Public Distance focuses on a modern public transportation scene, capturing a slice of urban life with delicate brushstrokes. In the painting, the masked figure is the visual core. The posture of focusing on the mobile phone accurately presents the “individual immersion” state of contemporary people in public spaces. The passengers scattered in the background, with vague yet vivid forms, construct the public field of the subway car. The connection between the figure and the background coincides with the theme of “public distance” — physical spaces are close, yet spiritual worlds are alienated due to electronic devices.
In terms of composition, the foreground figure and background passengers form a “near - real, far - virtual” layer. The figure occupies a prominent position on the right side of the painting, and the background extends the space with a scattered layout. The structure of the subway car (handrails, seats, doors, and windows) acts as an invisible frame, regulating the painting’s order while strengthening the “public space” attribute. It allows viewers to clearly perceive the tension between individual and group, private and public.
Color is a thermometer of emotions: The light beige of the figure’s clothing and the blue - gray of the mask convey the dullness of daily life; the warm yellow, pink - purple, and other tones in the background simulate the light atmosphere in the car, creating a visual experience of “tranquility in noise”. The handling of paint thickness (thick application on the figure’s hands and face for three - dimensionality, thin application on the background for haziness) distinguishes spatial layers. It also metaphorically represents the clear existence of individuals and the vague outlines of groups in public environments. Each color stroke tells the complex distance of modern social interactions.
The painting style belongs to realistic expressionism. It retains realism’s accurate restoration of scenes and figures (such as the subway car structure and clothing details of the figure) while using expressive brushstrokes (color blending in the background, texture outlining of clothing) to convey emotions. The looseness and compactness of brushstrokes (free blending in the background corresponding to detailed depiction of the figure) are not just technical choices but a visual interpretation of “public distance” — the clarity of individuals and the vagueness of groups are the true portrayal of modern public life.
Emotions hide in detail folds: The figure’s immersion in the mobile phone is an active withdrawal from public socializing; the dispersion of background passengers is spiritual alienation under physical distance. The whole conveys “loneliness and connection in modern public life” — In public spaces, people generate distance due to electronic devices but share the same physical field. This contradictory emotion naturally emerges in the interweaving of colors and scattering of brushstrokes.
It evokes Edward Hopper’s capture of urban loneliness, yet this painting involves modern technology more. It also resembles Lucian Freud’s attention to figure details but focuses more on the group nature of public scenes. Using the specific subway scene and the figure’s mobile phone posture, it transforms the sense of distance in modern public life into perceptible visual language, telling viewers: Public distance lies in the visual layers of individual and group, and the collision between electronic devices and real scenes. When brushstrokes outline the mobile phone’s outline and colors render the car’s atmosphere, the contradictions and truths of “public distance” appear on the canvas, becoming a vivid footnote of modern urban life. Every gaze prompts reflection on the subtle relationships between people, and between people and public spaces in the technological era.
