stand out the green-yellow glass. That part make sense to me."

My answer: The people are stuck in one by one as people hit poses that seemed to fit. But about those curly forms, I like your question, and it's well expressed. There's not a one-to-one correspondence between each forms in my painting and real life.

It's the same with forms in nature, such as leaves or branches, or complex human-made forms like this. There's no way to paint every detail literally. So you have to recreate the character of the forms within the language that's possible in paint.

The person who expressed this idea most eloquently is Asher B. Durand in his "Letters on Landscape Painting." He drew a distinction between imitation, which satisfies only the eye, and representation, which satisfies the mind’s conception of ideal form. He conceded that a perfect copy of natural forms like flowing water or intricate foliage was impossible, but that the attempt to achieve it helped the artist develop methods that could be brought into service in recreating those forms back in the studio.


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