Preface
In the Talmud (and perhaps modified by the writer Anais Nin, 1961) we learn that …“We do not see things as they are, we see them as we are.” i.e. what we see is tempered by our capacity to observe based on who and how we are. The creative individual who is the Chinese avant-garde artist Luo Qi (poet, musician and man for most, if not all, West Lake seasons), reflects the world back to itself by using what he cognises, and challengingly re-presents his cognitions back to us, his awaiting public.
It is therefore a great honour and privilege to have been, and continue to be, associated with the globally masterful Chinese avant-garde artist, Luo Qi. In this volume, my words cannot possibly do justice to the image making and textual revelations which Luo Qi brings to his creations through Chinese logographic writing (calligraphy), calligraphy-ism and asemic writing intimations, but I do try to give some gist, some essence of this maestro’s intriguing works.
Hailing from the cultural West Lake (so beloved of poets and artists) in Luo Qi’s home city of Hangzhou within China’s Zhejiang province, Luo Qi has travelled with his work to a vast array of countries, including one of the seats of Western culture, Italy, and meanwhile delving into the mediaeval age along the way, as well as bringing together copious artists in annual exhibitions concerning Asia/African & Mediterranean art and artists including those from Australia, France, Italy, Portugal, Russia, Luxembourg, India, Indonesia, Iran, Japan, Korea, Malaysia, Mauritius, Madagascar,Thailand, Singapore, Brunei et al.
Here, I am delighted for you to find a collation of my writings about Luo Qi as he and I have ‘journeyed’ together over the past few years.
Martin A Bradley, Colchester, England, May 2022.
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