Classical and Contemporary Art as Influenced by Kate Beynon Essay

Kate Beynon’s work is of particular interests because of her activities in shaping the current Asian art culture. The paper focuses on the works of this starling artist whose roots can be traced in Hong Kong city and Wales in Asia. Considering her performances in the Asian art and design arena spanning for the last three decades, the essay dwells on her past and contemporary works using particular examples. In addition, the essay also depicts linkages between her artistic works and with Asian culture as well as universal contemporary art. Kate Beynon is an Asian artist who was born Hong Kong city in 1970 and raised in Australia where her parents migrated in 1974. As a result, viewers observe a hybrid of Chinese expression in much of her artworks. She has made phenomenal impact in art scene through a variety of her works ranging from music to dance.

Artists assumes different identities in different scenes but in every situation, Kate Beynon’s literature comprising of poetry and fine arts presents a myriad of hybrid cultural backgrounds, borrowed from her Chinese origin¹ and carefully knit in her Australian lifestyle. Having development keen interests in art and design, she decided to study art as a professional course at Victorian College of the Arts. The knowledge acquired enabled her to blend Asian literature with her talents to draw and paint pictures depicting different timeless themes to both national and international bewilderment. It is interesting to note that prior to her schooling, Beynon had undertook initiatives to draw pictures of her reported Chinese origin from her own imagination. However, this did not leave out the role of myths and theories of ancient Chinese culture embodied in their cultural beliefs. Ideally, she found insight in polytheist history of Asians that claimed prowess in nature as it influenced the organization of human natural² and built environment. Her contribution to the contemporary international artwork under the influence of her diverse cultural orientations³ (featuring rich Asian heritage) however, found attention at the beginning of the 21^st century. Her debut into the international art and design arena includes The 2006 Archibald Prize in Melbourne, TerraWarra Biennial in Victoria and C’town Bling: art and the youth demografik in Sydney among other exhibitions featuring her paints in solo and group shows.

“A picture is worth a thousand words”, they say. Against this old saying, Beynon has endeavored to create highly definitive and descriptive images to the effect clearly portraying her visualization of fine arts. She continually animates objects with people in drawing in a manner that suggest close interrelationship between people and their environment. Modern art borrows many of its ideas from the immediate environment. In essence, contemporary artists study the association between their environments and people from different communities. Since history is so central to their work, modern artist find it inevitable to isolate people’s behavior from their culture and traditions. In addition, cultural perspective play critical roles in artwork that without it art will have to form new forms of communication. Based on these opinions, I find Beynon’s work a success story because it has influenced modern art in many ways⁴ from theme creation, contextual genre, color creation, balancing space but above expressing different views with tenacity that focus the attention of observes a unified impression. For example, many artists admit that creating harmony in between competing ideas in order to achieve a perfect picture that would result into a particular view is a daunting task. This is particularly clear in relation to themes such as political justice, religious rites, Beauty and love.

In addressing the present challenges encountered in artwork, involving political and social justice, in her drawing Excuse Me!, featured in Perspecta 99, in Sydney (1999). Beynon achieves satire in a striking way that leaves no doubt to authority’s oppressions. Just as if graffiti is a central cultural system of many organized groups around the world, Beynon also appreciated this form of individual and group expression through her pieces, Australian Graffiti and China town (2000). As usual, this drawing explores wall casts of naturally talented artists in a thought provoking way that leaves no doubt to the observers on the importance of history to the work of an artist. Successful artist with art productions commanding high bids in art galleries, shows and exhibitions also remember to do something in account of their past life thereby paying tribute to their history. Courtesy of Kate Beynon, different artist today make sober attempts to express their sentimental attachment to their locations and the society in which they belong through wall paintings and messages in form of graffiti.

Though extreme graffiti associated with cults and gang members transcends local authorities, Beynon tries to unravel these mysteries by emphasizing the positive aspects of the art and ends up influencing its development through sarcasm used in a variety of comic material available today. In my view, Beynon’s sarcasm in film and graffiti draws from her Chinese culture. These arts may be expressions of her nostalgia about her native land china in its present magnificent modernized state. In effect, she has successfully helped create new meaning to graffiti and wall paintings so that they gain relative resonance and credence in the modern international society. Kate Beynon is a wide acclaimed artist whose art and design work never fails to capture her Welsh-Asian origin. However, through her specialization in painting differentiated thus as Li-ji⁵, she has successfully managed to strike a balance between her Asian heritage inherent in paintings such as Warrior Girl Images based on ancient pacific stories written by Gan Bao in the 4^th century.

In this particular story, Gan Bao explores Zhiguai genre to develop the fairy tale of a demonic python that traumatized Jin and killed young girls. Yu Pai continues this narrative while creating premonitions about the mountains villages’ future propagations until Li Ji bravely intervenes to destroy the serpent. In the Warrior Girl Image, Beynon attempts to portray vivid descriptions of the mighty Li Ji. She adorns⁶ her with red Chinese costumes in graphic presentations available in printable copies. In Li Ji’s drawing, Beynon creates the image of a strong, stout and bold warrior completely in control of the mountain next to her. The use of a man as opposed to a woman in this triumphant story are seen as positive international signs of strength commonly depicted in classical arts. In particular, Beynon’s painting of the python that demonized young girls and Li Ji shows cosmic rays in the background to create an effect of dynamic speed that characterized the phenomena. On the other hand, viewers can interpret this design effect as rays of a rising sun penetrating the background common in most of her traditional images. Beynon featured these paintings in her category known as Cultural Revolution posters since the spanned the period of Chinese ancient social transformation.

The irony in warrior Girl 2000 opens the horizon for other stories and tales. Since it contradict the general belief that strength and might bear international acclamation of masculine attributes. With this dedicated spirit in hybrid art, one cannot doubt the inspiration of Asian heritage to the works Kate Beynon that traverses its significant influence in the modern design. International contemporary art widely employs modern visual technology in presenting the works of different artist from different parts of the world. Towards this effect, Beynon’s artwork derived from ancient Chinese culture as displayed in Australian galleries has greatly influenced contemporary art and design industry by her images available in print versions. This includes Warrior Girl and Peace Keeping Forces. After her successful graduation from the Victorian College of the Arts in Melbourne (1993), the 38-year-old celebrity has held more than 16 exhibitions featuring her paintings and drawings alone.

I consider this interesting because the artist is proud of her work that is inspired by a myriad of Asian and pacific cultures as well Western comic books. Viewers may immediately believe that her knowledge and experiences is co-influenced contemporary art to generate images that augur very well with the current art theatre activities. In particular, she draws her assessors to fantastic digital and print images with the influence of graffiti, films, fashion and calligraphy from her Chinese understanding. Consequently, this media forms the bridge with which she influences the contemporary fine art developments⁷. For example, from her painting of Li ji, the renowned artwork of Beynon has found prominence in international political satire thereby influencing themes of gender and racial discrimination. In effect, Beynon’s debut into international art and design arena in 1996 on an exhibition featuring Li highly influenced media art production and presentation.

From the vivid and candid portrait of Li that posed particular striking challenge to different nations’ regimes, today creative artists have the audacity to confront social stratification inherent in Asia, Australia and the rest of world. In addition, she has participated in 65 exhibitions organized in different groups in Australia, Asia and Europe. Consequently, her artworks serve as the hallmark of fine arts in different art Galleries in Australia and around the world. In Australia alone where Beynon lives, quite a number of her masterpieces marks Sutton Gallery’s hall of fame in Melbourne.

Hybridization⁸ of culture toward cultural identity in artistic expression portrayed remains carefully captured in the artworks of Kate Beynon. From the writings of Gan Bao, Beynon draws the picture of a python with a very big head and dazzling wide eyes. As rice is indigenous to Asia, Beynon likens the fragrance and the size of the pythons head with rice containers used in East China. The snake frequently appeared in the villages of Jin, and as the story unfolds, the python began to swallow young girls. Her inspiration follows immediately from the experiences of Yu Pao (another name of Gan Bao the name is sometimes pronounced as Kan Pao) when her sister disappeared in a cave. In comparison with contemporary art and design, Beynon’s work explores the deeper feelings ⁹of human emotions and sentiments that sustain visual art expressions. Generally, art involves imagery and creation of ideal situation in response to the challenges people face on daily basis. Hence, it suffices to have Beynon’s print pictures expressing passions of hate, revenge, and various animated perceptions. For instance, how else would Kate raise a star out of the painting of Li ji were it not for her majestic departure from the scene of the dying snake?

The manner in which she uses her weapons, a dog and a sword further expresses her anxiety to the disappearance of her family member in an imaginary tomb. This is typical of international art where various artists create images expressing views of passions experienced ¹⁰in their communities. Many artists create images of heroes from themes of people who dare to confront difficult circumstances and confront controversial issues with candid boldness and strength. Coincidentally, this is no any different from Li Ji’s experience when she confronted a dragon tormenting many villages in the mountains. In a proper imagination from this painting, one realizes the interesting bravery of Li ji, especially on learning that the snake dominated during a time when ghosts, ogres and ogresses were the main preoccupation of peoples relations with natural occurrences. Contemporary artists admit that people do struggle with their personal identify. However, through the works of Beynon, we develop better understanding of our identities following the basic question posed by the artist.

As many scholars in international literary field struggle to coin the meaning of human identity, they only end up with approaches in most cases. Hence, Beynon’s works plays the critical role in provoking self-reflective views of individual identity. Probably it is comparable to classical cases of persons with varied social backgrounds inherent in their culture even after settlement in new locations. Kate Beynon was first an Asian, then an Australian. Creating a juxtaposed hybrid art reflecting such a historical background in a way that creates both internal peace and maintains tranquility¹¹ with the new environments, continue to influence contemporary artworks in many societies around the globe. For example, in her country Australia these views have spurred art in various ways leading to production of films, videos and music that foster acceptance with one’s current situation despite incoherent ideas that often characterize illustrations of personal identity. Moreover, like sociology, geography and other disciplines in the realm of humanities, Beynon’s understanding of the self emphasizes the concept of origin and divergence of people from their common ancestry¹². This however, does not leave out the location where she traces her routes to Honk Kong. Therefore, her modern art borrows heavily from her creations to develop concepts important to the aborigines and African Americans alike.

The music industry in America is one such area of modern art where Beynon’s work had created wide impact. This possibly follows her educative and informative exhibitions in Brooklyn, Adeline and New York. Rap music and various other genres use her concepts of innate historical attachments to express different views in response to societal forces¹³. This is also evident in a wide range of her works. In Auspicious Charm (2008), she portrays a state of uncertainty for a woman trapped in the midst of confusion about cosmic actions. Beauty and love appear as two different identities that must act together for one to find tender treatment from a potential lover. The presence of two birds; one on the shoulder of the woman and one flying in the background shows the desperation of the sole woman to face any predicaments, her thoughts notwithstanding. This image has probably helped developed courage of contemporary artist’s particularly middle-aged women to express their passions despite the difficult conditions that might often jeopardize their moves. This limits the doubt that people may have about the contemporary art forms such as dances or songs provided the motive remains right and clear.

Moreover, Beynon has considerably contributed in the ability of modern art to define social relation with art. It is clear, by defining her life in isolation of her work that one immediately learns that an artist’s expressions of magic of superstition by illustrating ghosts, does not necessarily make him/her a witch or a wizard. That is, art expresses the views of other members of the society who may not have the gift of carefully presented their opinions. In my observation, I find that Beynon’s convey many Asian traditions in her paintings highlighting different themes as seen in the current world’s art and design. It seems as if she deliberately chooses what part of her traditional Asian culture inherent in her ability to use art in expressing different views.

The manner in which Beynon mixes her Chinese traditional heritage with current views in contemporary art produces interesting features of hybrid art. For example, Li ji in her painting of the Li ji we see a mighty warrior, holding sword in furry and strong swagger. Evidently, her creativity to use the sword as Li ji’s sole weapon shares a lot of similarity with the contemporary symbolization of strength in modern art just like in classical arts, masculinity and harsh weapons are universal symbols of strength. Beynon does not fail to exude strength of the mighty Li ji as she continues to create other figures. Beynon’s approach to the theme of beauty and love as orchestrated in traditional charm reflects the modern art in various societies that still depend on superstition. In her work

Following her prominence and important role in influencing contemporary artwork, Beynon’s efforts to establish a diverse art industry continue to attract necessary support. She is an inspiration to many upcoming and established artists in Australia and overseas. Through her works that reflect different situations she has encountered in class and in real life situations, Beynon’s professionalism is a particular reason spectacular acknowledgement in the contemporary art exhibitions and expos. It is therefore undoubted that one can use art through various forms ranging from panting to singing to obey social diversities that distinguish different artists. Above all, her works influence on contemporary art based on her Asian origin and the influence of Australia, Beynon’s role in bridging the divide between comic illusions and real life occurrences stands out as her greatest contribution to development of art and design.

Bibliography

1. Beynon, Kate. From the Dreams of Li Ji, Sutton Gallery, Melbourne, 2002
2. See Stuart Koop, ‘Warrior Girl: Kate Beynon’s tussle with language’, in Art Asia Pacific, issue no.29, 2001, pp.55–61.
3. Claire, Williamson & Snelling, Michael. Beyond: Austral/Asian Interactions. Australian Centre for Contemporary Art, Melbourne: Institute of Modern Art, Brisbane, 1996.
4. De Woskin, Kenneth & Crump, James (Translators). Gan Bao In Search of the Supernatural: The Written Record, London: Stanford University Press, 1996.
5. Fourth, Gregory. Dualism and Hierarchy of binary combination in Keo society. New York: Oxford University Press, 2001.
6. Margaret, Atwood. Negotiating with the Dead: a writer on writing, Cambridge: University Press, Cambridge, 2002.
7. McDonald, Helen. Erotic ambiguities: the female nude in art London: Routledge, 2001
8. McKenzie, Robyn. ‘Kate Beynon’ 1996 Adelaide Biennale of Australian Art (ex. cat.), Art Gallery of South Australia, Adelaide, 1996, pp.50–5.
9. Stuart, Koop. Warrior Girl: Kate Beynon’s tussle with language Art Asia Pacific, no.29, 2001, pp.56–-61
10. Tunnicliffe, Wayne & Hetti, Perkins (ex. cat.). Living Here Now, Art & Politics eds. Art Gallery of New South Wales, Sydney: Australian Perspecta 99, 1999.
11. Woskin, Kenneth & Crump. In Search of the Supernatural: The written record, Stanford University Press, Stanford, 1996.

Footnotes

1. Woskin, Kenneth & Crump, In Search of the Supernatural: The written record (London: Stanford University Press, Stanford, 1996).
2. McKenzie, Robyn ‘Kate Beynon’ 1996 Adelaide Biennale of Australian Art (ex. Cat.) (Adelaide: Art Gallery of South Australia, 1996), 50–51.
3. McDonald, Helen Erotic ambiguities: the female nude in art (London: Routledge, 2001)
4. Claire, Williamson & Snelling, Michael Above and Beyond: Austral/Asian Interactions Australian Centre for Contemporary Art, (Melbourne: Institute of Modern Art, Brisbane, 1996)
5. Woskin, Kenneth & Crump, In Search of the Supernatural: The written record, (Stanford: Stanford University Press, 1996).
6. Beynon, Kate, From the Dreams of Li Ji, Sutton Gallery, Melbourne, 2002 See Stuart Koop, ‘Warrior Girl: Kate Beynon’s tussle with language’, in Art Asia Pacific, 29 (2001), 55–61.
7. Tunnicliffe, Wayne & Hetti, Perkins., (ex. cat.), Living Here Now, Art & Politics eds. Art Gallery of New South Wales (Sydney: Australian Perspecta 99, 1999).
8. Stuart, Koop. Warrior Girl: Kate Beynon’s tussle with language Art Asia Pacific, no.29, (2001), 56-61
9. Gan Bao, ‘Li Ji: The girl who killed the python’, quoted in Zhong Qin, Everyday Chinese: Brighter readings in Classical Chinese, (Beijing: New World Press, 1987), 130–140.
10. Margaret Atwood, Negotiating with the Dead: A writer on writing, (Cambridge:University Press, Cambridge, 2002), 178–179.
11. Fourth, Gregory. Dualism and Hierarchy of binary combination in Keo society (New York: Oxford University Press, 2001).
12. Beynon, Kate, From the Dreams of Li Ji, Sutton Gallery, Melbourne, 2002 See Stuart Koop, ‘Warrior Girl: Kate Beynon’s tussle with language’, in Art Asia Pacific, 29 (2001), 55–61.
13. McDonald, Helen Erotic ambiguities: the female nude in art (London: Routledge, 2001)

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