This painting was created in 2023. This year I was looking for a balance between life and desire while going out, and the work turned into lively small-size paper creations.
The "Problems of Flying" series was painted in my free time at work this year. After sweating profusely every day, cherish the remaining time to fly —— choose what to eat tonight, what speed and posture to walk on the road, and count the days to meet friends and lovers.
The problem of flying is the problem of freedom, but freedom is an abstract word that exists in the imagination, while flying is a concrete problem in practice——how to take off, which direction the wind is coming from, which sky it is in, how long you have enough physical strength to fly, constant adjustments attitude and when to land.
Inches: x in
Size without the frame: x cm
Country: China
Date: 2023
Materials: Acrylic paint on paper.
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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I. Figure and Form
In this painting, the central nude figure is depicted in fluid, ethereal blue tones, suggesting both corporeal presence and spiritual abstraction. The body, dynamically stretched across the canvas, evokes both tension and release, as though caught between earthly gravity and the yearning for transcendence. This use of line and contour captures the Taoist idea of “qi”, the vital energy flowing through all existence. Rather than presenting the body as merely physical, the artist renders it as a vessel of energy—part human, part elemental.
II. Color and Symbolism
The blue figure stands in stark contrast to the surrounding warm hues of amber mountains and a fiery red sun. This juxtaposition of cool and warm tones creates a dialogue between spirit and matter, liberation and rootedness. The sunset, glowing in red and orange, conveys both the passage of time and the fleeting nature of existence. Meanwhile, the blue-green water, blending seamlessly with the figure’s form, suggests transformation and the dissolution of boundaries between body and nature. Together, these elements embody the Eastern aesthetic principle of emptiness and substance, balancing presence with absence, form with dissolution.
III. The Philosophy of Flight
Here, “flying” is not literal but spiritual transcendence. The figure’s expansive gesture, reaching outward in all directions, symbolizes the breaking of limitations, the courage to dissolve into the infinite. This echoes the Daoist notion of freedom and wandering—a release from worldly constraints into a state of cosmic unity. Flight becomes less a physical act than a metaphor for inner awakening, a soaring of the soul.
IV. Artistic Method and Aesthetic Lineage
The work reflects the Chinese artistic principle of expressing complexity through simplicity. With relatively restrained brushwork, the artist achieves a composition that resonates with depth. The colors act as metaphors rather than mere surfaces: the figure’s transparency suggests the immateriality of spirit, while the mountains and sun anchor the composition in the tangible world. This duality redefines “flight” as an inward journey, where nature, color, and spirit converge to offer the most authentic vision of freedom.
I. Odilon Redon, Ophelia Among the Flowers
Dreamlike colors and spiritual overtones create a vision that merges nature, emotion, and transcendence.
II. Edvard Munch, The Sun
Vivid hues and symbolic imagery explore human emotion through the relationship between figure and cosmic light.
III. Marc Chagall, Above the Town
Surreal floating figures embody freedom and transcendence, merging dream and reality.
IV. Wassily Kandinsky, Composition VII
Abstraction and color are used to convey spiritual energy and transcendental movement, paralleling the expressive intent of this painting.
The work sets the cool blue-green tones of the figure against the warm orange-red sunset, creating a powerful contrast of cool and warm. This opposition generates visual tension while also highlighting the painting’s surreal atmosphere.
The figure is stretched into an almost “X”-shaped pose, with limbs exaggeratedly extended as if attempting to break free from the constraints of the background. This extreme posture conveys both physical liberation and tightened strain, intensifying the duality of freedom and tension.
The weight of the mountains and the fierceness of the sunset stand in contrast to the floating figure, symbolizing the restraints of reality. Meanwhile, the figure’s dance-like movement and the suggestion of flowing water point toward a longing for flight and freedom.
It combines elements of surrealist figurative painting and expressionist landscape composition. The work is especially suited for exhibitions exploring “the conflict between body and nature”, or for study and display as a piece of modern fantasy art.
The interplay of cool-warm contrasts and the extreme bodily form give the painting a rare quality within expressionist-surrealist figure art. For display, it is highly suited to modernist interiors or creative studios, where it fosters an avant-garde and contemplative atmosphere. In museums, it would hold distinct value in sections dedicated to “body semiotics” or “psychological tension in painting.”
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