This painting was created in 2017. This year I spent more time thinking about art in sketching courses, which also caused a disconnect between my color painting and sketching. I am more bold in looking for the core of Chinese culture in sketches, even though I still know very little about traditional Chinese culture. However, I am more conservative when it comes to color painting.
Overall Size:
Size without the frame:
Country: China
Date: 2017
Materials: on paper
Condition: well preserved
Creative themes and style | My works revolve around the creative concept of "The land of humanity, People on the land". The people in the painting are people in nature, and the lines, shapes, and colors are close to nature. The nature in the painting is nature in the eyes of humans, existing in interaction with humans.I don’t pursue a series of works with a fixed and continuous style. I hope that the style of the pictures will synchronize with the changes in my life and always remain oscillating. The performance of the work must be in sync with the development of one's own life in order to be Sincere and powerful. Ideas are later.
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This sketch constructs a thought - provoking artistic space with a unique visual language. In terms of modeling, the outlining of the figure’s contours and clothing folds abandons the precise reproduction of realism and has the deformed characteristics of expressionism. Similar to the breakthrough of conventional forms in the figures painted by Chaim Soutine, it uses slightly distorted lines to strengthen the transmission of inner emotions.
The composition follows the principle of simplicity and focus. The figure is at the core of the picture, and the hazy background around weakens environmental interference, allowing the viewer’s eyes to naturally focus on the subject. This is similar to the composition of the lonely subject in Edward Hopper’s paintings. By leaving blank and constricting the space, it magnifies the spiritual presence of the figure.
The use of color is extremely restrained. Only gray is used as the base and warm brown as the lines. The layered arrangement of a single color system is very similar to Giorgio Morandi’s delicate play with grayscale in his paintings. It explores rich visual layers in simplicity and creates a melancholy and restrained atmosphere.
The brushwork is the soul thread of the picture. The loose and rhythmic lines, sometimes light and sometimes heavy, have both the simplicity of sketch language and imply the writing charm of Oriental ink painting. Just like Edgar Degas’ pastel paintings, it endows the figure with a sense of movement and volume through the virtual and real, thick and thin brushstrokes, giving the static modeling a breathing rhythm.
The content and theme focus on the inner gaze of the individual. The figure’s posture of bowing and focusing seems to be having a dialogue with oneself. The vague form beside (either a pet or an object) adds ambiguity to the narrative and expands the interpretation dimension of the theme — is it meditation when alone or a spiritual connection with the surroundings?
The emotional expression is hidden in the folds of grayscale and lines. There is loneliness in tranquility and confusion in concentration. Just like the spiritual dilemma often shown in Edvard Munch’s works, however, it is presented in a more restrained way here. It allows viewers to empathize with that modern spiritual fold among the brushstrokes of interwoven gray and brown, and touch the gentle inquiry of art into the subtlety of human nature.
The orange strokes stand out warmly against the gray-black base, both defining body structure and creating a subtle glow. This choice breaks away from the austere mood of traditional sketching, giving the work an experimental, contemporary feel.
It captures a typical moment of contemporary life. The downward gaze and the implied glow of the phone highlight the modern state of being absorbed and inward-focused.
Its value lies in merging everyday life with sketch art. The work is especially suited for display in modern living spaces, cafés, or study rooms. Within contemporary figure sketch collections, it functions not only as a demonstration of technique but also as a cultural snapshot of modern society.
The bag blends with the chair and gray background, serving as a casual object of daily life. It enhances the sense of realism in a live sketch setting while also balancing the empty space in the lower portion of the drawing.
The gray-black palette creates a sense of quiet, enclosed space, directing focus onto the figure and action outlined in orange. This treatment conveys both the immediacy of expressive sketching and a kind of silent modernity, making it valuable for both exhibitions and teaching contexts.
The strokes are loose and free, with black and orange lines interwoven. The surface shifts between heavy smudges and shading and light, linear outlines, juxtaposing the rough with the delicate.
