Creative Philosophy: My creative journey has moved from the "Silent Homeland" series to "Testing the Water" and "Water Splashes," and more recently to the "Stone Beach" and "Youth" series. I have gradually shifted my focus from individual sensibility toward public living spaces, and the human condition has slowly become the visual subject of my paintings. Most of my images originate from moments I capture with my phone during everyday leisure, which I then return to the studio to visually decode and re-encode—I do not pursue spontaneous, expressive brushwork, but rather rationally distill meaningful forms. I cherish what the eye can see and do not rely on imagination to paint, deliberately distancing myself from the academic "sketching-to-creation" model. In my recent works, I have enlarged the figures and given them distinct facial features, attempting to move from landscape space toward emotional expression through the figure; stone, too, has gradually been reimagined from its natural attributes into something akin to the human body. I do not chase contemporary formulas or vague international styles; I simply paint my lived experience honestly, prioritizing painting itself and thinking about how to paint a picture that is more rewarding to look at and richer in visual texture.
Jinyu
China
Roadside Scenery,2023
Oil on linen
40.0 × 35.0
× 6.0 cm
¥17300.00
Description
Medium:
Painting
Condition:
Perfect
Signature:
Hand-Signed By Artist
Frame:
Included
Creative Philosophy: My creative journey has moved from the "Silent Homeland" series to "Testing the Water" and "Water Splashes," and more recently to the "Stone Beach" and "Youth" series. I have gradually shifted my focus from individual sensibility toward public living spaces, and the human condition has slowly become the visual subject of my paintings. Most of my images originate from moments I capture with my phone during everyday leisure, which I then return to the studio to visually decode and re-encode—I do not pursue spontaneous, expressive brushwork, but rather rationally distill meaningful forms. I cherish what the eye can see and do not rely on imagination to paint, deliberately distancing myself from the academic "sketching-to-creation" model. In my recent works, I have enlarged the figures and given them distinct facial features, attempting to move from landscape space toward emotional expression through the figure; stone, too, has gradually been reimagined from its natural attributes into something akin to the human body. I do not chase contemporary formulas or vague international styles; I simply paint my lived experience honestly, prioritizing painting itself and thinking about how to paint a picture that is more rewarding to look at and richer in visual texture.