WIFREDO LAM IS LIN FEILONG

Abstract

The paintings of the renowned artist Wifredo Lam (1902-1982) are sites for the intersection of modernism and multiculturalism. Inspired in part by Lam’s citations of African influence, many modern art historians consider Lam in terms of his engagements with syncretic Afro-diasporic religious practices in the Black Atlantic world, such as Santería in Cuba and Vodun in Haiti. However, scholars have not adequately explored his relationship to the Asian diaspora. Lam’s unique identity as a product of the Chinese diaspora remains greatly understudied. While most analyses mention Lam’s Chinese ancestry solely in terms of his biography, this thesis examines the artist’s production in the early 1940s from the perspective of his formalist, familial, and conceptual Chinese influences. More specifically, I highlight details from his landmark 1942 painting The Jungle that explicitly depend upon Chinese calligraphy, hieroglyphics, and historical events. Using documentation from Lam’s closest companions, artist interviews, biographies, and visual analysis, I underscore connections between his painting techniques and his Chinese spiritual practice derived from the I-Ching. Taken together with his brushwork and symbolism, Lam’s work invites us to look more closely at the influence of Chinese culture throughout his career.