FEETLESS BIRD 無腳雀仔系列
Feetless Bird 無腳雀仔
“Feetless Bird 無腳雀仔” originated as a Cantonese slang term inspired by director Wong Kar-Wai’s film “Days of Being Wild (1990).” This expression characterizes a ‘bird’ without feet that drifts aimlessly in the wind, only coming to rest when it meets its ultimate demise.
Read about the story of the yellow-crested cockatoo here.
FLUTTERING MINDS
The Cantonese term “feetless bird 無腳雀仔” came from Wong Kar-Wai’s film “Days of Being Wild” (1990). It describes a bird that drifts aimlessly in the wind, only resting when it dies.
But what if the reality is this bird has nothing left but its wings? Corrupted by the toxicity of society and relationships, its body has been eaten alive since birth. It knows only how to flutter around, as if escaping is its only instinct.
“Fluttering minds I” (bottom)
“Fluttering minds II” (top right)
“Fluttering minds III” (top left)
55.8cm x 76.2cm
Oil-based monotype on paper. Printed in 2024
Concept
The series features ethereal, multi-layered depictions of wings in soft, muted hues of blue, pink, green, and gold. I began by asking the question, “What if the feetless bird is missing more than its feet?” and decided to create a series focused solely on the wings. I intentionally kept the compositions identical across all three pieces for two main reasons: to emphasize the theme of impermanence and the passage of time, and to concentrate on learning oil-based monotype and exploring color variations.
By maintaining the same structure, I draw attention to the subtle yet significant differences brought about by changes in color and tone. The first piece showcases delicate, pastel gradients that almost vanish into the background, evoking a sense of transience and fragility. The second piece presents more defined wings against a muted green backdrop, suggesting growth and resilience amidst change. The third piece blends warm and cool tones, symbolizing the harmony and balance found within life’s dualities.
Monotype technique
I also alternate between colored and white paper by BFK and Stonehenge. The colored paper helps reduce the number of layers required to completely cover up the white. However, the light effect created by the white paper is incomparable, adding a unique luminosity to the artwork.
Multiple monotype techniques were deployed during the process. For example, the muted blue gradients in “Fluttering Minds III” were done using a roller and presented a fair amount of challenge. To maintain natural and non-rigid patterns, each set of the gradient was done individually with a minimum of 4 days of drying time in between, which prolonged the completion of the piece to 4 months. Another significant point is the use of black and white mixing. Since this is oil-based, I am able to mix in black and white, which opens up a whole new palette.