Featured Painting – Paris and Three Goddesses

One of my attempts to capture fleeting impressions of well-known Greek mythologies resulted in an abstract painting Paris and Three Goddesses, whose pink and golden color blocks in the background signified the dangerous intermingle of the mortal and immortal worlds. Three powerful goddesses, Hera, Athena and Aphrodite, were represented by three richly colored powerful beams, which penetrated the human world below, while circling like sharks of their prey a small globe — the golden apple, to be awarded to the most beautiful one, planted by the spurned goddess of discord.
Poor Paris, represented by the golden color associated with another golden male beauty Apollo, was pinned down by those powerful beams above, and responded with blue sparks, echoing the beam of Aphrodite alone, risking the wrath of Hera and Athena, for the sake of the most beautiful woman on earth, the Queen of Spartan Helen, the promised bribery from goddess of love, and eventually launched thousand ships and unleashed the ten-year Greco-Trojan war, and caused unspeakable misery for many, many more.
Little ones are perennial pitiful playthings of the powerful ones.

Paris and Three Goddesses / 帕里斯和三位女神 / Paris und drei Göttinnen
Paris and Three Goddesses
Oil on Canvas
14″ x 11″
Completed in 2012
This painting is currently in a Group exhibition Color Speaks (Sep. 23, 2017 – Jan. 20, 2018), in Downtown Berkeley’s vibrant art district.

Featured Painting – Colony

My painting Colony depicted a roughly sketched tight grid, in which several skeletal ants nervously roam around these low barriers. The whole painting was awash in a cold and almost sinister bluish green, and the insects were barely discernible at the first glance, as they seemed to have merged with the thin grids underneath their wiry bodies. The painting was a bit starling as it presented the ants in close-up, and they looked rather monstrous in their enormities.

Colony / 屬地 / Kolonie
Colony
Oil on Canvas
22″ x 28″
Completed in 2011

This painting is currently in a Group exhibition Color Speaks (Sep. 23, 2017 – Jan. 20, 2018), in the vibrant art district of Downtown Berkeley.

Featured Painting – Wildflowers

My 2014 gouache painting, Wildflowers was inspired by a visit to a riverbank park in my home city, Shenyang. It was spring time and the abundant wildeflowers lent colors and joy to the large expanse of dark green meadow, just in front of some dignified woods. It was a joy to encounter this cheerful sight, yet with certain gravitas, in the usually gray and somber city. It was even more joyful to be able to capture such wonderful memory of my home city in a magical moment.

Wildflowers / 野花 / Wildblumen
Wildflowers
Gouache on Paper
7”x10.25”
Completed in 2014

Featured Painting – One Fine Day

My 2007 oil painting One Fine Day soon will conclude its five-month long exhibition at at McGuire Real Estate Gallery in Elmwood District, Berkeley. This painting, in somewhat sickly moon light tone (pale Prussian blue), depicted a school of agitated and thrashing fish, tightly packed in confining space, bulging eyes telegraphing anguish, straining to escape of a deadly trap they had unfortunately fallen into.

The ironic title I chose, perhaps ought to be ascribed to some lucky fishermen. And that spoke the volume of the relationship of mankind and the unfortunate nature.

One Fine Day / 美好的一天 / Ein schöner Tag
One Fine Day
Oil on Canvas
22″ x 28″
Completed in 2007

Featured Painting – Birches

Nurtured by many Russian novels while growing up, I developed a special feeling towards the omnipresent birches, which not only aptly set the scenes and evoke the particular melancholy especially associated with Russia and Russian people, and finally, I made effort in 2006 to try to capture such feelings with a painting titled Birches, which is currently showing at the McGuire Real Estate gallery in Berkeley as part of the “Crowded by Beauty” exhibit.

I love the slender shapes of the trees, the softness of the finely-layered birch barks and their eerie silver color, and above all, the eye-shaped knobs imprinted on the trunks from bottom to top, as if birches were meant to be the chosen observers from silent world, so as to judge humankind.

Birches / 樺樹 / Birken
Birches
Oil on Canvas
22″ x 28″
Completed in 2006

That painting is also a play of optical illusion – amongst the eyes on the trunks, there was a singular eye floating in the space, unattached, between two indifferent birches. Inundated by so many eyes, this oddity was not immediately obvious; once detected, one might ask, if this is a most determined birch eye, the eye of an invisible human, or just a wandering independent eye belong to nothing and no one.

Featured Painting – “Forest Within” – When Reality Met Illusion

My 2005 oil painting Forest Within, currently showing at the McGuire Real Estate gallery in Berkeley as part of the “Crowded by Beauty” exhibit, is a play of optical illusion – the painting is a seemingly outdoor scene, yet the landscape is framed within a boxy confinement, and beams of light cast from behind and the shadows fall on the real or imaginary wall further enhances the blur of the boundary, where interior met exterior, reality met illusion.

Forest Within /  内置森林 / Innerhalb Wald
Forest Within
Oil on Canvas
24″ x 30″
Completed in 2005

Featured Painting: “Net” – A Gloomy Urban Snapshot

My 2003 oil painting Net, currently exhibiting at the McGuire Real Estate gallery in Berkeley as part of the “Crowded by Beauty” exhibit, is a study of alienation and anxiety of our time. The vertical canvas is split unevenly into three narrow stripes – a bright and somewhat richly patterned center “panel”, flanked by two darker and simpler outer “panels”; with the slanting perspectives of the outer panels, the whole image resembles an opened-up triptych. Furthermore, the center panel was covered by repeating yet subtly varied outlines of small windows and some interlocking ladders, which tilt in various degrees; the joyless left panel is a simple building façade, immobile, and featureless, except for some blank windows; the right panel features one large window, and behind the casually divided glass panes, there is a broadly sketched sad-looking man, looking out, tentatively raises his hands, as if attempting to make gestures of hesitant acknowledgement.

The strong contrast of the three panels, with the vivid and colorful middle, and somber and austere at the sides, plus the alien-looking ghostly person locked inside his flat, captures a sense of dislocation and disjointedness quite well.

Net / 網 / Netz
Net
Oil on Canvas
30″ x 24″
Completed in 2003

Not a surprise for a painting created at a sad moment of history – it was done in the year when George W. Bush poised to invade Iraq in spite of the fierce and sound oppositions from virtually every corner of the globe. My painting managed to capture the Zeitgeist then; unfortunately, the overall mood still fits today’s gloomy atmosphere.

Featured Painting: The March of Time

My recent oil painting The March of Time was a chromatic piece, masking details with broad strokes, employing repetitive patterns to emphasis the underlying messages, and exploring the deep emotions with subtle tonal variation.

The painting depicted a wasted land – wreckage of houses in various degree of decay, scattered around a no-man’s land in spots where they once proudly stood but barely hanging on with ineffective supports of crutches and buttresses. This wasteland was the product of ruthless time, as manifested in the title; yet, it was hard not to think what humans, who once built and occupied those now abandoned structure, had contributed to this vast span of ruin.

The March of Time / 時光的流逝 / Der Lauf der Zeit
The March of Time
Oil on Canvas
24″ x 30″
Completed in 2016

This painting was selected to be part of the “Fresh Works VII” juried exhibition at Firehouse Arts Center’s Harrington Gallery in Pleasanton in May through June 2017, and was recognized with a Honorable Mention Award, by Juror Ryan Reynolds, Assistant Professor of Art at Santa Clara University.

Featured Painting “Minotaur”

I often found the Minotaur legend disturbing and strangely moving.  Minotaur, the bull-headed monster, resided in the labyrinth built on the command of King Minos of Crete, subsisted on tributes of young boys and girls, and was finally slain by the Athenian hero Theseus, who invaded his lair as one of the new sacrifices.

The strangest aspect of the legend was that Minotaur had a head of a bull, which was not a natural carnivore, therefore it would not be far-fetched to imagine how sickened he was by his own savagery, thus I treated this subject in my oil painting, Minotaur.

My Minotaur was not a personification of usual monstrosity; rather, a sensitive being, trapped by his monstrous nature beyond his own control, he eagerly awaited his slayer/liberator, so as to rid himself of the misery.

Minotaur / 牛頭怪 / Minotaur
Minotaur / 牛頭怪 / Minotaur
Oil on Canvas
24″ x 30″
Completed in 2005

There, a hoof under his chin, my Minotaur pensively watched from a precipice the approaches of the Athenian boat, while holding the ball of threads, to be given to Theseus later by the willing princess Ariadne as means to aid his existing from the foul maze after the deed.

A large tear oozed out of his eye but it was not a bitter tear, rather a willing resignation and submission.

Featured Pastel Painting “Typhoon”

My first successful pastel painting, Typhoon, is an abstract piece inspired by devastating typhoons unfortunately have been creating ever-heavier havoc recently, due to the undeniable climate change. Exploring spatial relationships, subtle variations of tones and shifting of patterns, I tried to capture the something unpredictable and the menacing.

Typhoon / 颱風 / Taifun
Typhoon / 颱風 / Taifun
Pastel on Paper
8.5” x 11”
Completed in 2015

This painting is currently being exhibited at Expressions Gallery in Berkeley, in a show aptly titled “Into the Future“.