This painting was created in 2019. This year is the third year of college. I started to prepare for my graduation work, so I tried paintings with more concepts, depth and formal unity. In these paintings, you Being able to begin to see a more specific me. Such attempts did add weight to the work, but it was only a small step compared to the depth that would later come with the weight of life. Then came the COVID-19 epidemic at the end of the year, and the future that people expected changed its face, either urgently or slowly.
The people and natural objects in the painting form a stable order. Only then can we stabilize our sight and face the inner turmoil.
Inches: 27.5 x 35.4 in
Size without the frame: 70 cm x 90 cm
Country: China
Date: 2019
Materials: Oil paint on linen
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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A1: In the foreground, we see a clear side profile of the woman, while in the background appears her enlarged shadow-like silhouette. The disparity in scale creates a layered effect, resembling a psychological projection. This dual portrait structure allows the work to hold both a sense of realism and an inner allegory, as though the viewer is witnessing the coexistence of outer appearance and inner self.
A2: Both the visible profile and the shadow silhouette carry a crescent-shaped red earring. This mirroring detail strengthens the dialogue between the “real” and the “projected,” turning the earring into an identity marker. It functions as a symbolic thread across the painting, reinforcing the idea of self-reflection and dual presence.
A3: The crimson vertical element resembles a spinal column, visually aligned with the dark silhouette of the body. By introducing this symbolic form, the artist allows body and psyche to intersect on the canvas. It becomes a sign of internal fracture or tension, intensifying the psychological depth of the work.
A4: Disturb 2 (2019) is at once a Symbolist oil painting and a psychological portrait. Rather than documenting physical likeness, it constructs a dialogue through projected shadow forms, red symbols, and ornamental detail to explore the relationship between mind and world. Within contemporary collections, it resonates strongly with works categorized under psychological allegory or inner landscapes, highlighting its rarity and spiritual depth.
A5: Through its restrained palette and sharp formal contrasts, the painting establishes a unique atmosphere of contemplation. As a work rich in psychological symbolism, it suits not only private collections but also curated exhibitions, especially those addressing themes of self-perception and female inner landscapes. Its layered meaning ensures lasting resonance with audiences, inviting reflection on the unsettled layers of the self.
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