This painting was created in 2024. The colors of this year are still bright but not dazzling. I have gradually found a balance point among the bright colors.
It is a painting in dark tones and relatively large in size. Due to these two reasons, the shooting of the work became a big problem, and the final visual effect presented on the screen was not good, but the original work still met my expectations. Among this year's creations, there should not be many emotionally depressing works. I have gradually left the depressive and dignified way of expression. The main reason is that I need to face my own paintings for a long time in my creation. In the past two years, I have gradually become less able to bear such continuous emotional depression. But as far as works are concerned, depressed mood often contain more precious human content, and they carry the weight of human souls. This I think has been accomplished in this painting.
Inches: x in
Size without the frame: 190 x 210 cm
Country: China
Date: 2024
Materials: Acrylic 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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1. Medium and Technique
This painting constructs a psychological and spiritual field through the logic of Expressionism. The artist employs thick oil layers, uneven textures, and mottled coloration, situating the central figure within a space charged with metaphor. Instead of presenting a stable portrait, the work embraces distortion and fragmentation to visualize emotional turbulence.
2. The Figure and Hair as Symbol
The woman’s long black hair, cascading like a dark veil, partly obscures her face. This gesture embodies both concealment and estrangement, generating an aura of mystery. The hair functions almost like a curtain, separating inner emotions from external communication. It simultaneously protects and isolates—an ambivalent symbol of psychological distance.
3. Clothing and Color Semantics
The red garment radiates as a burning emblem of vitality, yet the embroidered floral patterns soften its intensity. Here, color becomes a dialectic of conflict and reconciliation: fire and tenderness, passion and fragility. The red appears both alluring and ironic—its brightness flickering like forced enthusiasm, overshadowed by the darkness of the surrounding composition.
4. The Circular Object and Networks of Connection
In the figure’s hand rests a circular object, ambiguous in its role. It could be read as a vessel of greeting, a symbolic token of communication. Yet in the context of the net-like structures stretched across the background, it also evokes entrapment. These tangled webs operate as “emotional thorns,” metaphors of human connections that oscillate between the desire to reach out and the fear of being ensnared.
5. The Distorted Face and Anti-Empathy
The deliberately blurred and shadowed facial contours resist the viewer’s attempt to capture clear emotion. This refusal creates an anti-empathy strategy: instead of inviting identification, the work unsettles us, forcing confrontation with the contradictions of human contact. The face becomes a mirror for our own hesitation in social gestures—between openness and withdrawal.
6. Conceptual Dimension
This painting interrogates the essence of “greeting.” Conventionally associated with warmth, it is here reframed as a paradox of human existence: an act of outreach that simultaneously reveals loneliness and fragility. Greeting is not portrayed as effortless interaction but as a fraught negotiation—an active attempt, a passive stalemate, and a hidden plea for connection. The work tears apart the polite surface of social etiquette, exposing the abyss of isolation beneath.
7. Summary
Ultimately, the painting transforms greeting into a thorny scalpel—a symbol that cuts open the fabric of human interaction to reveal its contradictions. By oscillating between realism and abstraction, warmth and alienation, the work creates a profound inquiry into the weight of communication and the essence of loneliness.
Francis Bacon, Study for Self-Portrait – Distorted features and dark tonalities express inner struggle and existential tension.
Marc Chagall, Birthday – Dreamlike colors and surreal composition render love and communication as fantastical experiences.
Egon Schiele, Death and the Maiden – Twisted lines and sharp contrasts embody vulnerability and emotional entanglement.
Sanyu, The Lonely Elephant – Simplified forms and subjective colors convey a philosophy of solitude and estrangement.
It is a fishing net float—serving both as a reflection of the self and as a symbol of eternal fate.
Roses symbolize desire, love, and sacrifice. Yet here the flowers are withered, hinting that passion has faded, leaving only memory and traces.
Her gaze is both scrutinizing and contemplative. It appears to address the viewer directly, but at the same time carries a sense of caution and distance.
It resembles a web of fate—or an inner bondage that cannot be escaped—imprisoning the figure within a metaphorical cage.
Very likely. The “greeting” here is not a lighthearted salutation, but rather a weighty existential inquiry, perhaps even a fateful confrontation.
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