Artwork of Gateway - Essay Example

Artwork Research: Gateway: Artwork Research: Gateway. The “Gateway” is a visually impressive work of art located at an intersection in Chinatown along Spadina Avenue in Toronto, Canada1. The work of art is imposing in its brightness and orientation, which makes it easily noticeable along the street. It was created by renowned artist Millie Chen who used various cultural influences to capture the significance and uniqueness that connects with various Asian cultures2. The artwork was made with fiberglass casts, which have remarkable strength and durability for outdoor art. The artwork was uniquely designed to represent four animals that include a unicorn, a phoenix, a dragon, and a monkey king3. Within the Asian cultural worldview, these four animals have various positive symbolic meanings that connect with fortune, success, and good luck. In multiple respects, the uniqueness of this art work is meant to portray the distinct positive values and the element of hospitality as understood and represented within the Asian mindset. The aggregate meaning of the artwork is understood within the imagination of Asian represented particularly as manifested within the Chinese realm of creativity. The Chinese have a strong culture that connects the material aspects with aspects of their cultural myths in order to enrich their world with the totality of their shared experienced, values, and general lifestyle4. Accordingly, the “Gateway” is a remarkable attempt to bring together these aspects of culture by merging the various material aspects of art in one singular artistic experience. The two works of art are supported on two 20 inch posts of nearly the same color, which enhances their visibility for viewers and increases their aesthetic appeal5. There is a determined effort to increase the general attractiveness of the works of art in line with the uniqueness of Chinese aesthetics. The unmistaken Asiatic decorations on the dragons and the unicorn are some of the key features that improve the authentic appeal of the “Gateway.” The conspicuous decorations also play a very specific purpose of reinforcing the physical attractiveness and appeal of the works of art against the background of western cultural influences6. In this regard, there is course to believe that the emphasis on the cultural nuances in the decorations is meant to highlight some kind of reclamation of Asian culture within the dominant western culture. The visual prominence of the artwork is effectively highlighted by the element of balance and symmetry. The representation of the mythical creatures achieves a form of balance that comes out naturally in the sizes and shapes of the creatures. As such, the painting acquires much of its meaning in the deliberate merging of the creatures in a way that is effectively intended to bring out the non-material elements of the Chinese culture. In some way, the articulation of the Chinese ways of art is captured in the form and balance that joins the influences of modernism, abstract art, and elements of surrealism7. The effect of color has a special significance in the “Gateway” particularly when considered alongside the symbolic meaning of the whole pieces of art. The red color is associated with the values of bravery, intrepidity, defense, and other attributes that contribute towards the general defense of the society8. The strong cultural associations that connect with these pieces of art could be understood as an effort in the reaffirmation of Asian cultural expression that in face of conflicting influences in the liberal western discourses9. The Chinese culture is usually considered as closed. As such, the daily expression of Chinese culture presents itself in the manner in which people live their lives in general and the manner in which they associate with the world around them. The impression created by the red color successfully brings out the nuances of creativity as created in the level of creativity brought out by the artist. The red color is variously used in Chinese forms of art to provide symbolic meanings that attach to danger and bravery10. In essence, the red color is meant to unite the aspect of optimism and challenges in a variety of respects. As such, it might be argued that the use of color effectively achieves its purposes of enhancing the potency and the romantic appeal of the piece of art. The sizes of the images are also brought out in the right form of balance that creates a certain measure of authenticity and realism in the organism. However, in this particular sense, the sizes of the creatures are considered alongside the recognition of the mythical origin. Therefore, understanding the impact of these works of art on the beholder requires a certain measure of insight into Chinese mythology11. There is no standard measure of the size of the unicorn or phoenix just as there is no standard truth of the exact size of the monkey king. In this regard, the sizes were created in a way that makes it clearly visible to the onlookers on the streets. As such, it becomes necessary to consider the manner in which this image represents the kind of balance and size that were traditionally invested in Chinese forms of art. Some of the cultural influences are heavily borrowed from parts of Greek mythology and other cultural factors. The name “Gateway” is suggestive in the provision of meaning as understood within the literal and symbolic meaning of the piece of art. The piece of art is intended to capture the essence of a point of entry into the heart of the city. Symbolically, the creatures are considered as cultural symbols of welcoming visitors within the city and the provision of the right kind of social environment that encourages hospitality and a friendly atmosphere12. In this regard, the symbolic associations of the mythic creatures at “Gateway” appropriately capture the essence of hospitality as represented within the cultural nuances of the Asian communities. Cultural symbolism is usually created in ways that illustrate the essential meanings of the material aspects as a way of building meaning in a most potent manner13. In this regard, it becomes necessary to consider the forms of artistic representations within the context of utility. Chinatown is regarded as a melting pot of Asian cultures is understood together with the influences of other cultural values. Art is an important way of showcasing cultural values. Societies and civilizations often use art as a way of representing some element of uniqueness within the context of cultural identity. Therefore, the manner of cultural representation as captured in this form of art could be considered as a form of cultural communication that sets the Chinese culture apart from other forms of cultural representations. Judging the general appeal of “Gateway” should include some analysis into the kind of contribution that the Chinese artwork imparts in the heart of Toronto. As a cosmopolitan city, Toronto has multiple attractions that represent different artistic genres, themes, and cultures. The architectural marvels of the city have strong associations with traditional Canadian aesthetics and a mixture of European and American influences14. These attractions go back in time in a way that brings out the charm of cosmopolitanism that resonates with the dominant themes of western art. In this manner, the Asiatic form of aesthetics as captured in the form and image of the “Gateway.” The representation of Chinese art within an essentially western artistic background has the effect of enhancing the peculiarity and the visibility of the art work. The same effect would not have been as strong when cast against a background of predominantly Chinese artistic environment. As such, it was appropriate to represent the form of art as some kind of triumph of the Chinese work in the enduring western influences. However, some analysts observe a form of departure from the known conventions of Chinese art to a kind of hybrid form that brings together a combination of influences and global cultural expressions15. In this regard, “Gateway presents some kind of movement or a shift from traditions and conventions in a way that frees the modern Asian artist from the requirements of established traditions. One noticeable feature of transition is the choice of the two poles as the supporting material for the pieces of art. The physical location of “Gateway” also contributes towards the building of meaning and the enhancement of the artwork’s significance. Chinatown is predominantly Chinese with regard to the population and cultural attributes. Over the times, the community in Chinatown has made significant efforts to preserve its culture through art. The portrayal of “Gateway” effectively captures the essence of art within the celebration of Chinese cultural heritage16. It is necessary to consider the impact of this piece of art within a broad context that brings together the authenticity of Chinese art. Other analysts consider this piece of art as a kind of transformation of the artistic tradition of Chinese art due to influences of western culture. In the opinion of some analysts, the four creatures comprising of the unicorn, the monkey king, the dragon, and the phoenix are in the state of metamorphosis17. This implies that they are moving from one state to another. When considered in a broad sense, the aspect of transformation signals the movement of Chinatown forms of art away from the conventional aspect of culture. The portrayal of “Gateway” as a representation of Chinese art illustrates the inherent transformation of the community and its cultural expression18. The aspect of metamorphosis is considered as a detachment from the stock of Chinese art as represented in the medieval and ancient expression of art and culture. Ultimately, the representation of sculpture in Chinese art has changed over the times in ways that show the impact of external influences. The aesthetic sum could be understood as a way of illustrating the results of western cultural values on the Chinese culture. The “Gateway” effectively shows the manner in which the Chinese culture reconciles with western values19. As such, this work could be considered as an illustration of the changing nature of art within the understanding of the global cultural influences with particular reference to western forms of art. Bibliography Chen, Millie. Gateway. Permanent site-specific public art installation: Spadina LRT at Dundas Street, West Toronto, 1997. Li, Phoebe H. A Virtual Chinatown: The Diasporic Mediasphere of Chinese Migrants in New Zealand. Leiden [etc.: Brill, 2013. Print. Thunø, Mette. Beyond Chinatown: New Chinese Migration and the Global Expansion of China. Copenhagen: NIAS, 2007. Print. Winkler, Martin M. Classical Myth & Culture in the Cinema. New York: Oxford University Press, 2001. Print. Wu, Hung, and Peggy Wang. Contemporary Chinese Art: Primary Documents. New York: Museum of Modern Art, 2010. Print. Quigley, Warren. Gateway. Projects Public Commissions Artist Statement Bio. 2002. Accessed http://warrenquigley.com/public_commisions.html. Lai, David, C. Chinatowns: Towns within Cities in Canada. Toronto: UBC Press, 2007. Print. Read More