The Cautiously Built Love of the City focuses on an individual within an urban context, presenting a unique emotional field through a fusion of realism and expressionism. In the painting, the figure’s posture of leaning against the railing is the core narrative, relaxed yet subtly restrained. The object in hand (a mobile phone) serves as a symbolic footnote of modern urban life, connecting the individual to the complex relationship between the virtual and the real. The blurred architectural light and shadow in the background, like the hazy outline of the city, provide an emotional anchor for the figure while also intensifying the sense of loneliness of “the urban individual”.
In terms of composition, the figure occupies the center of the painting. The horizontal lines of the railing and the vertical form of the figure create a geometric dialogue, breaking monotony while constructing a stable yet tension - filled space. The light and shadow in the background (such as the hazy lamp light) intersperse in the form of “dots” and “lines”, extending the depth of the painting, making the connection between the figure and the urban environment closer, and creating a visual metaphor of “the individual embedded in the urban framework”.
Color acts as a catalyst for emotions: The interweaving of blue and green in the figure’s clothing resembles the depth and ambiguity of a city at night. The thick stacking of paint on the folds of the clothing intensifies the texture, conveying the heaviness of life. The dark tones of the background contrast with the bright areas of the figure (hands and face), like a glimmer in the urban darkness, highlighting the individual’s existence within the huge urban machine. The collision of warm and cool colors (the coolness of blue - green and the warm tones of the face) coincides with the urban emotion of “loneliness and warmth coexisting”.
The painting style belongs to neo - expressionist realism. It retains realism’s capture of the figure’s form and expression (such as subtle facial expressions and hand postures) while using expressive brushstrokes (rough clothing textures and blurred background treatment) to convey emotions. The free wandering of brushstrokes (such as the mixing of blue and green on the clothing) is not a replication of reality but an externalization of emotions, giving “the love of the city” a touchable temperature.
Emotions hide in detail folds: The relaxation of leaning against the railing is a temporary escape from urban pressure, the mobile phone in hand is a longing for connection with the outside world, and the haziness of the background is the sense of urban alienation. The whole conveys “the contradictory emotions of the urban individual” — In a city full of buildings, love needs to be cautiously built (to avoid being swallowed by the city) yet longs to find resonance in loneliness. This complex emotion naturally flows in the collision of colors and interweaving of brushstrokes.
It evokes Lucian Freud’s exploration of the inner spirit of figures, yet this painting is more wrapped in the urban context. It also resembles Corneliu Baba’s use of heavy colors but is more in line with the emotional expression of modern cities. Using specific figure postures (leaning against the railing) and symbolic objects (mobile phone), it transforms the emotional dilemmas of urban individuals into perceptible visual language, telling viewers: The love of the city lies in the tug - of - war between the individual and architecture, the virtual and the real. When brushstrokes outline the folds of clothing and colors render the haziness of the city, the caution of “cautiously building” and the longing for “the love of the city” intertwine on the canvas, becoming a vivid mirror of the emotions of modern urbanites. Every gaze allows one to feel the complex texture of urban life and the soft heart of the individual.
