On closer look, strokes and shapes become clearer
and a link to calligraphy is acknowledged.
(Also called Abstract Calligraphy 7, 抽象书法7 in the exhibition)
In December 2020, Lim Tze Peng started something new, bringing his hutuzi to the next level. For the first time, the eye no longer sees calligraphy; even the hutuzi does not exist. What appears is a dense jumble of strokes in various shapes and forms, entailed but nevertheless working harmoniously to create an arresting abstract image of unrecognisable strokes and colours. The 6 by 4 feet artwork is a painting first, showing the artist’s understanding of colours, how a family of tones, from light maroon, brown and yellow, can invite and accommodate blue and green seamlessly. The earth maroon backdrop serves as an effective base, throwing up the dark strokes which hold up the stronger colours beautifully. On closer look, strokes and shapes become clearer and a link to calligraphy is acknowledged. The mind starts to recognise how this could be hutuzi although there is no real visual link to the artist’s famed innovation.