In my years of painting, I never intended to define my works on such notions as East/West, realistic/abstract etc. However, I am well aware that regardless of the medium, entirety is the one topic that had kept my full attention. Entirety in the traditional Chinese painting will inevitably present itself in topnotch works of art. Most discussions on traditional art will aim at the aura, charm, vividness etc. without a mere mention of the full range of entirety. However, what exactly is this entirety that I speak of? Take calligraphy for example, micro-entirety is the relationship between the first-stroke in each character followed by the next strokes. Each micro-entirety completes the columns; where each column then completes the entire spatial entirety. Essentially, entirety is not just visually but also spiritually in nature and it exists both in the structure as well as in the content of art. Entirety is manipulated through brush and ink, applying each blot and stroke to gradually construct its existence. Thus, the brush and ink are responsible for the various aspects: depiction of the subject, setup of overall atmosphere, and to carry the abstract ideas presented between each stroke. These elements are all slowly revealed by passing each stroke into the whole picture. This entirety not only exists in works of calligraphy, but is also present in the nature of brush paintings. The presentation of entirety through brush and ink in traditional painting has evolved over thousands of years into this quintessence that should never be forgotten. Traditional paintings derived from brush strokes are not only spatial creations, but also an extension of time. Every touch of the brush shall not stagnant, never flawed, nor altered. One must not hesitate in laying down each brush stroke from start to finish. On the entirety, it is an outer extension of the inner state of the artist and definitely a distinguishing feature when looking at the plus side. However, the drawback is the constraint that comes with this cultural characteristic. The artist is well accomplished in the skills, techniques, and personal style developed over their career, while on the other hand newer possibilities will be held back by these accomplishments. As a result, the most important challenge of modern art is to overcome such conditioning and find a new way for the brush and ink. Hence, my first step is to let my inner potential take (the) lead and draw without the constraint of a preconceived composition. Brush strokes on the drawing paper bounce and dance on their own – in simple-minded rhythm and graffiti – without predetermined concept and goal. Every touch of the brush is independent to each other and thereafter the paper is randomly cut into pieces. Just as pigments on the color palette, each piece of the brush stroke holds energy waiting to be released. The instant the first piece is pasted onto the canvas, we go from void to entirety. Each segment of the brush stroke constitutes the possibility of another brush stroke and therefore, this continuous creation and incessant dialog interacts with the entirety. Without a preplanned composition, the creation is forever in a state of opportunistic flow. The vitality of these brush strokes is no longer the initial touches that I lay down, but rather with new relationships and life-forces. The end result surpasses any composition that I could ever conceive. More importantly, the entirety must always stray in between the brush strokes and the constantly evolving composition. One must continue to experiment, adjust, decide, and combine where ultimately, the entirety can be revealed. (Yang Shih-chih)