This painting was created in 2020, the year I just graduated from college and was in a period of transition. The subject matter and style of painting continued from my college days.
The reference pictures for the series "Urban scene in architecture" all come from selfies taken by several of my friends. My friends and I met in the early days of "urban construction," and when I painted them, they were all hastily building themselves along with the urbanization process. This is the era I live in and the path that our peers in the same situation must take.
Inches: x in
Size without the frame: x cm
Country: China
Date: 2023
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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The content focuses on the moment the figure lies down. The messy and curly hair strands and the natural folds of the clothing accurately capture the sense of relaxation in daily life. The details of the neck lines and collarbones enhance the vividness of the human body form. In terms of composition, the figure lies diagonally, occupying the core of the picture. The simplified treatment of the background (such as the general depiction of the sofa and pillows) makes the viewers’ eyes focus on the figure’s face and posture, forming a visual rhythm of “using simplicity to set off complexity”.
The color application is subjective and delicate. The warm tones of the skin interweave with neutral colors like gray and brown of the clothing and background. The color layers in the hair strands (such as the subtle fusion of brown, black, and red) enrich the visual levels, conveying light, shadow, and texture through color temperature differences. The painting style leans towards expressive realism. It uses rough yet controlled brushstrokes to shape the form. In the hair and clothing folds, the direction and stacking of brushstrokes enhance the sense of volume. It not only retains the capture of “real moments” in realism but also releases the creator’s subjective emotions through brushstrokes, avoiding falling into photo - like reproduction.
The emotional expression is implicit and profound. The figure’s side - looking eyes and relaxed posture convey contemplation or tiredness when alone, as if silently telling the inner state, triggering the viewers’ empathy for “private moments”. Similar artists can be associated with Lucian Freud. His exploration of the private state of figures and the expressiveness of brushstrokes have common ground with this painting. It can also be compared to the exploration of contemporary artists like Yan Ping in the subjective use of color and emotional transmission. With realism as the foundation, this painting, through the coordination of composition, color, and brushstrokes, elevates the daily moment into an emotional carrier, allowing viewers to touch the figure’s emotions in the details and feel the power of painting in recording “ordinary yet profound” moments.
The subject leans back with loosely draped clothing and an expansive, relaxed body language, evoking an everyday moment rather than a posed portrait. This “unguarded” attitude makes the painting feel like a glimpse into a private instant, caught rather than staged.
Her eyes do not meet the viewer’s, but drift toward something beyond the canvas. This displacement creates a sense of narrative absence—we don’t know what she sees, yet we are drawn to her wandering thoughts and inner detachment.
The cascading folds and creases of the clothing occupy as much visual weight as the face itself. These textures function almost like an external echo of emotion, their rippling movement subtly mirroring the fluctuations of her inner state.
Loose, curling strands of hair break the smoothness of the face, disrupting its calm perfection. This touch of disarray shifts the mood away from refinement, introducing a sense of laziness, intimacy, and unpolished reality.
Compared to the earlier portraits of direct confrontation—gazes that stare, question, or rise upward—this work marks a soft release. The body reclines, the gaze drifts, as though catching a breath after intensity. It acts as a narrative transition: from confrontation back to introspection, from outward tension to private reverie.
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