T'ang Boogie

Images flash by in rapid bursts, like ink jets on paper, with white spaces resembling sparks of light.

T'ang Boogie presents 48 still frames within two seconds, moving forwards and backwards, challenging the eyes to adapt and the brain to memorize and recognize the fleeting visuals.

This animated ink translates the randomness of life itself, freeing T'ang from the constraints of virtuosity and preciousness. By using his works as raw material, he aligns with the Daoist artistic ideal, finding a contemporary resonance that transcends traditional boundaries.

The film mirrors the diversity of T'ang's 1970s production: some paintings feature vast blank spaces crossed by sparse lines, while others are densely inked, with only faint dots of light breaking through. The viewer's initial reaction may be one of rejection, but repeated viewing invites deeper understanding. This duality captivated Guo Gan, a master of erhu (the Chinese two-stringed bowed musical instrument), who composed Drunken Ink for the film, inspired by T'ang's "free, generous, and daring" use of his art as raw material. Though T'ang and Tom had intended to add music to T'ang Boogie, it was Guo Gan who finally brought it to life.

Yet, not all reactions were positive. When presented to a prominent French philosopher in 2018, the film was dismissed as "aggressive" and "very 70s," seen as painful for the eyes and out of step with contemporary sensibilities. This reaction highlighted the clash between a Taoist, experiential approach and a Western, analytical perspective.

T'ang Boogie is a unique collaboration between T'ang Haywen and Tom Tam — a Taoist invitation to see and feel, a landmark in the renewal of ink art, and a work that will undoubtedly claim its place in the history of artistic innovation.