Before silence2

1200 $

This painting was created in 2019. This year is the third year of college. I started to prepare for my graduation work, so I tried paintings with more concepts, depth and formal unity. In these paintings, you Being able to begin to see a more specific me. Such attempts did add weight to the work, but it was only a small step compared to the depth that would later come with the weight of life. Then came the COVID-19 epidemic at the end of the year, and the future that people expected changed its face, either urgently or slowly.

Silence is not a human instinct. Only when words and sounds will cause greater fear and uneasiness, silence becomes a necessary coat in a dank place.

Overall Size: /
Size without the frame: /
Country: China
Date: 2019
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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Reference view

These elements create an atmosphere that feels ordinary yet hints at an undercurrent of abnormality. Compositionally, the figure stretches horizontally across the sofa, breaking the rigidity of conventional sitting postures. The asymmetric layout guides the viewer’s eye to wander, while objects on the floor add narrative layers, suggesting unspoken stories.

In color, the contrast is striking: the bright yellow dress clashes with the dark blue sofa (a strong warm - cool contrast), and the vivid red boots act as a focal point, energizing the scene. Gray tones in the background and floor balance the visuals, emphasizing the subject. Stylistically, it leans into expressive realism — brushstrokes are rough and textural on the skirt’s folds and leather accessories, capturing real - world forms while channeling subjective emotion to avoid sterile photorealism.

Emotionally, the work is subtle yet complex. Beneath the figure’s relaxed posture, her gaze and body language don’t convey pure leisure; combined with scattered objects, there’s a sense of “pre - silence” emotional tension, perhaps a silent resistance to an unspoken state.

For artistic parallels: think of Sigmar Polke, who used everyday scenes to unearth hidden emotions via color and brushwork. It also echoes Elizabeth Peyton, who infuses portraiture with narrative and emotional tension. This painting uses the “shell” of daily life, blending color clashes, compositional tension, and brushstroke emotion to freeze a moment into an emotional field of “pre - silence.” Viewers decode hidden stories in details, showcasing art’s power to deepen ordinary instants.