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.
The light feeling in the painting is due to the multi-water method of acrylic. You can also use watercolor directly, which will make it more transparent, but I am more accustomed to the texture produced by the translucent superposition of acrylic.
The painting in two days from conception to completion in one fell swoop, relying on intense intuition.If I continued painting, I would feel a little numb.
Take a rest, then choose good weather for the change of seasons, wash the quilt and dry it.
In the painting is the first tree flower I see in spring, and the eye is a flying swallow under the eaves of a house.
Overall Size: /
Size without the frame: /
Country: China
Date: 2024
Materials: Acrylic paint 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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He Still Comes to Ask About the 27 Flower Scents of That Day weaves a layered poetic fantasy with the light rhythm of watercolor. The creator uses the visual logic of Surrealism, blending figures, flowers, and a hazy background to construct a field where memory and reality intertwine. The intimate interaction between the main figure and the flowers conveys a gentle tension through color blending. The transparent texture of the pale pink flowers echoes the soft outline of the figure, as if telling the fragrance in the memory. The small figure nested in the main figure’s form is the embodiment of “questioning” — repeatedly salvaging the flower scents of that day in the folds of time. The mottled tones in the background, like the base color of emotions, provide an ambiguous and profound atmosphere for the narrative of “flower scents”. Here, art breaks through the boundaries of time and space. Through the method of image juxtaposition, it elevates individual memories into an eternal interrogation of “disappearance and retention”. It allows viewers to touch the resilience of memory and the weight of emotion in the mistiness of watercolor, experience art’s poetic reconstruction of trivial daily life, and decode the attachment and melancholy behind “questioning” in the collision of colors.
When we are used to anchoring the meaning of art with “clear narration”, He Still Comes to Ask About the 27 Flower Scents of That Day insists on digging a trap in the haziness. Those overlapping figure forms are not warm nestings, but a “memory maze” set by the creator — the entanglement of the main figure and the small figure forces us to admit: the so - called “questioning the flower scents” is nothing but spinning in the memory cocoon woven by ourselves. The deliberately blurred outlines of the transparent flowers seem to mock the obsession with “precisely replicating beauty”. The specific reference of the 27 flower scents is even a “no - solution game”: you think you can count the flowers and grasp the fragrance, but in fact, you are dragged by the color vortex into doubting the “authenticity of memory”. The mottled tones in the background are simply an “emotional smoke bomb”, shattering the “clarity of memory” and forcing viewers to face: What we repeatedly question is, after all, the flower scents of that day, or the self - redemption for fearing forgetting? The creator uses the ambiguity of forms and the chaos of colors to tear open the filter of “beautiful memories”, turning “questioning” from a warm narrative into a needle that pierces self - deception. In the haziness of watercolor, we stumble upon the illusion of memory, the self - deception of emotion, and art’s ruthless rebellion against “conventional empathy”. Eventually, in this poetic “scam”, we re - examine the essence of memory and the absurd game of emotion.
