New Watercolour Expressions 2012- INDONESIA

: Development Statement by Alvin Lee, Bung Lyol

   Secretary General , AWC  

  이붕열/ 李 鵬 烈  - 아시아수채화연맹 사무총장-

In the history of watercolour in the Asian region, the Asian Watercolour Confederation (AWC) has been working steadily, consistently, and harmoniously in various diverse ways over a period of 20 years to develop the quality of and increase the quantity of watercolour works.

In Korea, experience with the utilization of watercolour provides an edge for students wanting to get into art school at university level and many watercolour competitions have been held in recognition of its value as a medium that is widely taught as early on as in grade school; all of which belies the widespread idea in many circles that a watercolour work is little more than a preparatory step for creating a painting in another medium. A closer look at the complex and highly aesthetic works being created in the medium of watercolour would do much to debunk this assumption and help the public to better appreciate watercolour paintings and the use of the medium if only to fulfill their own creative need to indulge in watercolour painting as a hobby. If the public takes a closer look, this assumption would be countered immediately, thus, obviously they might have the wrong recognition overall in terms of its genuine worth of watercolour artworks as a medium, so we got a responsibility about it, and try to work constantly, in order to revise the knowledge of which a public became habituated theories and distorted views.    

Currently amateur watercolour painting clubs are all the rage, partially because people find it easy and convenient to take the materials with them to public green areas like parks, or even out of the city, where they can get some fresh air while exercising their creative spirit by painting landscapes and other outdoor scenes. Although a heartening trend in terms of pubic appreciation of watercolouring as an activity, this widespread amateurism brings with it the risk of devaluing the significance of this form of art and impacting respect for the medium as applied by the expert hands of professional artists. In my opinion, this trend could lead to a blurring of the line between amateur and professional in the eyes of a public that lacks in-depth understanding of the true complexity of the medium and the actual aesthetic and monetary value of works done by committed professional artists who have dedicated their livelihoods and lives to working in this medium. This is bound to lead to chaos in the process of determining the true worth of paintings in the art market in Korea; even among the more respected art auction houses. In my opinion, it is the responsibility of the professionals in this field of art to monitor the situation and familiarize the public with the true aesthetic measurement of the value of an art work, in this specific case, the value of watercolour paintings. This public awareness activity is imperative in order to ensure that no undue distortion occurs in the art market.

As I have mentioned above, it is a good thing that the number of watercolour enthusiasts is increasing. Yet, I certainly do feel the need to underline here that art professionals have the obligation to properly educate the public about the true status of watercolour as a medium, and about the creative essence that goes into a painting, which is, in fact, the key to determining its inherent value as a work of art.

The core issue in evaluating and determining the aesthetic and monetary value of a work of art is not the materials used, such as paper and water color pigments in trays or tubes. Granted, this medium seems to lend itself to ease of production of paintings. Anyone can purchase them, take them with them, and set up to paint with great ease. However, the core value of any work produced does not exist in the materials, but in the informed artistic process imbued with intensity by aesthetic considerations and high level painterly skills. Only through this process carried out by professional painters can the materials with their unique qualities and inherent value be utilized optimally to result in a masterful work of art of great inherent value. Watercolouring has been acknowledged as an excellent medium for creating colorful images from ancient times, and it is that tradition whose professional integrity must be kept intact.  

This is not to say that a painter requires a university education to create watercolour paintings of high intrinsic value. The key to producing quality work lies in the core talent and ability of the artist to express themselves creatively and aesthetically in their chosen medium; in this case watercolour. This natural medium with its luminous hues and ability to be dissolved in the readily available chemical vehicle of water has specific and immediately recognizable characteristics, which have motivating its handing down from generation to generation as it spreads in ever widening circles to encompass the attention of people living all around the globe. It is undeniable that artists and art lovers alike have long been entranced by watercolour’s inherent qualities and its beauty. What is needed to truly bring this medium to life in paintings is the artists’ unquenchable penchant for experimentation and continuous exploration and exploitation of its potential.

Now, within the contemporary context of the ubiquitous presence of art materials readily available to the public, the intimate connection between the medium and the skilled and dedicated artist is the key to being able to determine the true aesthetic and monetary value of a work of art. Within in this context, again I emphasize, artists who are currently active must teach the public what quality watercolours are by producing masterful works that draw appreciation and enhance the public’s understanding of aesthetic matters.

Accordingly, from now on, we should formulate and apply a new paradigm for watercolouring, and, if necessary even redefine what we mean by developing this type of artistic endeavor. It is for this reason that I am delighted at the aspect of the holding of the upcoming Safari Watercolor Expression Exhibition in 4 major cities across Indonesia, and expect that this will be a truly successful watercolour event.

Also, please let me take to opportunity to say how delighted I am to greet the publishing of a book on watercolour paintings by the organizers of the Safari Watercolor Expression Exhibition. I believe that is an amazing thing for the story of watercolour in the Asian region to be made know to a wider public. Hopefully both the exhibition and the book will motivate further discussion of the medium of watercolour in Asia. May the future of watercolour prove bright and prosperous in Asia.

Thank You,

Alvin Lee / 이붕열

Secretary General Asian Watercolour Confederation