Yan Shufen's bird, icon for a better world

It is a surprising sight to see an artist practicing calligraphy of Chinese ideograms in preparation for her sculpturing. Not just arbitrary signs, which are enchanting as such, but signs that build in succession poems of the T’ang dynasty. The artist in question is Yan Shufen, invited by curator Marlies Lebesque in the “art laboratory” ArToll, in Bedburg-Hau, Germany. Originally from Beijing, China, she now lives and works in Belgium.
Leafing through her digital portfolio one encounters realistic and symbolic sculptures of wondrous perfection. At first thought it might be farfetched to practice calligraphy and then work on objects in three dimensions. But China always had a deep understanding of how one art is fruitful for the practice of another and even benefits life itself. Ideograms show a delicate harmony of straight and curved strokes, of corners and dots. No other living language shows this intricate play of elements. Printed signs lack the flow of strokes, but elegant handwriting shows motion like in dance.
To be able to shape myriads of wires into an elegant bird, with an outstretched hand and protruding thumb as basic form, gives proof of accomplishment in an old and revered fine art like calligraphy. To stabilize her fragile construction the artist uses two stones, one with the sign for “love” (愛, ai), the other shows “heart” (心, hsin), from which we know what lies at the heart of this sculpture. It is a necessary counter piece to Picasso’s dove, which only shows that there is hope for a new beginning. But we need this outstretched hand, to give but also to take. This work of art is worthy to become an icon for a better world.
Where? ArToll Kunstlabor, Bedburg-Hau, Germany. When? October 18 to November 3, 2016