THE TOUCH OF THE BRUSH – Eero Markuksela ja Li Xinsheng

The Touch of the Brush
Eero Markuksela

Visual artist Eero Markuksela paints using the traditional Chinese brush painting technique. He has studied and specialized in this technique in China. In his work, observations of nature serve as the foundation for a personal perspective and thought process. The exhibition highlights the East Asian approach to perceiving picture space through the concept of “empty space.” The “empty space” allows the gaze to wander freely within the painting.

Since 2006, Eero Markuksela has made seven working, exhibition, and study trips to China. During each trip, he has held a solo exhibition at an art museum in either Eastern or Central China: the Luoyang Art Museum in 2007, the Ya Ming Art Museum in Hefei in 2008, the Huangshan Art Museum in 2010, the Kenda Art Museum in Suzhou in 2015, and the Wangjiang Art Gallery in 2018. On all of his trips to China, he has created brush paintings and taken a significant number of photographs. China, both in its contemporary form and as a historical world, is like a vast garden that manifests in countless forms.

Markuksela graduated as a visual artist from the Academy of Fine Arts in Finland in 1988. His first solo exhibition was held at the Finnish Art Printmakers’ Gallery in 1991. He has previously published books: Legends (2004), The Bell of Allegory (2014), and The Great Laugh with Mile Fon (2018).

Li Xinsheng

Tranquility and harmony are the hallmarks of Chinese art and arise from the soul of the Chinese artist. The artist is at peace with nature, free from the shackles of society and the temptations of wealth. The spirit of the artist is deeply connected to mountains, rivers, and other natural phenomena. I believe that a painting must contain depth. One must see more than just colors, shapes, and their combinations. I strive to capture the spirit of the image, which can be found in the artist’s soul, experiences, thoughts, and emotions. For me, painting is like writing an image out to completion.

Before the brush touches the rice paper, I already have a specific mental image in my soul. When I paint, I bring forth my image using certain brushstrokes. Once my image is fully conveyed, without allowing anything irrelevant to enter, I stop. This is why the painting has vitality, because it is based on a living mental image. It is like reading a great, poignant poem: the words may end, but a beautiful fragrance lingers.

A Chinese artist must also understand how deeply rooted painting is within the culture. In China, the three most esteemed art forms are calligraphy, painting, and poetry. Painting and calligraphy are closely connected. My paintings derive their spirit and rhythm from Chinese poetry and their technique from calligraphy. When I paint, I do not just think about how the brush moves in my hand—I listen to the movement of my soul.

I am a native of Beijing and received my education in visual arts in China. I have lived in Finland for twelve years.