ART Habens Art Review // Special Issue ART Habens Art Review - Special Issue #89 - Page 35

Tatawa (Wei Tan) ART Habens crave the freedom of spontaneity yet unable to manage the breadth of possibilities. I do not deliberately suggest such interpretations in my paintings, but I believe the audience might be able to pick up some of these contradictions and ironies. unapologetically. However what I found is that when someone tries to interpret my art, they often do it with a fear of “getting it wrong” or perhaps with a fear of offending the artist by misinterpreting the artwork. What I wish they knew is that it actually greatly satisfies me when I hear a “wrong” interpretation of my artwork, simply because as the artist herself, I do not have the ability to forget exactly how and why I made the artwork. An open interpretation keeps the artwork alive. I do not think that any creative output can be independent from direct experience. I believe that every expression is a response to something that has happened. I see my paintings as diaries and my painting process as journaling, hence the “journal titles”. Mourning the Loss of a Dream I was made after an argument with a friend which triggered the feelings of disappointment and disillusionment. Abdomen was made when I was experiencing abdominal pain. Random Memory Generator was made after a regression therapy session. So on an everyday level, my art literally reflects direct experience. On a greater level, it is no different – my improvisational painting style is a direct response to my feeling of suffocation in the past. To me it is impossible to separate the mundane, everyday life from artistic production. Even if an artist intends to base an artwork on this separation, the I never preconceived a central idea for my work, but in retrospect it would be the idea of journaling. I like to collect and archive things – photos, writings, artwork, music, even clothes. It is an obsession with preserving the past. My paintings are an attempt to capture and record moments in my life. It is ironic that I value the fluidity of personal evolution yet unable to reconcile with the disappearance of old things. Another central theme is that my paintings are confessional. In life I am often overwhelmed by choice and the consequence of wrong choices. As an artist I was overwhelmed by the options of what to create, so much so that I gave up on choosing and resorted to confessing. I used honesty as my limitation – although honesty itself changes. Again it is ironic that I 21 4 06 Special Issue