This work was taken during my travels in Japan, when I was in the sixth grade of elementary school. The shooting location was near Shinsaibashi, Osaka, in the Kansai region of Japan. This work fits my impression of Osaka from a certain impression. It is a modern and beautiful city, but it is not as complicated and exquisite as Tokyo, and it retains a strong atmosphere of life. Just like a light cup of tea, you will not feel the urgent urban rhythm, which is peaceful and comfortable.

Osaka Impression

This piece was inspired by Monet's Water Lilies collection. However, this is not a oil painting. I tried to explore an expression suitable for watercolor painting to express irregular water surfaces and plants, and added some Chinese painting techniques. In general, this work is consistent with the effect that most Impressionist works strive for—the pursuit of immediacy of light and color. I hope this oriental form and impressionistic vibe will have some novel effect.  But the meaning of this work is not the conclusion of the accumulation of painting forms and techniques. In fact, the atmosphere of peace and serenity conveyed by this painting represents the harmonious relationship between man and nature. In traditional Chinese painting, the symbol of this relationship is often referred to by the overall landscape, but I try to break away from this pictorial convention. Facts have proved that this is a successful attempt and exploration. The realization of this effect is inseparable from my perception and interpretation of nature. I capture this state and context and core, and use another image to convey my ideal of man and nature. In other words, this is the product of my "embracing" with nature.

Lake and Water Lily

The name "The ONE" comes from a Chinese word "太一". This term originates from the ancient Chinese mythology system. On the one hand, it can refer to the supreme god in mythology, and it can also refer to the origin and end of all things in the universe, the chaotic air before the separation of heaven and earth, and it can also be used as a reference to the stars. "The one" has a very special position in the Chinese and even East Asian cultural circles, it symbolizes the origin and the end at the same time. I try to use this work to express the sublime and mysterious sense of "The one". Although it draws on the form of expressionism and abstraction, what this form shows is a cultural connotation that belongs to the East.

The ONE

From the perspective of contemporary urban crowds, forests always have a little mysterious temperament. On the one hand, it is due to the rendering of the forest in various literature and film works - so this work may look a little like illustrations in adventure novels. At the same time, the lifestyle of urban people far away from nature makes nature seem too strange to them. I try to reveal this stereotype in the form of painting, and I hope to call on urban people to change their attitudes and patterns with nature.

Forest of Silence

In my opinion, the desert is a very special creative theme. The monotonous landscape and strong lighting make the desert often present a kind of surreal atmosphere and characteristic surrounding. The desert composed of loose sand grains presents two diametrically opposite states of silence and agitation under the action of the wind. What this work hopes to express is such a contradictory posture of the desert. The large area of black symbolizes the monotony and loneliness of the desert, while the bright orange-red and dotted white strokes represent the implicit restlessness under the silence. Overall, this work symbolizes a certain impression I have of the desert - a collection of contradictory relationships between monotony and change, but that's what makes it so appealing to me.

Two Side of Desert

After the reforms in the 1980s, the creation of contemporary art in China has undergone tremendous changes, and many artists have begun to learn the artistic language of Europe and the United States, an event known as "the new wave of art in 1985". Since the "Art Trend of 1985", Chinese contemporary ink art has increasingly moved towards an abstract formal language. However, the ink painting under this background is more just using ink painting as a creative material, and some oriental connotations and complexes of Chinese ink painting itself have disappeared. And I think that while the form is moving towards modernization, the context and spirit of Chinese ink art itself should not be completely abandoned with the change of style. Therefore, after a certain degree of research on the spirit of traditional Chinese painting and brush and ink techniques, I also try to create paintings in an abstract brush and ink language. However, while using modern language, I tried to create a context with oriental connotations through the pictures, that is, the imagination and pursuit of nature with romantic characteristics in the Chinese ink painting tradition. In other words, this "Silence of Mountain" represents my understanding and construction of Chinese landscape culture and natural culture.

Mountain of Silence

The prototype of this work is a cave dwelling I saw when I was sketching in Shaanxi, China, but the purpose of this work is not to represent the architecture or the scene itself. The cave dwellings have long been abandoned and uninhabited, and the desolate and dilapidated dwellings aroused my thoughts on the theme of "home". With the emergence of many problems of urbanization, there are many reflections on the natural pastoral in contemporary culture, but the "pastoral" in this memorial is often an ideal and beautified form. We tend to focus only on the "feeling of relief" brought about by rural life, and less aware of the differences between the former's material conditions and the city and the consequences of these differences. In other words, what people remember is a kind of refuge without waiting, and this refuge is reflected in the image of "village" or "home". The purpose of this work is to express the above-mentioned romantic fantasy of the countryside. While using bright colors and fluid brushstrokes in the picture to create a formal beauty, it also makes the viewer realize the surrealism of this picture. with illusory meaning. From this perspective, this work also represents my views and reflections on the current "pastoral culture".

Hometown in Wild

Conversation is a linguistic concept that refers to the communication and communication between two or more people. Conversations can be meaningful exchanges or casual greetings, but in any case, there is always some information flowing and exchanging in conversations. The interaction between man and all creatures in the world can be a kind of "conversation", which is what Heidegger said: "The existence of man is based on language." When we "talk" with objects outside us, words The wheel is formed. The theme of this work is about the "dialogue" between people and the outside world. Based on the context of inspection, I found inspiration from East Asian monochromatic paintings and the art of "Mono School". The deep colors set an emotional tone for the picture, and two sets of linear and surface elements with different textures echoed each other in the picture. I tried to use the positional relationship and the difference in texture between this abstract language to represent the two elements of "continuation" and "feedback" in the dialogue - the basis for our dialogue. In a nutshell, this work can be attributed to my abstraction and impression of the act of "dialogue", and it is also an excavation and exploration of the meaning of painting.

Conversation

At the end of 2019, a severe wildfire broke out in Australia. I was very impressed with the jungle after the fire. Based on this feeling, I created works with red as the main tone. Red in the work contains multiple meanings. First, I wanted to simulate the perspective of a person in a fire: the bright, dazzling red symbolizes the flames, and the gaps in the flames reveal the trees behind. In terms of the performance of flames, this work does not use a realistic expression method to express the forest in the wildfire, but uses a large area of solid color and a small area of heavy color to make pictures to show some kind of surreal meaning. The use of special formal language creates a unique visual effect; but it is worth emphasizing that the bright red in the picture also symbolizes the praise of the new life after the fire and the "restart" of nature after the fire. That is, the red in the picture represents two diametrically opposed themes - the destruction of catastrophe and the rebirth after catastrophe.

Flame-colored Forest

In human society, as a unique physiological phenomenon of women, menstruation has long been regarded as one of the most representative characteristics of women. Based on the obvious directionality of this feature, we might as well regard menstruation as a kind of "symbol" or "mark". In the past perception, monuments also have the function of serving as signifiers. Therefore, in this work, I regard the monuments and the main color of red expressed by abstract formal language as a metaphor for menstruation. In other words, what this work intends to reveal or explore is some connection between menstruation and female identity.

Monument

2020 is the 250 anniversary of musician Ludwig von Beethoven birth, beethoven is my favorite musician. However, the pandemic of the Covid-19 prevents us can according the original plan to celebrate the festival, theater, music hall and other public occasion in close status. But we can found other ways to celebrate this special date for classical music fans in the world, I choose the digital painting to represent my affection. 

For some people, classical music is a very boring form, with complex structures and long hours that require considerable knowledge and patience from the viewer. But Beethoven's music is not an abandoned object sealed in a corner. In fact, his music still cannot be called outdated today. So I used the pop art style to express this portrait of Beethoven, I hope this portrait can bring a new feeling to the audience to change their past stereotypes and become a "fuze" for their interest in classical music culture.

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Yüyen Rowe

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