Following his relocation to New York in 1957, Walasse

Ting dedicated himself to developing Chinese ink art in the Western art community. In his early stage of career, Han stone rubbing method was used to blend with modern compositions and dramatic elements to highlight the texture of paper imprint with ink. Following his stay in New York, his art became heavily inspired by brushstrokes. Blots of ink on white spaces and embellish strokes create a novel interpretation of ink art with regards to the manipulation of blank spaces and the fluidity of subjects.

This work is a carefree Flower-and-Bird painting with hints to the linear composition of Western art. Ting reduced the way of classical plum depiction to simplistic lines. Sturdy strokes were used on the left as a branch. A sudden accelerated brush divided the branches into twigs, creating a fascinating and elegant work. Such spontaneity is the essence of Chinese ink art and a reflection of his character. Flowers and its details were sketched into a condensed space, balancing the heaviness of the painting by the artist's instinct. This hints to the whimsical nature of Jinshi and the rich depth of Chinese culture. It excels beyond colour representation and realistic depiction, leading Walasse Ting towards his multicolored flowery works in his later career.