The works in painting, film and sculpture by Los Angeles artist, Diana Wong uniformly explore diverse and epic dramas of nature. Expressing fundamental movements of alchemy, velocity, vacuum, birth and death through movement and action with paint, these are a few examples of themes that are routinely incorporated into the artists' recent body of work, where not only are they interestingly paradoxical in capturing nature's infinite scope, but serve as a waiting point before an epic encounter with the natural world as seen through the creative process, itself, a dramatic unfolding of its own. Wong's work is seamless of its expression and of its making that it loses boundary to both, inviting multiple and overlapping interpretations.
It is no illusion to Wong of her own impermanence as emphasized in the painting The Iceberg Encounter (2009). It is a graphic landscape of thick orange and blue hues clamoring for space on the canvas, as they engulf a snow-capped mountain. Threatening to erode its existence, Wong's controlled techniques allow paint to separate heightening the work's (and mountain's) sense of systemic breakdown. Beneath the physical layers of curdling paint, the elements in this painting remind us of one person's imagined occurrence that is cannily telling of nature's great mysteries.
Wong's works however, are less a doomed vision of the present than a connective tissue to nature. It is shown in the multi-panel work, In The Deep (2009) with its colorful, saturated pigment smeared and dripped across its baron, matte black surface, is evocative of natural phenomena occurring either in the deep sea, or in deep space suggesting life functioning within a void and highlighting the work's activation in contradictions of life and death. Much like the ancient Chinese text, the I Ching to which Wong's philosophy has been profoundly influenced, the artist's work centers on the ideas of the dynamic balance between opposites, the evolution of events as a process, and acceptance of the inevitability of change.