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With the rapid development of the modern economy, people’s living standards have gradually improved. Therefore, people are not only pursuing contentment at the material level, they are also beginning to continuously enrich the spiritual world. In modern cultural content, the art of oil painting has gradually become a cultural form that people are more and more fond of. The expression of colors can express the inner emotions of the painter so that the viewer and the creator can establish a certain relationship. Based on this, the article first introduces the connotation of color in emotional expression, then analyzes the emotional expression of color in modern Chinese oil painting art, and finally elaborates the influence of the emotional expression of color in oil painting art on the creator. It not only enriches the existing theoretical foundation but also further promotes the development of oil painting art.
Color has an important influence on the expression of the deep connotation of oil painting works. Color is equivalent to the interpreter in oil painting, and marries viewers to communicate emotionally. In the field of modern oil painting art, color plays a greater role. Modern oil painting pays more attention to the application of color and pays more attention to expressing the deeper meaning of oil painting through color. Different color choices have different expressions of emotions. The development of color diversity is an important way to promote the development of oil painting art.
We live in a colorful world, and explore the impact of color on our lives from the aspects of culture, national customs, and aesthetic consciousness. The art of oil painting originates from life. The coordination and use of color is an important factor in oil painting works. In modern western oil painting art, color is the main means of expression. The emotional power generated by color can directly build up between the artist and the audience’s mind A bridge for interactive communication. This article analyzes the artistic characteristics and emotional expression connotations of modern and western oil painting colors from the perspective of the emotional expression of modern and western oil painting colors, with a view to promoting the diversified development of oil painting colors.
Black and White Oil painting 《院儿》 We have many ways to enter the old Beijing hutong and walk into the courtyard. Most of the time, we follow the light and shadow of black and white photos. When the old houses appear in the camera, the mottled remains the same. This time is different.
We walked into the 《院儿》 with the brushstrokes of black and white oil paintings, and entered the memory of childhood. Needless to say, the oil painting is foreign-style, and it is matched with Xiaoyanglou and Western Restaurant; and if the Hutong Courtyard is not rustic, it is at least a folk custom, and it is very compatible with the biscuit and the bean juice. Therefore, using Western painting to express the ancient capital residence, it is wearing a suit pull Huqin, it is likely to see how it does not match. It is an adventure for the painter Tian Yingren to walk in the hutong with a picture box. It can also be said to be an offense. She uses the seemingly incompatible Western art form to express the scene of oriental life. What will be the result? If it is not categorical, it may be very embarrassing. You know, her oil paint is not the Burgundian palace and wine cellar, not the arch bridge and gondola of Venice, not the pier and tower of Rotterdam, and not the snow and the Yosem of Mont Blanc. Mitty’s moon…but the brick-and-mortar courtyard that she has never lived in but the old and noisy hutong courtyard, although she has traveled numerous times, it is just a passer-by. In fact, it is true for anyone and things. Familiarity and unfamiliarity are not complete, but they are counted. When the old Beijingers are familiar with them, and they can touch the door of the 《院儿》 with their eyes closed, our inner touch is no less than a long-lost haircut. I really want to hit him and punch him. Or hug him tightly. First of all, we like this black and white color too much, not a kind of elegant atmosphere, quiet and comfortable feelings, highlighting the simplicity and subtleness of the Hutong courtyard. The painter boldly used the subtraction method in the composition, and removed all the debris that was commonplace in the hospital, leaving only one courtyard door to occupy a conspicuous position. There is no single character in the whole picture, but it seems that there is a living life in it. Not only the temperature of life can be felt, but also the secret story is hidden. – A seemingly inadvertently decorated women’s bicycle, reclining on the courtyard wall next to the door, like a vigorous old wood, blooming a delicate flower. Obviously, the hostess of the bicycle is making a short stay, otherwise she will put the bicycle in the yard. So who is the person she visited? How come she has a special trip here? What kind of impression will she leave for the small courtyard children? Although we are talking about black and white oil paintings, we can use black and white chess as a metaphor. It can be said that: a good game, full of life. This bicycle, which is quietly curled up in the lower right corner of the picture, is like a pen of God. It does not have a word, and it makes the whole painting vivid and vivid. So we can’t imagine what would happen if there was no such bicycle in the picture. Art, often seeing the spirit in subtleties. I remember that when the world singer Pavarotti of the Apennine peninsula sang on the stage, he always did not forget to wear his little ornaments as props. He always tied a white towel on his wrist and waved it from time to time to let him I am very chic and natural in the eyes of the audience who support him.
The Tian painter, who had been arguing in Italy and holding a painting exhibition, witnessed the style of the song king and borrowed the atmosphere of “small eyes”. The oil painting 《断“臂”之痛》 is a rare thing to see a picture. What’s more, this is a superposition of two kinds of pain, which is a mixture of psychological and physical pain.
This black and white oil painting is called 《断“臂”之痛》, obviously this quoted “arm” is the “wall” homonym, it refers to the wall, is too much we see and The walls of the ancient alley courtyard that disappeared. Although the protagonist in the picture is a building, the ridges, beams, and bricks will shed tears. Because of their long history, their bodies have already been soaked in the life of their homes. The social turmoil of the world is not strange, but everyday life. The joys, sorrows and sorrows will not be unfamiliar. The old house gives us the feeling that it is a “living thing” with life temperature and memory. I don’t know why, I like this painting. It made me realize that the ancient buildings of the city where humans have lived can also be regarded as flesh-and-blood bodies. Our responsibility and obligation is to protect them as much as possible, and take care of them. Iron weapon damage, and even fracture or bleeding. I was thrilled to see these broken walls and prove that our soul has not yet been numb to our home. Our pain is just proof that we are still awake. The ancient city is surrounded by its old residential buildings, which are blood vessels, nerves and cells. Walking in the deep and quiet hutong is a specific field in which we meet with history and dialogue with historical figures. If the hutongs that have been in the world for at least five or six hundred years are not in existence and there are countless legendary stories in the courtyard houses, why do we care for the nostalgic feelings of a historical and cultural city like Beijing?
This is a requiem that is specially sung for the residential buildings that the city is gone for. It is a singer of blood and blood that is written with lines and color blocks of black and white oil painting. The sad reminder, sad and helpless and sorrowful sigh though Silent and uninteresting, it can’t change the reality, but it has already blown our hearts. Just like a strong electric shock, the mood can’t be calm for a long time. I even wondered who was unreasonably pushing the old historic buildings of the city onto the operating table. The lame surgeons who had no medical knowledge and literacy were waving scalpels. For them, cut off the ridge of a house (also known as the “big ridge”, that is, the intersection of the two slopes at the top of the house) together with the beasts (building decorative objects, swallowing the ridges) and the beasts Kissing the beast is the same as the ornament, looking out the way), just as easy as going up the mountain to cut wood, just like the potato in the vegetable field. The ancient capital is the body of its ancient architecture, but it is clear that not everyone has a sense of skin and brotherhood. If we say that ancient urban buildings used to bleed or are bleeding, then Lu Xun’s words would come in handy. He said: “The real warrior, dare to face the bleak life, dare to face the dripping blood…” Perhaps Lu Xun, who likes to recommend woodcut prints to readers, is alive, he will love the painting of Tian Painter. The subject matter and style of this painting are bold and direct, sharp and sharp, and how close to Lu Xun’s character and thinking.
The Tian painter really loves Lu Xun. She has no feelings for most modern Chinese writers, but she is very interested in Lu Xun, who has always been stabbed, ridiculous, unrequited, and naked. She also appreciates his character. , the rhetoric of words and speech. She said: “In any case, there is a Lu Xun is really good! Unfortunately, only one of them, if there are a few more Lu Xun, then it is better!” It is also interesting to say. The gentle-tempered Tian painter’s body and his works actually have some “hard bones” Lu Xun’s shadow. The two don’t really take it. Who said that a painting cannot be as sharp and weighty as an essay; who said that a weak woman cannot have the heart and feelings of a great husband; who said that the oil painting 《断“臂”之痛》 can not be the backyard of Lu Xun’s former residence. Jujube tree with thorns.
The Black and White Oil painting 《冻坏的家》 is space art, literature, and time art. When space art has the characteristics of time art, the immortal cause is done. In front of this, the black and white oil painting created by Tian Yingren – 《冻坏的家》 is a typical example.
It declares the organic combination of image art and text art, except that the image is tangible and the text is silent. Those who need to read the picture to carefully draw and carefully try to figure out and play. There is no outstanding painting in the history of art, and there is no intriguing literary color. If we change the name of the painting “Frozen Home” slightly, such as a “frozen house”, then it seems to be well understood. You see, the walls erected on the left and right sides of the picture, the broken look, can also be called the wall, clearly two piles of loosely stacked bricks, but also some inconspicuous corrosion, broken bricks. In the distance, there is a slightly decent courtyard door, but there are still broken traces around. The hutong was shrouded in cold snow, as if the snow had not been finished yet. However, the paintings of the Tian painter are not called “frozen houses” but “frozen homes”. – This name is stressful! The house that is frozen is probably home, maybe not home, and the home that is frozen is definitely in the house. When it comes to home, people will have a warm feeling, and the frozen snow is a threat to the home, but also a kind of destruction of the warmth of the home. – In this case, the profound implication of this painting lies in the hidden dangers of threat and destruction, and it is still an inevitable reality or result. The hutongs of the ancient capital Beijing are disappearing. The original thousands of hutongs have been demolished, and the exact number of survivors is difficult to count. From this painting, we not only see the broken and decaying, but also see a kind of broken beauty and farewell. Just as we are awe-inspiring in front of the statue of the Mexican modernist sculptor Francisco Zuniga, the old grandmother, we also have a sacred and solemn sense of awe in the ancient hutongs and alleys, and we will taste the hardships of ordinary people. The taste of taste… Obviously, the feeling of freezing is the body of the body, and it is more of a soul. The pain of the soul is the real pain, deep and long-lasting, and has divergence and conductivity, even the universal feelings and values are also contained. All spiritual people will have this pain, and all who have pain will have spirituality. A painting is not only in the form of minerals through pigments, but also in the realm of the mind through emotions and thoughts. People who appreciate art are also promoted from being creatures that are easily materialized to life with souls. Such a black and white oil painting is unfolding in front of us, just like a witness to the coexistence and common prosperity of physical life and spiritual life. The world can be miniatureed into a section or silhouette of an alley, and the memory of all our lives can be stimulated and awakened in an instant. It is not only the memory of individual life, but also the memory of the whole city… I have been asking myself, I like this picture, why is it impressed by it, is it that these houses are not comfortable? Still not a complete alley for this article? The artist’s extraordinary feelings bring us super stimulating, numb people simply don’t look at the painting, or can only see the painting… There are always some seemingly random strokes that touch our nerves, if we are sensitive enough or enough nerves. Especially those who take the city as their home, they will be more tempted by the 《冻坏的家》.
The Black and White Oil painting《胡同口》 looks very ordinary people but looks good, which is common in life. And although some faces are very beautiful, they are a bit unbearable. Just like the scenery in Tian Yingren’s black and white oil painting 《胡同口》, the old house lined up in the remnant snow, a bare bare tree, how to look at how inconspicuous, indeed looks plain, and can’t even attract you too much interest.
Impulsive, but as long as you watch it over and over again, it will be slowly moved, chewed and then tasted. correct. This is not an amazing oil painting, just as there are always amazing faces in the world. Is it true that we appeal to our visual organs and visually appreciate paintings, and do we have the inner beauty that describes people as being invisible? Of course, this is the same as a person. There is a culture of intoxication and infiltration in it. There is also a style of inner beauty and elegant meaning. The so-called “inner beauty” is also. The term “inner America” is derived from Qu Yuan’s “Li Sao”: “There are both inside and outside, and they are important to repair.” Since we don’t win the brilliance of the outside, we must make the work intriguing. In the picture, the roof of the house, the door, the window, the steps… give the image of the Sui and Tang Dynasties, not only the dryness, but also the margins. However, from the perspective of the overall organic composition of the picture, there is quite a charm and symbolic meaning. Su Shi’s two poems – “roughly wrapped in a big cloth, full of poetry and self-satisfaction”, used to describe this painting is very suitable. Here, the ordinary scenes must be made unusual. Simple pictures require us to fill in with rich emotions and thoughts. Wu Guanzhong, the master of painting, said that “the pen and ink are equal to zero”, but the saying is “there is nothing to say”. For the author, it can be said that “Kung Fu is outside the poem”; and for the painter, it is “Kung Fu is outside the frame.” A picture without thought is just a picture; with thought in it, the picture has life. The reason why art is noble and immortal is because there is life and there is a soul. This black and white oil painting “Hutongkou” is a simple poem. We think of our own lush years, often agreed to gather in the Hutong mouth. The sky is still bright, a large group of teenage middle school students riding bicycles, starting from the Hutong mouth, heading for the Xiangshan in the western suburbs… The young boys and girls who started in the sinus often start their first date in the same life. It is an anxious wait and hope that makes people feel at ease, and they confuse each other and repeatedly explain: “Let’s say hello, at the mouth of the alley, under the tree at the mouth of Hutong, I will see you!” I thought that the primary school had stipulated that the hutong children would line up and go to school. The class teacher stood in the Hutong mouth every day to monitor and look at the Hutong mouth. For the children who grew up in Hutong, there are too many stories for the residents of the courtyard, too much too much. Memory. The Hutong mouth is in the Hutong people, just like the village entrance to the villagers. It is a sad place for far-off people who have left their homes and farewell to their family members. Of course, it is also the joy to welcome the returnees of thousands of miles. The complex feelings and feelings expressed by the Tang Dynasty poet Song Zhiwen, “The hometown is more awkward, dare not ask people”, are the same for the city and the country. If the Hutong mouth is a port, then the courtyard in the hutong is the harbor, and the trip is a boat that travels between the heavens and the earth. Nowadays, in ancient Beijing, where are there so many well-knit, eye-catching alleys and alleys? ! Therefore, we can not blame the scene in this painting 《胡同口》 is too shabby, but in the chill of the residual snow, there is a warm and harmonious friendship.
The Black and White oil painting 《今日胡同》 Beijing’s Hutong is a historical and cultural carrier. It was once neat and quiet, but it was not wide but had plenty of room for activity. However, today it is a bit overwhelmed, forced and squeezed by ruthless external forces, and even somewhat distorted and deformed. The painter Tian Yingren’s black and white oil painting 《今日胡同》 vividly and vividly describes the cramps and embarrassment of this alley. Hutong, becoming fashionable so quickly, is what we didn’t think of.
The memories of childhood disappeared with the disappearance and reconstruction of buildings. So what is the memory of this ancient city? We really don’t want to think more. Between the hutongs and the hutongs, wherever we go, what we see is like a deja vu, and it seems strange, and it has never been seen before. In the painting, the small shop in the Hutong mouth, the curtains are not earthy, not in the west. The broken tiles on the roof are old objects, and the floor-to-ceiling windows and sliding doors are new things. Two sly bicycles and four sly cars, one left and one right, clearly stood up against each other. Going deep into the hutong, the figure of the mini sedan is faintly visible. Only scattered trees are still the original ecological landscape. You see, is this the corner of the hutong? That’s right. This is a glimpse of the alley we live in today. However, I would like to say that this alley gives us a little funny impression. You have to say that it is not a hutong, you have wronged it; you have to say that it is an alley, and you have to turn yourself. It gives me the feeling of being incomprehensible, just like the Chinese people wearing the Western hats in the Qing Dynasty. Who is it, let our hutong become this one.
This is not a black and white photo, this is a black and white oil painting, just too realistic!
Artist Matteo Mezzetta from Lyon, France, has amazing oil painting skills. He is good at immersive painting and portrays real life with incredible techniques. I have introduced many immersive paintings in the past, but the black and white oil paintings are the first to see, too strong!
The beauty of oil painting is mainly the beauty of color, and the beauty of color is to see how to master and apply color. Color has a prominent and important position in form. But where is the beauty and beauty of black and white oil painting? The contrast between black and white oil painting is more intense and more visually impactful!
Painting art is a kind of knowledge, and it is the hard work given by genius. The highest state of art is that emotions cannot be copied.
Mr. Fu: You can often see in your paintings, face, skirt, and hands do virtual processing, but a certain pattern on the table, there will be a loud golden yellow, very eye-catching, and others are controlled in the rhythm in. You can see this clear contrast in your picture.
Miss Xia: Yes, as you said, I feel almost non-existent of the art that does not come from comparison. Studying the language basically took me ten years, which is a process of continuous improvement.
Mr. Fu: Please talk about the development process of your painting. From the beginning of your study to the several stages of change. What has affected you?
Miss Xia: In 1995, my research on the picture was first seen. The graduation work at the time of debut was still immature. It had a certain impact and appeal, but its fault was also very glaring. The skill was not purified, but the state of ignorance naturally bursts. One of the feelings, the physical strength and the kind of young impulses, was completed in a short time. Like a challenger, nothing can’t afford to lose.
It was exactly ten years from 1993 to 2003. I have been pursuing perfection. This perfection is the purification of the skill so that it is impeccable. Now that I am in another state, I think that kind of vitality is so valuable, I may not have it anymore. A particularly perfect thing is an artifact that is meaningless.
Realizing this kind of problem, I am not afraid of shortcomings now. I want to make it have a new flashpoint, and it will have the vitality of thirty years old that I have never had before. And I feel that I have the ability to control this because I have been driving for ten years and I have very good control of myself.
Mr. Fu: When you were in middle school, was it affected by Shen Ling?
Miss Xia: Right. If you follow a teacher you agree with and like, you will absorb her ideas very quickly. I followed Shen Ling, crossing the most important one, which is a misunderstanding of my understanding of aesthetics. What is this ridge? In general, it is enough to draw a sketch that is not realistic enough. Is it meticulous, and your color is very hard, very college. If you entangle this kind of thing without limit, you will prematurely consume your young love for essential life and the instinct you want to express.
Later, I went to the Academy of Fine Arts. I know that painting can go to the other extreme, you can develop your personality, and you are willing to paint how to draw. Because I drew a few very detailed sketches, my teacher said that if you do this, don’t do it in my studio, you can go to another studio. I don’t understand. Is there anything wrong with trying my best to draw it? I was not praised, but I was criticized. Why? I gave up, and this abandonment just happened to be me. My teacher said that if you draw to this extent today, anyone will draw it. Does it make sense? This is something that others want, not necessarily what you want. If you really want it, then you can’t force you. I think about it, I won’t understand it for a long time, but now I think about it, I will laugh.
This is the initial stage, and the next thing you do is how to express yourself in a very specific way. It’s not plain, you can use it in a language. You are probably the one you see most directly, like me, maybe it’s the teacher around me. But this does not prevent me from going through other things through this thing.
Mr. Fu: Who are the painters who played a more important role in you later? Or what is it that triggers you, triggers you, and ignites the same things in your area.
Miss Xia: When I was in middle school, I like Bonar and Vial. It may be the kind of impulse and embarrassment of a little girl to color. Many people said that I was like a nanometer in 1995. I also recognize it. Next, Picasso’s blue period will have deep traces in the third and fourth grades of my university. The biggest influence of Borak on me is his picture structure and color segmentation. I think he is really impeccable and great. I will prefer Degas and the entire Impressionist in 1995, and I will like things like Courbet. In 1997 and 1998, he began to study the early things of the Renaissance, Angelica, Botticelli. Later, I drew a series of things that were religious in form. Last year, I drew a number of relatively realistic things. I like Vermeer or the religious paintings of early Italian. I will pay attention to painters that many people don’t like, such as Gisott, and some bright and beautiful painters in Britain.
Mr. Fu: Why do you choose a fashionable girl, flowers, cafe, a leisurely lifestyle, or a classic theme?
Miss Xia: It’s like what you like in the dark. Many people think that I am from Shanghai, thinking that I have migrated from the south, but I am a rough-skinned, down-to-earth northerner. I may imagine people who are not the same as everyone. I have always liked beautiful women since childhood, an atmosphere, a kind of moist, moist, sly, a little sad, and a little bit of stagnation, a little pleasure, a little bit relaxed, this atmosphere seems to be only female And the environment can be expressed.
Mr. Fu: You have maintained the same subject matter and style for quite a long time. Do you want to change yourself and change another way?
Miss Xia: I have been born to perceive the world and have accumulated to the present 32 years old. What I have done before is to express my heart. I keep drawing, this is my profession. After painting a large number of paintings, it constitutes what I call this image. People will decide what kind of state you are from your paintings, and there may be some continuity. I will have some changes, deepen and expand on the basis of the level I know.
Mr. Fu: Seeing your home furnishings and flowers are very close to the feeling in your picture. You are still portraying your life.
Miss Xia: Maybe it is the ideal life and state. It is an intrinsic thing in your mind. What you draw is what you have. I don’t have this gene to paint violent, bloody, cruel, or to draw the mystery and dumb style.
I think that using memory to draw things is more real than you look at, closer to the essence. I think this is the advantage of women, just like you say to use the mind to capture things. I don’t deny that my things are relatively simple and relatively lonely. Who does Morandi blame for his life when he paints bottles and cans?
Mr. Fu: Is this related to your female identity?
Miss Xia: My expression is more feminine. It is the soft, non-stop feeling of rotation. The brushstrokes of Picasso and Van Gogh are very straightforward, and there may be differences between men and women at this point.
Mr. Fu: What do you think is the difference between men and women in art? Is her inner structure, her perception of the world, or the unique way she expresses her heart?
Miss Xia: First of all, women’s expression is close to the way of diplomats. Most women are more subtle and devious. Secondly, it is the result of performance. Women’s clothing will be more concerned about the lines, female composing will be more exquisite, sonatas are more, more soothing, jumping, and relaxed. She won’t be very intense, and there may be fewer things that shock you.
Thousands of years of suppression and closure, including foreign women, can’t make you so direct, so expressive. There is a framework for women, and out of this framework will be considered to be defamatory. We are still subject to this imperceptible restriction, and the expression will be slightly subtle, restrained, and feminine, not so sharp.
Of course, some female painters now maybe more staunch and more violent than men. I feel like a rubber band, which is suppressed to a level. The state is in violation of human nature. Once the force is taken back, she will bounce at once. Go in the opposite direction. It may be more intense and more than ever.
Mr. Fu: How do you view the works of the patriarchal art circle and male artists? Do you have any general views on men?
Miss Xia: From 1995 to the present, I have always been an ostrich-type mentality. It is ridiculous to put my head in the sand, but it is also very practical. Don’t always think that it is a patriarchal society, always based on male standards. Lord, this is for sure. But if you have this kind of mentality to paint, you may be able to cater to them or go against them. You can’t express yourself. Men are never a thing that makes me feel confused. Because I am very simple, don’t think about anything other than painting.
If men accuse women of being brainless and not paying attention to politics, this is actually caused by men. This role was assigned to men from the beginning. If you say that your mind is simple, your mind is frivolous, not deep enough, there is no sense of social historical responsibility, etc., so you are destined to choose something shallow. I think this accusation is accusing them. If I change a division of labor, I believe that women will do well.
Mr. Fu: Although your picture is expressed in oil painting medium, there are freehand strokes and a sense of fluidity in the light and shadow. There is a very oriental plot.
Miss Xia: I have been learning Chinese painting since I was a child. I always feel that the way to dissolve oriental culture into a Western painting is like a slogan, but it is better to dissolve it from the blood. I prefer to use Chinese painting to draw oil paintings by writing pens. I will ruin the failed painting because “the air is not smooth.” In fact, I was using a kind of ink painting consciousness, but the medium was changed to oil paint. This painting is good because it is very smooth, smooth, vivid and coherent. It has the character of Chinese painting. I may be different from other people who paint oil paintings.
It is very difficult for me to make the combination of shape and color in place and to be vivid. My painting is a one-off thing. After the second stroke, it fails. Everything is connected. If the oil painting is at its best, it is the kind of thing that is done in one go. Whether it is Chinese painting or an oil painting, it also has a lot of cumbersome, repeated descriptions of clumsy, clumsy are also very good. Things that are too fluid may also be very popular. In fact, the contrast between simple and simple, well-behaved contrast, the contrast between fluency and stagnation, as well as the contrast of color and calm, will make your picture more vivid and give the painting agility and expressiveness.
Mr. Fu: What is the process of your painting?
Miss Xia: The big painting usually takes one month to draw, and the small painting is completed in a week or two. I paint very fast, oil painting has its limitations, sometimes I will do a very thick texture, you have to wait for it to do, is a very painful process. I didn’t have any small composition before I made the texture, that is, I didn’t aim to do it. Make a texture with more than a hundred dollars of Korean barreled oil paint. Sometimes my paintings need to be rolled. To be shipped overseas, the materials must be very particular. I have used the hand-developed pigments of the Netherlands since the year before, although it is quite expensive, but how to roll it is all right.
As long as I feel that it is obstructing my eyes, I will be very patient and scrape off the excess texture little by little, and then sand it to level it. There is no way, everything is unknown. The beginning is to indiscriminately spread the air, of course, the inside of the cold, warm, black and white, size, structure, shape must be particular. I started to focus on the structure of the picture and proceeded to the second and third steps. I will pay attention to the position of the image. Those places need to be quiet, those places do not need these very specific problems. Change is also a process. Every step will have an unpredictable appearance, increasing the possibility of the picture. I will not let any action become a wasteful action.
Mr. Fu: But in this way, drawing ten sheets may be very different, but it is easy to repeat one hundred sheets, will there be a habitual composition pattern?
Miss Xia: A person, a desktop, is a habitual composition. Vermeer is also often a window, a person, a table. In all my pictures, no one’s posture is the same. There is no one desktop and one flower is the same. I pay attention to these subtle differences. I will try to make each painting different, but I still draw it by one person.
Mr. Fu: How do you think about the relationship between multimedia media, devices, and media such as video and media? Many oil paintings also emphasize conceptualism and no longer take care of visual language.
Miss Xia: Anything will be eliminated, and any mainstream and avant-garde things will retreat to the edge. In 1995 and 1996, I may feel that the shelf has fallen, but I think it is good to live now. This is a particularly normal reincarnation. For example, the Venice Film Festival, DV works like rubbish, and everyone is no longer obsessed with these junk-like works.
Painting on the shelf, or like our research skill has fallen behind, this should be admitted, but I don’t think so. It is best for everyone to engage in avant-garde, conceptual works, leaving me alone to draw language. The key is whether you can stick to your own things. One thing will eventually replace another. This is the constant change in life. It is very interesting. Life is an interest that provokes the desire to continue to explore its mystery.