I have been concentrating on finishing my research recently but am participating in a group exhibition at the Art Centre Washington entitled Earth Requiem.
“Earth Requiem is an ambitious exhibition and series of events organised by The Sunderland Indie, presenting creative responses to the climate crisis.
Through painting, sculpture, photography, film, music, poetry, dance, performance, talks and discussions, Sunderland’s artistic community will open a dialogue with the wider public on the most important issue facing life on planet earth today. Thoughtful, poetic, experimental, challenging but always compelling, this exhibition takes place at the Art Centre Washington 15 Apr – 28 May 2022, supported by Sunderland Culture.
Artists include Benjamin Freeth, Chris Kent, Roland Buckingham-Hsiao, Stephanie Smith, James Wilkinson, Denise Dowdeswell, Anthony Barstow, Angela Sandwith, Barrie West, Ian Boddy, Wendy Gibson Carroll, Mike Clay, Richard MacLeod, Mike Glover, Ellie Clewlow, and Alexander McGorlick.”
I showed two works: Flotsam: a drawing on water 2016-2020, video, 5:09min (under the name Roland Kogalin)
were held in the ACW theatre also
“This is a video of a “drawing” on water, originally made and recorded in 2016 at the Shropshire Union canal, near Wolverhampton. I like the instability and ephemerality of making a drawing on water with just grass and leaves. Most of my work is inspired by Chinese art in some way, and I think there are Daoist themes here of time and change, natural harmony, spontaneity and inaction.”
Oh When Will the Autumn Moon and the Spring Flowers End, 2019-21, ink on paper and pigment on Lunaria Annua seed pods (under the name Roland Bai)
“This is a poem composed by the last ruler of the Southern Tang dynasty in China, Li Yu 李煜 (c. 937 – 978 CE). He wrote the poem while imprisoned in exile, having lost his Kingdom to the armies of the Song dynasty. The wistful atmosphere expresses his sense of regret at the loss. I wrote the poem in uncial letters on the seed pods of old Annual Honesty (Lunaria) plants. The fragility of the surface appealed to me and seemed to fit the subject of an earth scorched by climate change. I also liked the contrast of language and nature, the symbolic and the organic, and the way the poem fragments and is scattered in a rather chaotic way. The poem cannot be read from the plants of course, so it is also presented here written in cursive Chinese script and the translation in uncials again.”
春花秋月何時了，往事知多少。
小樓昨夜又東風，故國不堪回首月明中。
雕闌玉砌應猶在，只是朱顏改。
問君能有幾(許)多愁，恰似一江春水向東流。
Calligraphy Research 
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