Tao-The Way Final

8/4/2019 Tao-The Way Final

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TAO / THE WAY

Recent workby

ADAM T. BERNARD

HARVEST MOUNTAIN

World Financial Center

Courtyard Gallery

September 29 November 5, 2011

Tao in Chinese means the way as in a path or journey, the way of, as in the way of the

brush, the way of tea, the way of ceramics, the way of the sword. It is also the name of a

religion and philosophy that started in China thousands of years ago, and talks of the spiritual

way of Heaven, Earth, Man, and the myriad things that surround them. Perhaps one of the

most famous practitioners was the old gentleman, Lao Zi who wrote a little book called the

Tao De Ching.

The exhibition starts with selections of tea ceramics displayed in cases lining the gallery

hallway. On the right wall are hung traditional ink paintings and calligraphy mounted as hanging

scrolls that would be used in the preparation and appreciation of tea, the Way of Tea, but also

in creating the proper environment and setting to gather with a group of friends or like-minded

individuals and partake in a unique gathering that exists only for a short period of time, never

to repeated in the same way again. The time, place, people, utensils, environment, and lessons

would be different each time.

As one walks through the hallway encountering the different types of ceramics, the paintings

change from traditional ink paintings and calligraphy to abstract expressionist calligraphy.

As the paintings change so to do the ceramics, switching from traditional to more modern

interpretations.

This is a journey not only through the different type of objects used in the Way of Tea, but also

a progression of my studies and work in mounting, painting calligraphy and making ceramics,

starting with the traditional styles and ending with the more modern and my own style. We seethe Traditional of the East meeting with the Modern of the West as inuences from both come

to play and are synthesized together.

Although the physical manifestations, the forms of the paintings, calligraphy, and ceramics

may change, the underlying ideas of Taoism and Chan (Zen) that are expressed and inspired by

them remain the same. They are an expression of lessons learned while spending eleven years

in Taiwan working as an apprentice to a master potter, scroll mounter, and in the Dao Chang or

meditation hall.


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The Way of Tea originally started with Chan priests in Song Dynasty China (960-1276AD) and

then spread to Korea and Japan. Tea was prepared as priests gathered for group meditation

and instruction. The preparation and drinking of tea was a way of centering and preparing

oneself and the group for the meditation session that followed. It not only served to keep one

awake but also as a reminder that every one was here for the same purpose to meditate and

learn about the true nature of our minds, to train them and quiet them. The way of tea became

a method of teaching, of moving meditation, another way to train the body and mind to be

aware and totally focused on ones actions and to strengthen and calm the mind so it would not

be whipped around by thoughts, feelings, or desires, like a ag battered by the wind.

As we move further through the gallery, the paintings on the wall change to plays in black ink,

relating to the breath and movement of Qi in the human body.

Upon entering the interior gallery, we are surrounded by giant ink paintings that are

interpretations of Song dynasty rock gardens. These gardens, like their Japanese descendants

would have been raked, cared for and attended to on a daily basis. Some of the basic

philosophies of Taoism, Chan (Zen) and Buddhism would be expressed in them by a grouping

of rock, trees or bamboo, forming a picturesque scene, like something out of an ink painting.However, the underlying meaning was not about the nal look of the garden but the work that

went into creating it and what the garden represented. All these actions are another way of

practicing self-cultivation, of moving meditation, of focusing the mind and paying attention to

the breath. Each action whether it be raking gravel, picking up leaves off the ground, grinding

ink, the sweep of the brush on paper, kneading clay, ring a kiln, pouring or whisking tea, even

the placement of one foot in front of the other as you walk down a busy New York street, is an

opportunity at self cultivation, stilling the mind and reconnecting to your breath, of being aware

of and becoming one with the moment.

So as you make your way along the journey of this exhibition, traveling with me through eleven

years of work and life in Taiwan, and now New York, it is my hope that some of the thoughts

and feelings emanating from my work resonate with you.

Thank you,

Adam T. Bernard

Harvest Mountain

September 4, 2011 Year of the Rabbit


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Adam T. Bernard

Harvest Mountain Studio

Adam T. Bernard is a potter, abstract expressionist calligrapher, conservator, and mounter of

Chinese calligraphy, paintings, and folding fans, who lived, conducted research and taught in

Taipei, Taiwan for the last eleven years. He now lives in New York City.

Pottery

Adam T. Bernard is the disciple of the third generation master potter Weng Guo Zhen

and has spent the last few years working in the pottery town of Ying Ge under his masters

instruction.

In Spring 2008 Adam T. Bernard was given the name Xiang He Shan (Harvest Mountain)

by his teacher in recognition of his skills and his joining the lineage of Wong family potters as

an ofcial disciple. He signs all his work using this name. The following Spring he went to Uji,

outside of Kyoto, and studied at the Asashi kiln.

The Tea Ceremony

Adam T. Bernard throws a wide variety of forms, makes and res his own glazes, and seeks

inspiration from the mountains behind his house, Tai Ji, and from the way of tea. He has been

an avid tea drinker all his life and moving to Taiwan allowed him to research the beginning of

drinking tea in the Tang Dynasty in China as well as the formalization of the tea ceremony as

conducted by Chan monks in the Song Dynasty.

He has studied both the traditional Taiwanese way of preparing tea as well as taking classes in

Japan at the Urisenke school in both Tokyo and Kyoto.

Calligraphy

He began his training under teacher Li in Pan Chiao, Taiwan in Spring 2000 and has been

practicing every day since. He has been greatly inuenced by Wang Duos cursive, Huai Sus

crazed cursive, and small seal script. He is currently being inuenced by his friend and

neighbor, Su Dong Po (teacher Ke), who is one of the top calligraphers and ceramic cobalt blue

painters in Taiwan.

After spending ten years studying, researching, writing, and painting in the traditional styles ofChinese ink painting and calligraphy, explains Adam T. Bernard, I was told by a friend that I

would never be considered a calligrapher because I wasnt Chinese. It felt like a great weight

had been lifted off my shoulders. I no longer had to follow the strict, narrow views of how a

word should be written and what it should mean. I no longer had to squeeze myself into the

ever-crowded and shrinking box of traditional calligraphy. Instead I could go off on my own

and draw from my American and Western heritage of painting and mixed-media and walk my

own path, that of abstract expression calligraphy, drawing upon all that I have learned and


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studied before, or as I once wrote following in the footsteps of the ancients, I must go beyond

their words and deeds .

Scroll Mounting and Conservation

When Adam T. Bernard rst arrived in Taiwan in Fall 1999, he began studying calligraphy

and painting which lead him to the art of scroll mounting, and his work as a conservatorand mounter for various private studios in Taiwan. He mounts all his own work in Chinese,

Japanese, and modern styles, and has studied under and worked with Gu Xiang Mei of

the Freer and Sackler Galleries at the Smithsonian in Washington, D.C. and Ye Zhi Ming

of the Palace Museum of Taiwan,.

Tai Ji and the way of tea

In his spare time Adam T. Bernard practices Tai Ji sword and st and is a certied teacher and

disciple of the Chen Family Style of Tai Ji st () and Kun Lun sword style

. His sword teacher was Meng Shi Ming and his Chen style Tai Ji teacher is Huang Jian Hao.

When hes not busy working, he practices the way of Tea as a form of self -cultivation and

inspiration, and researches the origins of the Chinese and Japanese tea ceremonies and their

inuence on the arts.


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EXTERIOR GALLERY

In the shade of pineHanging scrollInk and light color on gold ecked paper130 x 45cm2004

Painted in the style of Ma Yuan of the Southern Song Dynasty (11271279ad)A scholar reclines in the shade of a rugged pine tree in the mountains.

The calligraphy, a poem from Tao Yuan Ming, reads:

In the east garden stands a green pineHidden was its form by brush and creepersNot before frost had cut them downDid its lofty branches burst into sightNone would have been aware of it in the forest

Alone admiring the wonder it inspiresI hang up the wine pot on its cold branchesOff in the distance I turn my gaze

Amidst the illusion of my lifeWhy be harnessed by matters of this world of dust

This is one of the rst paintings I made that satised me, and that I enjoyed viewing. Eventoday, almost a decade later, I nd when I hang it, it still is a very soothing and powerful piece.


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Tasting teaHanging scrollInk and light color on silk162 x 39cm2006

Painted in the style of the Zhe school of the Ming Dynasty (13681644ad) a group of friendsrecline in a natural setting and drink tea. The joke here is that tea is usually drunk after a boutof drinking to sober you up so you can get home. You can see the cask of wine and cups nearthe table.

What can I say? Most of my friends in Taiwan were artists by trade or nature and we spent afair amount of time imbibing. I would hang this painting in my house to set the right tone, whenfriends would come over.


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Song of the pinesHanging scrollInk and light ink wash on gold ecked paper203 x 37cm2006

On a mist enshrouded, craggy peak, lone pines stand sentinel. The calligraphy in the upperright hand corner of the painting, written in slim golden style reads:

Looking before me I cannot see those of ancient times,Looking behind I cannot see those who will come . . .

In ancient times it was very common for scholars and ofcials who felt unappreciated to headoff into the mountains to clear their heads and write poems of their feelings. This was one ofthe few acceptable ways of expressing themselves.


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Visiting a friendHanging scrollInk on cicada wing paper132 x 45cm2006

Uniquely mounted like an album page so friends could inscribe poems on it. Painted in thePoMuo Broken Ink style, a traveler with umbrella climbs through a misty mountain trail to visita friend. The calligraphy written in Slim Golden style is of two poems. From left to right the

poems read:

A passing rain brings out the color of the pinesAs I follow the mountain trail to the waters sourceStream and owers, here is the meaning of stillnessToo subtle it is for words

In the mountains after seeing off my friendThe sun sets as I close my thatch doorWhen the grass of spring, next year turns greenWill you return?


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StillnessHanging scrollInk on silk36 x 131cm2008

A lone gure reclines by a pool of water in the mountains, contemplating the waters ripples.

When I rst painted this it was to describe contemplating heaven and hell. When one sits andthe mind wanders, and streams of thought lead you to remember past misdeeds or suffering, itis as though you were in the ames of hell itself. Conversely, when the mind wanders and youthink joyful, fun, or exciting thoughts, its as though you were in heaven itself.

But the thing about heaven and hell is that they are two sides of the same coin. You canthave heaven without hell, nor hell without heaven. One leads to another and back again. It isa continuous cycle that never ends, bouncing back and forth. Back and forth is really quiteexhausting. This up and down is not constantit is impermanent. You are never always happyor always miserable, but uctuate between the two states. So, perhaps the best way to be isin the middle, neither happy nor sad, just being. The mind xed and aware of these passingimpermanent thoughts and feelings.


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Tian MuVesselStoneware,Tian Mu glaze, Ash glazes23 x 23 x 23cm

I sit and watch at the time the clouds ariseHanging scroll

Ink and light color on gold ecked paper53 x 133cm2005

Painted in the style of the Southern Song master Xia Gui, a scholar on a mountain peak staresinto the distance at a mountain range. The calligraphy written in Slim Golden style is a line fromthe Tang Dynasty poet Wang Wei, and reads:

I sit and watch at the time the clouds arise

I used to live by a mountain range in Taiwan, called Yang Ming Shan, or literally bright light ofthe Yang energy mountain range. On my breaks between mounting or painting I would jumpon my motorcycle, ride to the summit, and look down as the clouds would sweep across the

sky from the ocean. In the span of minutes it would go from shining sun to a sea of swirling,enveloping mists and you could feel the cool moisture of the mists on your goose pimpledesh.


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Fisherman at DawnHanging scrollInk and light color on silk50 x 128cm2008

Painted in the style of the Southern Song master Xia Gui, shermen set off at rosy dawn toprepare their nets for the days catch. As this still done today, you occasionally see sherman inTaiwan preparing their nets and skiffs at dawn to go out for the days catch.

There is a word in Chinese calledxia(pronouncedshia), and is used to describe a rosy red-orange color of the sky as if molten metal cooled and you could watch the color change fromorange to red. That is the feeling I was trying to capture.

Cold Mountain templeHanging scrollInk on silk

45 x 158cm2006

Painted in the style of the Northern Song Dynasty (9601127 ad) a temple complex sits nestledin a majestic mountain range shrouded in clouds.


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Back Row

Tea Leaf JarStoneware, Grass glaze6.5 x 6.5 x 14.5cm

Front Row

ZensetsuTea cupZensetsu glaze and ring11.5 x 11.5 x 6cm

Tea PitcherStoneware, Ash glaze,Broken Earth throwingtechnique10 x 12 x 26cm

Tain Mu Tea potStoneware, Tian Mu, Ashglazes17 x 10 x 10cm

Crane head vaseStoneware, Ash and Grassglazes10.5 x 10.5 x 17cm

Waste water bowlnamed RusticStoneware, Ash glaze15 x 15 x 12

Female ImmortalHanging scrollInk and light color on silk

65 x 138cm2007

A female immortal riding a crane passes by the rushing torrent of water among mistenshrouded rocks.

In ancient times, emperors would build intricate rock gardens of great beauty on their palacegrounds in the hope of enticing passing immortals to come and live there. In a way, I was doingthe same thing by painting this image.


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The HawkHanging scrollInk and light color on silk61.5 x 185cm2005

A hawk dives on its unsuspecting prey as birds chatter at one another in a mountain stream. Iwas inspired by some of the paintings I had to restore while working at the Freer and SacklerGalleries in Washington, D.C. as well as a Zhuang Tzu story that tells of a buttery that alightson a branch, unsuspecting of a mantis standing behind it about to strike. The mantis itselfis unsuspecting of a bird standing behind it, ready to pounce on the mantis. And behind theunsuspecting bird is a hunter drawing his bow and taking aim at the bird. Finally, in the story,the hunter is not aware of the park ranger standing behind him ready to clap him in irons for

poaching. And so it goes.

Fo Mo Zuen

Stoneware, Seto glaze15 x 15 x 25cm


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Cranes at play

Hanging scrollInk and light colors on silk40 x 151cm2005

Frolicking among mist enshrouded trees, a group of cranes play while catching sh.


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Guan Yin Seated on a foating lotus

Hanging scrollInk and light colors on silk30.5 x 158cm2005

Guan Yin is the goddess of mercy and compassion, whose name means to see and hear thesuffering of people, in all the worlds, piercing through space and time. She sits on a lotusoating on the waves of the sea of suffering and stares up at gold shrouded Buddha-likebeings.

This is a very moving piece for me. The goddess, who sees our suffering and tries to helpus, who can see us to the very core of our being, is oating on a lotus, which is a symbol for

enlightenment. As a lotus grows out of the mud, we can gain enlightenment in this world of dustand suffering. The goddess looks as if in supplication or acknowledgement of our suffering, in away sharing our suffering at these golden tranquil beings, a symbol for the peace and tranquilityour minds are capable of, yet do not possess. For instead, we are battered around by the wavesof desire, emotion, and craving, on this sea of suffering. In a way this goddess is the same asusall of us are battered around on the sea of suffering. I nd this thought very poignant.

OrchidsHanging scrollInk on paper132 x 102cm2007


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\UnmovedStoneware, cobaltand iron underpainting

24 x 24 x 24cmUnmoved comes from the phrase the eight winds blow but Im unmoved ( ).This would be written on a hanging scroll and hung during a tea gathering and would be usedto teach the participants during in this form of moving meditation. Written in iron underglaze

on the front are the large characters for unmoved () and to the side on the left the eightwinds:

Advantage DisadvantageInsults Praise

Compliments Ridicule Bitterness Happiness

These eight winds blow across our mind on a daily basis, upsetting our minds natural balanceand we grab at and attach to the emotions these eight winds manifest, and take them forbeing real, when in fact they are impermanent, they do not exist, they our not our bodies, ourminds, or things that we can control or poses. They are uncertain and impermanent. They arehere and gone, like the morning dew, or a ash of lighting. It is our job to steady our minds,to train our minds to see things as they are and not as we want them to be, so we are notwhipped around by the winds of our emotions, battered here and there by praise or blame,

happiness, or sadness and thus suffering. On the right side painted in cobalt blue is Budai,a famous Tang Dynasty monk who practiced Qi Gong point upwards at our original nature.Painted on the left side in cobalt blue and iron is an orchid.


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Inside the pot, days and nights are longHanging scrollInk on paper27.5 x 170cm2010

This phrase comes from a story that takes place during the Eastern Han Dynasty in China andwas the title of my last exhibition in Taiwan.

In Chinese this phrase conveys a feeling of tranquility, of time slowly passingof contentment.

In ancient times, gourd shapes and certain styles of pots and vessels were symbols of peoplelearned in Taoist practices of health and longevity, and denoted the person carrying them or abuilding upon which the pot or vessel was hunglike a signas a healer or doctors ofce.

Once upon a time sick man who had been unable to be cured of his ailment by ascore of doctors sought out a famous healer, rumored to be an immortal, who wassaid to be capable of curing anything. Finding the healers location, due to the pot on

the roof, he went into the dwelling and was quickly cured by the doctor. Convincedthat the doctor was truly an immortal, the man waited patiently outside the ofce tosee where the doctor would go after he closed shop.

Late into the evening, the doctor nally emerged, locked up his shop, and in one greatleap he jumped up and disappeared into the pot on the roof. Amazed the man staredand nally regaining the ability to speak, he called out, asking if the doctor was in facta powerful immortal. The doctor ew out of the pot and appeared beside the man and


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said, Any person is capable of doing this simple task. Grabbing the mans hand,together they ew up to the roof and disappeared into the pot on the roof.

Inside the pot, the man felt totally calm, peaceful, tranquil, energized, and at ease. Hisbody no longer ached, he no longer felt physically weak, or spiritually drained, andhis mind was no longer tormented by his sickness and fears about recovery or death.

Thanking the immortal he took his leave and jumped out of the pot and down to theground. It was daylight and people were slowly lling the streets, going to marketand going about their daily business. Strangely enough, the clothing they wore wasdifferent in style, and the faces of the shop keepers he had passed by earlier thatday on his way to see the immortal, looked aged; their once black hair now grey,and in some cases even white. The man went to the nearest stall of a fruit seller, whohe used to buy from daily, and looking at the calendar nailed to the wall behind thesurprised merchant, saw the date. Fifty years had passed.

The pot in this tale is a metaphor for ourselves. We can nd peace and tranquility within.With the right practice of meditation we can calm our minds and bodies improve our healthand increase our lives. In this story, a small pot held just enough tranquility for one to know

contentment and peace of mind. Inside the pot the man was not concerned with greatsuccess, riches or desires, but instead was content with what he hadpeace of mind. Ofcourse, we do not live in pot, such a tiny place, but instead in a great world where we can haveand do almost anything we desire. Why then are we unhappy? Because we do not know ourown minds, we cannot still its tumultuous meandering and learn how to be content. Insteadwe focus on the externalobjects, people, situations, jealousies, perceived slights and ourdesireswhen we should turn inwards, quieting our minds and focusing on our breath.

In the way of tea () the phrase In the pot, days and nights are long is often written inlarge Chinese characters, mounted in a hanging scroll and hung on the wall, during a quietmoment for a cup of tea. It reminds one to seek contentment in the here and now, to focus themind on the moment, to nd contentment with in, for we are all pots and have with in us theability to nd tranquility and peace.


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Calligraphy in the style of Huai SuHanging scrollInk on paper40 x 125cm2008

Written in Grass Script is an excerpt from the Tang Dynasty calligraphy master Huai Susautobiography. Huai Su was a brilliant calligrapher who brought this short hand style ofcalligraphy to a very high level of sophisticationit is the soul of this owing script. He was amonk in the capital of Cheng Du, and his love of calligraphy and wine led to him associate with

many notable poets and artists of the time. It also led to his eventually leaving the clergy, asrealized he enjoyed spending his time drinking and writing more than chanting sutras or sittingin meditation. The calligraphy reads:

A distant Crane has no companionsA lonely cloud has no where to perchWhen Im crazed the world means nothingWhen Im drunk it all makes sense

I wrote this both in order to practice my grass script and because the movement and energyof his characters and the sentiment he conveyed moved me.


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Wake UpHanging scrollInk on paper27.5 x 180cm2009

Pronounced in Chinese as He and Japanese as Katsu, it means to wake up. It comesfrom Crane style qi gong where the dantian, the spot just bellow the belly button where Qi(primal energy) is stored and stimulated as one cries He! This wakes up our Qivery quickly. InJapanese, Zen monks often shout this at people who fall asleep while sitting in meditation orwhen someone says something pretty stupid.

Jin VesselStoneware, Ash glazes20 x 20 x 40cm


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Wu WeiHanging scrollInk on paper46 x 151cm2001

One of the hardest phrases to translate from Chinese and explain in English, this comes fromthe phrase wu wei ar wei.It means to act without the pretensions of action, to actnaturally, but in the sense of being aware and in tune with your original nature. It means to actand live with a mind unencumbered, unaffected by ones surroundings, situations, or emotions.To be free of the control of our senses and the desires that interacts with and stimulates them.To have a mind that is still, at peace, and not moved by the phenomena around it.

This is one of the rst pieces of calligraphy I wrote when I started studying over a decade agothat has survived. I was very much aware that I needed to nd my own style and wanted tocombine both my Eastern and Western inuences, yet was unsure of the path and so stumbledalong. Now, ten years later, I nd myself still trying to understand what this truly means.

Fire

Hanging ScrollInk and light color on paper41 x 114cm2001

This is the second piece of calligraphy that I wrote and kept from 2001. I tried to use colorlike the Abstract Expressionist painters of the 1950s but I later realized I didnt want to justimitate Jackson Pollock. Stumped, I stopped experimenting and focused on just learning thetraditional styles.


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WuInk and light color on paper

65 x 130cm2010

What does it mean to be empty? Not empty in the sense of the West where it has the negativeconnotation of lacking or loss. But empty in the sense that there is space that can now be lledup with what you want. Space that is in its primal state of becoming. Space at the point whereanything can happen. The point right before the Big Bang, where everything explodes intobeing.

This is sometimes illustrated with the story of the master pouring tea for the student. Themaster pours a cup of tea for the student and doesnt stop until the tea overows onto theoor. You are like this cup, overowing. There is no space for my teaching or what you couldlearn. The master then takes the cup, pours it out and hands it empty to the student. Youneed to be empty like this.

I keep coming back to this word, trying to understand its meaning and the various forms ittakes. It was one of the rst words I studied and wrote eleven years ago when I started toexplore calligraphy. Wu or Mu in Japanese has so many ways of being written in so manydifferent styles of calligraphy that I keep coming back to it again and again like a novicelearning to write for the rst time.

Some say the original meaning and writing of the word comes from the ancient Chinesewhere is denotes the space of the locking mechanism between a harness and the cart of a

war chariot. Yet some of the original pictographs look like the hearth inside of a home whereplants are burned as fuel for cooking or warmth, and now the modern character looks like rereducing something to ash. And so we come back to the questionwhat does it mean to beempty?


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Shan Yang wide vesselJi Zhou Style glaze and ringStoneware, Broken Earth style throwing26 x 26 x 24cm

VoidInk on paper mounted on canvas

73 x 91cm2010

From the series Inside the pot, days and nights are long.


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Yang HuInk on paper mounted on canvas65 x 195cm2010


Yin HuInk on paper mounted on canvas65 x 195cm2010



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Jin Style PotStoneware, Ash and Grass glazes30 x 30 x 30cm

Jin Style vaseNamed: RuStoneware, Ash glaze12.5 x 12.5 x 26cm

Peach Blossom HuInk on paper mounted on canvas65 x 195cm2010



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Year of the Ox PitcherStoneware, Ash and Tian Mu glazes30 x 30 x 30cm

BreathInk on paper mounted on foam board96 x 125cm2010

Return executed in four partsInk on paper mounted on foam board91 x 98cm2010


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Tian QiuVesselStoneware, Ash glazes22 x 22 x 30cm

Rock Garden 2Ink on papermounted on

board130 x 260cm2010


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Jia Gu WenJi Zhou Style glaze and ringStoneware, Broken Earth style throwing15 x15 x 29cm

This piece is from a body of work inspired by my research in Jia Gu Wen, the rst forms ofChinese writing from 5000 years ago and the 11 years I spent living and working in Taiwan.

Jia Gu Wen were pictographs that were carved into primarily on the underside of tortise shells,

and occasionally on the bones of oxen, and human sacricial victims. They were the wordsof divination, of fortune telling; asking the gods and spirits of ones ancestors where to hunt,whom to marry, the reasons for sickness, success and failure in life. After the words werecarved into the bone, it was then placed into a re, where it cracked due the heat. After beingremoved, the shaman/priest would read the meaning of the cracks in the characters and givethe spirits/gods response to the questions. The cracks on the bones gave new meanings to thewords, leading to the creation of new words, and eventually lead to the Chinese script that isused today.

INTERIOR GALLERY (left to right)

z

Bowl named Visions of SpringZansetzu style glaze and ringMixed clay, Broken Earth stylethrowing24 x 24 x 10cm


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Rock GardenInk on papermounted on board130 x 260cm2010

Rock Garden 3Ink on Arches Paper130 x 325cm2010



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Original NatureInk, Guache on Arches paper243 x 121cmSpring 2011


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Breath prt 2Ink,guache on paper mounted on foam board130 x 195cm2010

ShuFa FilmCinematography by Hector Adalid

www.hector-adalid.com


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