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: 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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Compositionally, the tension generated by the juxtaposed double portraits evokes Picasso’s exploration of multiple perspectives in his Cubist period. Yet, it discards the cool geometric fragmentation, instead conveying the warmth of souls gazing at each other through chaotic contours. Within the limited space, it constructs an intimate and profound channel for emotional exchange.
Color serves as the explicit signifier of emotion. Expansive swathes of vibrant yellow act like an emotional ground, reminiscent of the burning ardor for life in Van Gogh’s Sunflowers, setting the foundational atmosphere for "intimate whispers". Slate blue and mottled variegated hues traverse the faces, akin to the distorted chromatic metaphors in Munch’s The Scream, transforming complex inner tremors into visually tangible blocks of color. Here, color breaks free from the shackles of mere "depiction" to become the direct voice of emotion.
Brushwork is rough and unbridled. The layering and flowing traces of pigment chart the trajectory of emotional outbursts. Similar to the improvisational strokes of Pollock’s action painting, they are nonetheless anchored in the poetic delineation of the figures’ contours. The rhythmic undulation of brush pressure and speed mirrors the cadence of intimate whispers. Navigating between control and abandon, it articulates the soul’s tremor—the meandering strands of hair, the textural scraping across the faces—each stroke is the concrete inscription of emotion.
Content and Theme leverage the "double portraits" to transcend literal narrative, turning instead to a philosophical inquiry into the dialogue of souls. This resonates with Giacometti’s exploration of the existential essence of humanity in portraiture. Individual visages are elevated into vessels of spirit; "intimate whispers" cease to be merely linguistic exchange and become proof of souls’ presence. It is the gravitational collision of two spiritual universes. Within the folds of color and brushwork lies an eternal questioning of human connection and emotional bonds.
Emotional Expression is subtle yet torrential. The interweaving of the yellow’s fervor and the blue’s melancholy resembles the shared combustion of joy and apprehension within intimate whispers. The creator uses color as the larynx and brushstroke as the tongue, translating ineffable feelings into a chromatic respiration between faces. Like the floating romance in Chagall’s paintings, within a surreal visual order, it allows the viewer to hear the sound of the soul’s murmur and touch the primal folds of emotion. This is a dialogue of intimate whispers requiring no words; within the grammar of art, it achieves a fusion and resonance of spirits.
The two back-to-back faces suggest a paradox of communication: they represent both intimate reliance and an inability to meet each other’s gaze. This structure makes the idea of “whispered words of love” ambiguous, heightening the psychological tension within the work.
The bright yellow ground feels like a backdrop of noise or intensity, while the gray-blue portraits appear calm, even detached. This contrast makes the figures seem as if they are trapped within a surrounding clamor of emotion.
Through rough textures and abstracted contours, the piece conveys the inner complexity of emotion rather than a literal likeness. Such subjective intensity is a hallmark of Expressionist portraiture, making it especially fitting for contemporary art exhibitions, psychological-themed showcases, and private collections, where it offers both visual and research value.
The blurred face is not a clear likeness but resembles a “voice embodied” — evoking whispers, murmurs, or even hallucinations. This indeterminacy gives the painting an open interpretive space, inviting multiple readings.
Heavy scraping marks and uneven applications of paint create a sense of rawness and friction. In contrast with smoother lines, the surface conveys not a narrative of love, but the abrasion of conflicting emotions. This technique, often seen in Abstract Expressionist painting, makes the work especially powerful in modern museum displays and contemporary gallery settings.
