Almighty painter

Chapter 927: Consistent

When Gu Weijing chose to water the Baiyi Tree for the fifth time, the Baiyi Tree changed in an instant.

It was an extremely mysterious scene, as if a thousand years of time had passed by in the blink of an eye. The small bud on the panel grew silently between breaths, and turned into a thick branch as if it were painted with a knife.

Gu Weijing had carefully considered the specific distribution plan for free experience points, and reserved a specific proportion for watering the "Hundred Arts Tree", hoping to put more experience points on the skills that most needed improvement.

Plans can't keep up with changes.

For the painting "Human Noise", he once consumed most of his free experience points in Xihe Guild Hall.

And now.

Wait until you have some free experience points again.

This finger painting method became the technique that Gu Weijing needed most.

Who said there are no painting tools?
The beach is an infinitely stretching canvas, and fingers are his ever-changing paintbrushes.

Anna's desire was always strong.

"Even on an island, we can hold an art exhibition," she said.

She tirelessly urged Gu Weijing to raise his goals, forced him to become tough, and forced Gu Weijing to think hard.

She made him believe that he should and must become the best creator in the Ma Shi Gallery and defeat all the enemies in the world.

Miss Elena's way of opening an art exhibition is that even if she is on a small island, her heart has already flown to the art gallery in Abu Dhabi. She has already dialed the phone numbers of the public relations masters in her mind and made them submit to her arrangement.

Anna's heart is always full of ambitions.

She wants to give herself the advantage, she wants to spur her horse into the wilderness, she wants to realize her ambitions.

Gu Weijing is the opposite.

It is always difficult for people to shape their own destiny. All they can do is to make the choices they want at the cruel crossroads of fate.

He was enthusiastically planning the Biennale, but before the plane took off, he called Brother Hao.

He and Miss Elena discussed love, art and life on the cargo ship. 24 hours later, he arrived at an isolated desert island.

It gave Gu Weijing a strong feeling about the uncertainty of life.

What an ordinary person can really grasp is just this moment.

Not in ten years, not in ten months.

Only now.

Only every second passes by with the ticking of a clock.

Anna's enthusiasm and Gu Weijing's tranquility, Anna's ambition and Gu Weijing's indifference, there is no distinction between the two.

Irina plans an exhibition of his paintings.

Gu Weijing is also planning his art exhibition.

It's not the Louvre in the Middle East located between the sea and sand, but right here, on this deserted island between the sea and sand.

"meaningful."

Gu Weijing said to himself.

"Then, let's start painting here."

Even if they are on a deserted island, they can try to hold an art exhibition.
-
Gu Weijing still started from the simplest lines.

Finger painting is mainly a way to shape color texture. Like knife painting, after being upgraded to the legendary level, it brings Gu Weijing rich experience and control that is difficult to describe in words.

The painting knife painting technique taught Gu Weijing how to control the painting knife.

The finger painting rule taught Gu Weijing how to control his fingers——

Yes.

Control your fingers.

Since the moment he was born, his ten fingers have been a part of Gu Weijing's body. He is so familiar with them that he almost forgets their existence.

And only now did he realize how to operate them.

What Gu Weijing meant was that every ordinary person uses his or her fingers most of the time when they are awake, but when people take a cup from the table, do they pay attention to how the knuckles bend, how the muscles contract and relax, and how the five fingers in the palm coordinate with each other?

Usually all of the above happen naturally, and they only exist as part of the consciousness of "grasping".

In the process of painting with his fingers, the young man began to understand his fingers in a new way.

Gu Weijing was like a disabled person who had been sitting in a wheelchair since birth and was trying to walk with his own legs for the first time. It was like a patient whose muscles were strained due to sitting at a desk for a long time and was trying again to stretch his body.

He was learning a new pace, a new exercise, a new…

Hand language.

It is not a language of grabbing.

It's about crossing the borders of the canvas and touching the color directly with your hands, and grabbing the lines directly with your fingers.

His fingers are his paintbrushes.

In this stretching exercise, Gu Weijing was just a beginner who kept breathing following Miss Elena's breathing rhythm. Now, he was like a Tai Chi master or a yoga master. He could stretch or curl those lines nimbly like a cat between long breaths.

No special thought is required.

There is no need to practice until you are out of breath and sweating profusely, and there is no need to memorize difficult words one by one from a vocabulary book.

Gu Weijing could express them simply by relying on the subtle thoughts in his mind, and could write and recite them with his fingers.

The light and heavy strokes, the winding changes, all became part of the body's intuition. Gu Weijing picked up these lines from the sand as easily as picking up a cup to drink water.

Painting has become the new native language of fingers.

The mark on the sand followed the crescent-shaped tip of Gu Weijing's index finger nail. When he exerted force with his fingertips, the mark was swift and powerful.

His wrist became lighter, and the strokes became lighter as well, smooth and subtle.

Not only the index finger, but all five fingers can be used.

It doesn't feel like painting.

It is more similar to playing the five-string guqin.

He pinched different strings with each finger, supporting, wiping, hooking, hitting, lifting and chopping. The sound produced by the sandharp, that is, the lines vibrated by the strings, swayed, rose and fell, and rippled along with the sound.

Sometimes the ice spring is cold and astringent.

Sometimes there are mountains and flowing water.

The index finger has the most positive force, which is the center of the pen, and the strokes are straight and smooth, and the sand is pushed away neatly, condensed and not scattered. The thumb is the hidden tip, the lines are thick and subtle, the pen tip is hidden in the line, and the sand spreads out like clouds, without end...

Not only that.

The most magical thing about Chinese painting is that the ink lines have an independent life and are never a burnt mass.

Gu Weijing can also outline the textures of different ink lines just like blending pigments.

The changes in thickness and depth of lines in Chinese paintings are achieved through differences in brush strokes and brush strength, and secondly, by adjusting the ink and water ratios.

On the sand, he can also use the layering of the sand itself to create color changes from the thickest and driest burnt ink to the light gray shadow-like clear ink.

It's certainly difficult.

For Gu Weijing, it was not difficult.

The most powerful thing about legendary skills is that they don't make a painting technique more difficult, but make it easier.

Like poetry, like music.

It expresses the most complex and subtle images in the most concise and rhythmic way.

Fingers are a baby's first paintbrush.

Gu Weijing now returned to the state of a baby. He felt the clear skill with a clear heart.

then.

The lines he drew were just as clear.
-
Anna's hair, which was slightly naturally curled at the ends, fell on her shoulders. She held the branch horizontally in her hand and walked over slowly like a sloth.

Women at home should do walking exercises for a period of time every day.

She wasn't prepared to compromise her daily habits just because she was on a deserted island.

Her skirt fell to Miss Elena's calves. She walked barefoot on the beach, the arches of her feet slowly leaving one crescent-shaped footprint after another.

The crescent moon extends from the edge of the forest to the coast.

Maybe it extends all the way to the white waves on the shore.

The sky was beautiful and lonely, the golden sun was still hanging there, but there was still no sign of the ship she was looking forward to, or the search and rescue plane that appeared in the distance.

Anna looked at Gu Weijing who was sitting by the fire.

The scene of a young artist studying his work carefully by the fire alone is a very artistic scene in itself.

The sense of tranquility radiating from Gu Weijing infected Miss Elena, and she also pushed Anna away.

Miss Elena knows.

As soon as she walked over, she would quickly sink into the eager excitement, wanting to make his exhibition, "their" exhibition, a reality.

She just went to take a shower.

To a certain extent, I just want to use the cool water to wipe away the restlessness in my body.

The sea breeze blew on her body, slowly cooling her joyful fantasies.

Prosperity is always fragile, just like the strong sun at noon dripping drop by drop into the night.

Then.

She imagined the Abu Dhabi Art Exhibition nine months later. Was it really as meaningful as Anna thought?

Anna said.

In what capacity would she intervene in Gu Weijing's solo exhibition?

Enthusiastic friends.

Mr. Sloth?

Can Mr. Sloth convince Ma Shi Sanshi to change his mind? Can Mr. Sloth convince Ma Shi Sanshi to give Gu Weijing more time?

Or.

She had to continue to secretly curate exhibitions for Gu Weijing, while at the same time secretly declaring to everyone that she was a neutral critic and writing reviews for Gu Weijing.

This is so strange. For the art director of Oil Painting magazine, such a dual identity is bound to cause some kind of conflict in market ethics.

Anna felt that she was drifting further and further away from a certain fragmented identity definition.

Miss Irene thought of the famous Ambroise Vollard, the art dealer who met Cézanne, organized the first personal art exhibition for the newcomer in the industry, and pushed him to the position of "the father of European modern art."

later.

He has also curated solo exhibitions for Gauguin, Matisse, and Picasso.

In a sense.

Miss Elena wanted to do similar things in some areas, but she found that she could not become such a person openly.

It’s not that she can no longer publish articles in Oil Painting magazine.

Ambroise Vollard was also a critic who wrote many articles in praise of Cézanne.

She can certainly express her own subjective opinion.

but--

She could only choose one between “Ms. Irina, the neutral, objective, unbiased critic” and “Ms. Irina who curated the exhibition.”

This question has always troubled Anna.

All prosperity is fragile.

All joy, all happiness too.

No matter how excited she was about planning all this, and how devotedly she thought about the arrangements for Gu Weijing's exhibition, she would never be able to personally create his first solo exhibition in his life.

It just happened to be her.

She can't.

The art director of Oil Painting magazine couldn’t.

If she planned the exhibition, she would have severely criticized it in order to demonstrate fairness.

Then the whole exhibition would become a complete joke.

Nothing is appropriate.

This is a tangled mess that even the smartest cat can't solve.

"Let the Muse witness everything about you, not with your words, but with your true self" - the cover slogan of the new edition of "Oil Painting" magazine is actually quite well written.

She always felt that Sir Brown was speaking to her.

Sir Brown has always been a very capable man.

most of the time.

Anna underestimated each other.

She thought she saw through the other person, and the other person might also see through her. Perhaps Sir Brown did not understand why, but he saw her hesitation, confusion and fear.

On the subject of the Muse Project.

Miss Elena thought that he was both a contestant and a referee, and he criticized Sir Brown harshly.

Change it to yourself.

She took a deep breath, buried her head in the sand, and began to play ostrich with peace of mind.

The so-called "Mr. Sloth" in this matter is nothing more than a layer of hot sand on his head, providing a false sense of security to deceive others.

She thought she could be both Mr. Sloth, Detective Cat's agent, and Anna Elena, the art director of Oil Painting.

No.

From beginning to end.

She is all herself.

Just like the invitation was there but she couldn't be a judge for the Singapore Biennale, it was either unfair to all the other painters or to Detective Cat.

If Monet had known that he would eventually lose Camille.

If Camille knew, she would die early.

Then.

When she was walking under the clear sky at noon in Paris with a parasol, would she still turn her head and smile like that?

Miss Elena could have continued to be a happy long-necked ostrich in the sand for a few days.

But when she chose to be brave and pull her head out of the sand.

She has to face this problem.

Miss Elena wanted to go to the beach to relax. She turned her head back, thought for a while, and then walked towards Gu Weijing.

She saw continuous lines in the sand.

Straight, fine lines.

Upright and crisp lines.

Lines that are about to bloom.

Those lines are arranged in arcs with Gu as the meridian and the center, spreading outwards.

At first it was just an ordinary line, shapeless but with body.

Miss Elena, however, could see its density, ups and downs, gathering and dispersion, and even the front and back.

Those lines are like snakes moving on the ground, and like the branches of trees extending towards the sunlight cleverly under the influence of gravity.

It becomes more and more flexible and more and more vivid.

gradually.

These lines are connected together, algae and waterweed are intertwined, and flowers bloom.

(End of this chapter)