BRUSHWORK AND INSPIRATION

 Upon my return, the idea of painting the nostalgic alleys of old Shanghai consumed me. However, I fretted that I might never stumble upon the perfect location for my artwork. To my surprise, my visit to Chengdu Temple led me to discover a treasure trove of quaint old alleys in the vicinity. The only blemish on this canvas was the fact that the utility poles were constructed from cement. I decided to depict them with a subtle curve, resembling the classic wooden telegraph poles I envisioned.

As I set out to capture the essence of these alleys on my canvas, I couldn't help but notice a striking contrast. The haphazard, illegally built structures in the alley appeared scattered across my painting, providing a sense of irregularity and character. In stark juxtaposition, the modern buildings in the background were uniform and, frankly, quite dull, lacking the variety and charm of the old structures. 

The interplay of light and perspective played a significant role in transforming the city blocks on my canvas, giving them ever-changing shapes and segmentation. These elements, along with the contrasts I observed, contributed to a visually rich and rhythmic composition.

 The hazy weather cast a soft, muted veil over the landscape, toning down the vivid hues. Amidst such conditions, the layers and depths of the scenery become surprisingly clear. When I tackle subjects of this nature, I have a penchant for introducing small pockets of contrasting colors to enhance the overall palette. In this painting, it appears that the expansive cool tones and the limited warm accents work in concert, weaving a harmonious rhythm throughout the piece.

The spectrum of black, white, and gray levels of color gracefully transitions from foreground to background. The floating bridge, positioned slightly below the center of the composition, melds seamlessly with the central ship, lending the entire painting an air of robust stability. This arrangement mitigates any potential sense of top-heaviness and creates a pleasing equilibrium.

Intriguingly, the composition takes on an approximately cross-shaped formation, offering an innovative approach to visual storytelling. The central theme of the painting lies in conveying the artistic essence of misty autumnal colors, an endeavor achieved through the manipulation of form, tone, and other artistic elements.

The image of this ancient tree-filled forest is actually from a park not far from my home. Winter in Canada accentuates the area's pristine and natural beauty. It's a testament that you can uncover remarkable natural scenes if you look closely. In this case, we didn't have to arrange the elements – they are all inherently natural.

When we create artwork, we often have the freedom to arrange elements as we see fit. However, the shapes and forms in nature are inherently genuine, without any artificial intervention. In this winter scene, the shadows cast by the low-angled sun give rise to a dynamic interplay of lines and contrasts throughout the painting.

The composition is arranged in an unconventional inverted triangle, which, along with the extremely close subject, generates a palpable tension in the image. This layout invites the viewer's gaze into the picture, providing a space for them to immerse themselves in the tenacious vitality of nature thriving in a harsh environment. That, ultimately, is the core message and meaning conveyed by this painting.

Many have inquired about my impressions of Zhouzhuang, and my response often revolves around the notion that it has become quite commercialized. It's important to note that this doesn't encapsulate all of Zhouzhuang. In some of its less touristy periphery, the town retains its natural, tranquil essence, evoking a sense of serenity and life intertwined. Here, it's quiet yet brimming with vitality.

I've come to realize that the elements for painting in these untouched corners are as rich as those in the bustling central area. The composition takes on an intriguing K-shape with a deep perspective. The linear flow guides the viewer's gaze, making it easier to focus on the image. To accentuate this further, I placed the purest red at the center of the painting.

The old houses in Anhui, with their predominant colors of gray, white, and black, often evoke the feeling of traditional Chinese ink painting. Using oil paint for these houses allows me to capture their substantial weight and adds depth to the variations in gray tones. This small oil painting employs a linear composition, a strong perspective, and an alluring depth of field.

Within this painting, I aimed to demonstrate a skillful application of techniques and experience. I've always held the belief that composition, the linear aspects of the image, and the arrangement of elements serve as the fundamental building blocks for the overall composition of a painting. This is where attention should be primarily focused, and it's the most crucial phase. Similar to working with large tonal ranges in oil painting, the outcome of the painting, whether good or bad, can be anticipated and predicted.

Oak trees are a common sight in Canada, known for their hard and breathable texture and the exquisite beauty of their wood grain. They find application in various aspects of Canadian life, from flooring and furniture to wine barrels. These medium-sized oaks sport vast, spreading crowns and robust, short trunks. In the autumn, their leaves take on captivating shades of orange-red, a spectacle I often seek out to behold.

The journey to northern Ontario for "maple viewing" has become a popular tourist activity, as being amidst the orange-red woods imparts a unique sensation. It's as if the whole world beckons to be drenched in hues of red. In my painting, I've employed a full composition and a palette rich in saturated tones, primarily dominated by the leaves. This approach is designed to convey the profound impact of nature's message and the emotion it stirs within.

Despite traversing the 300 bridges of Venice, each experience feels unique. The distinctiveness of every bridge emerges from its location and the view it affords. When I gazed at this particular bridge from another one, I realized that it encapsulates the essence of Venice — with its bridges, boats, and winding alleys all converging.

The color palette is steeped in rich brown and bronze tones, creating a cohesive atmosphere. The layout, devoid of the sky, makes the vibrant color blocks pop. The elongated perspective imparts a profound sense of tranquility to the space.

To accentuate the texture of the walls, I've employed an extensive use of a palette knife to shape them. This technique enhances the tactile and visual depth of the artwork.

Oia, situated at the northernmost tip of Santorini, stands almost 100 meters above sea level. It is the quintessential representation of the classic Greek blue and white island aesthetic, and Oia itself is the epitome of Santorini's charm. I've had the privilege of visiting this beautiful place four times, once even staying in a cliffside hotel for half a month. The island's pristine, humid air and the endless blue expanse of the Aegean Sea have etched indelible memories in my mind.

Every day, hordes of visitors gather to witness the mesmerizing sunset in Oia, with many of them being Chinese tourists. The architecture on the island is impeccably proportioned, offering a wealth of opportunities for artists to discover and develop their compositions. During my visits, I explored the area extensively, renting motorcycles and cars to sketch and gather materials. It was amidst these stunning surroundings that I found the theme for my painting, "Tide," which has since become a central focus of my artistic work.

Peggy's Cove, is a renowned destination located on the eastern coast of Halifax, Nova Scotia, Canada. It boasts a dramatically rugged coastline and is a charming fishing village inhabited by fewer than a hundred people who make their living by lobster fishing. This place has long been hailed as "a paradise for photography lovers from around the world," and its magnetic appeal beckoned me to visit and experience its enchantment firsthand.

In October 2010, I embarked on a journey that covered 1,800 kilometers, driving from Toronto to reach Peggy's Cove. The striking local ice age boulder formations and the vibrant red ground vegetation left me in awe. The essence of this painting centers around boats and a wooden pier, emblematic of a distinctive corner of this fishing village. It encapsulates a tranquil, serene, and unpretentious scene, allowing the viewer to immerse themselves in a world that competes with nothing else.

Venice isn't a place where you can simply arrive, paint, and leave – it requires an extended stay to truly immerse oneself in the city's character and atmosphere. To capture its essence, I approached it from the perspective of a local resident rather than a fleeting tourist. Of course, others may have different impressions, but Venice, to me, is a place of tranquility rather than noise, simplicity over ostentation. This essence is what I sought to portray.

This painting depicts a residential area far from the bustling city center. In the warm October afternoon sunlight, when the distant church bells resonate, it forms a harmonious and natural moment. It adheres to a typical linear composition, with a strong sense of perspective. I find the contrast between the light-receiving and back-lit areas to be fascinating. Accurate color adjustments in these two areas are crucial to conveying the intended artistic sentiment, so I approached them with great care.